BONUS FULL SIZE pattern inserts SPECIAL ISSUE

creating
with fabric
+ thread

PROJECT
RUNWAY
38
INNO
PROJ VATIVE
ECTS
from casting
fall
FOR

to life after TV

7
UNIQUE
BAGS to
MAKE

COMFORT
+style
COZY
items to sew

10 inspired
projects
for a personalized
interweavestitch.com

SEWING ROOM
the
design
issue
fall 2011

6/6/11 7:53 AM
pC2 Ad - Prima Marketing.indd 2 6/6/11 7:53 AM
 20

FeaTures
12
seams right
contents
choose the best seams
and seam finishes
for your projects
NICOLE SMITH

20
inside project
runway
follow contestants from paper shredder
casting to life after tv quilt page 51
ALISSA HAIGHT CARLTON

30 PrOJecTs
twinkle’s big star 34
meet design triple-threat
wenlan chia of twinkle
cocoon
get cozy with soft textures
NICOLE SMITH
and relaxed wearables

42
in the bag
sew innovative bags
with designer details
DeParTmenTs
50 zero-waste design ■ patternmaking
inspiration ■ spiral foundation + more
what’s your type?
use type as inspiration
5 editor’s note
for graphic projects
6 what's new + cool
54 8 sew boutique
the men’s room
make projects men will 16 wish list
really love 18 material world

60 67 sewing basics

work + space 139 resources

personalize your 144 sew inspired
30 sewing space with
10 creative projects
amy karol

On The cOver Drop-Top Messenger Bag by Steffani K. Burton, page 43

SMSS1109.indb 1 6/6/11 7:39 AM

 inspired by

edItor In ChIeF Tricia Waddell

managIng edItor Stefanie Berganini

patterns & ProJeCtS edItor Katrina Loving

art dIreCtor Pamela Norman

trimmings deSIgner Charlene Tiedemann

PhotograPhy Joe Hancock unless otherwise credited ■ Photo StylIng Pam Chavez
shop online haIr & makeuP Kathy McKay ■ IlluStratIon Ann Sabin Swanson
www.simplicity.com teChnICal edItorS Rebecca Kemp Brent, Kevin Kosbab, Kerry Smith, Bernie Kulisek
Inspired by ContrIbutIng edItorS Marlene Blessing, Nicole Smith
Project Runway® CoPy edItorS Karen Levy, Veronica Patterson

coat pattern
ProduCtIon dIreCtor Trish Faubion ■ ProduCtIon edItor Nancy Arndt
# 2057
ProduCtIon deSIgner Kate Binder
zipper rosette
# 1715442 John P. Bolton, Esq. ■ edItorIal dIreCtor Pokey Bolton
PublISher
medIa SaleS dIreCtor Julie Macdonald ■ adVertISIng manager Barbara Staszak
ad traFFICker Melissa Marie Brown ■ marketIng dIreCtor Mary KinCannon
CIrCulatIon dIreCtor Bob Kaslik ■ CIrCulatIon manager Jodi Smith

retaIlerS If you are interested in carrying this magazine in your store please contact us at:
Toll free: (866)949-1646; Email: sales@interweave.com; Web: www.interweaveretailer.com

Interweave Stitch (ISSN: 2160-6838) is published five times per year by Interweave Press LLC, 201 E. Fourth
St., Loveland, CO 80537-5655. (970) 669-7672. All contents of this issue of Interweave Stitch are copyrighted
by Interweave Press LLC, 2011. 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 endorse any of the advertisers, products, services, or views adver-
tised in Interweave Stitch. Nor does Interweave Stitch evaluate the advertisers’ claims in any way. You
should, therefore, use your own judgment in evaluating the advertisers, products, services, and views
advertised in Interweave Stitch. Visit the Interweave website at interweave.com. For advertising informa-
tion, call Barbara Staszak at (978) 203-5460, email bstaszak@interweave.com or visit the website at
sewdaily.com. For sales information, call (800) 272-2193 or email sales@interweave.com. For editorial
inquiries, call (800) 272-2193, email stitchsubmissions@interweave.com, or write to Interweave Stitch,
201 E. Fourth St., Loveland, CO 80537-5655.

Independent Publishers Since 1975

Linda Ligon ■ Ceo Clay B. Hall

Founder
CFo Troy Wells ■ John P. Bolton, Bob Kaslik, Stephen Koenig
SenIor VPs
VP eVentS & eduCatIon Sara Dumford ■ VP teChnology T.J. Harty
VP PeoPle oPeratIonS Aaron Wilmot ■ VP ProduCtIon Trish Faubion

Magazines
Interweave Crochet ■ Interweave Knits ■ Handwoven
FIber dIVISIon
PieceWork ■ Spin .Off ■ Cloth Paper Scissors ■ Quilting Arts
art & Jewelry dIVISIon American Artist ■ Beadwork ■ Drawing ■ Jewelry Artist
Step By Step Wire Jewelry ■ Stringing ■ Watercolor ■ Workshop
Books
PublISher Stephen Koenig ■ edItorIal dIreCtor Marlene Blessing
aCquISItIonS edItor Allison Korleski ■ art dIreCtor Liz Quan
ProduCtIon dIreCtor Kristen Heller
For questions regarding our book program, call (970) 669-7672
Monday–Friday, 8:00 a.m.–5:00 p.m., or email books@interweave.com

Interweave Press LLC

201 East Fourth Street
Loveland, Colorado 80537
(970) 669-7672
2 An Aspire Media company Visit our website interweave.com
stitch

Simplicity_ProjectRunway_AD_511.indd 1 5/20/11 11:36 AM

SMSS1109.indb 2 6/6/11 7:39 AM

SMSS1109.indb 3 6/6/11 7:39 AM
 What are you sewing
this summer?

Available at craft, fabric, and book stores  www.stashbooks.com  800.284.1114

103009

Scan with your smartphone

for an inside look at Block Party—
The Modern Quilting Bee

SMSS1109.indb 4 6/6/11 7:39 AM

g sewing
by design
I love a sewIng challenge. sometimes I seek out
challenges—by trying a pattern with design details or
techniques I’ve never dealt with before, by personal-
izing a pattern with my own design alterations and
embellishments, or by simply restricting my choice of
materials and notions to what I have in my stash. and
sometimes the challenges find me, such as when I un-
expectedly run out of fabric for a project and have to get
creative or when I make a fatal sewing error and have to
devise a clever way to fix or hide it.
at some point, every sewist has to take a designer ap-
proach to sewing, whether it’s for pure creative reasons
or required to solve a problem. sometimes the results
are successful and sometimes not so much, but either
way you stretch your creativity, which undoubtedly
impacts your next project.
so this is The Design issue—dedicated to
approaching design challenges with confidence and
sewing with a designer’s eye. For inspiration and mo-
tivation, check out our feature on Project Runway, the
ultimate design challenge, and marvel at how the design
contestants meet that challenge head-on. For further
incentive, read the profile of design triple-threat wenlan
in the mail! check it out!
Check out the Stitch
for full-size pattern
auto-ship program at
downloads, online
shop.sewdaily.com
extras, the Stitchblog,
and get every issue
and the Sew Daily free
straight to your
eNewsletter, go to
mailbox!
interweavestitch.com.
p002-5 FOB.indd 5
chia of Twinkle, who designs clothing, knitwear, and
home accessories, while also authoring sewing and knit-
ting how-to books. In addition, learn the latest cutting-
edge trends in sustainable design and discover how
choosing the right seam finish can give your project a
professionally designed look.
next, there are thirty-eight projects to get your cre-
ative mojo in gear. each project theme addresses a fun
design challenge, from sewing for men to creating the
perfect designer handbag to making pretty and practical
items for your creative space. and for the final word,
Angry Chicken blog author, amy Karol, writes about
bending your own rules to reach sewing bliss. In the
end, that’s what it’s all about.
happy sewing!
tricia waddell
stitchsubmissions@interweave.com
p.s. Check out our Sew Daily community website
(sewdaily.com), a place for sewists to engage with
each other, upload project photos, share and watch
videos, download free patterns, and much more!
Look for our supersized
WINTER issue, packed with
40 fabulous projects!
on sale october 2011
PluS, don’t miss our holiday
special issue, STITch GIfTS
on sale november 2011
5
interweavestitch.com
6/7/11 8:33 PM
 Editors' picks for products,
tools, books + notions what’s new + cool
Equipped with a retractable cord that allows
you to adjust for your sewing space and a
soleplate boasting 300 microholes for powerful
steam, the new eFFecTive cOmFOrT cOrD
reel irOn from Rowenta is a pressing pow-
erhouse. Its signature precision tip helps you
press fine details and its improved thumb rest
provides comfortable use and control. Rowenta,
rowenta.com, $75.

Take your fabric to new heights with

sTiTch magic by Alison Reid.
You’ll never look at fabric the same
way after you explore the creative
For comfort at the cutting table, look
applications of pleating, pintucking,
no further than the new Fiskars lOOP
handstitched texturing, smocking,
hanDle rOTary. This colorful take
and more. Each chapter includes
on the classic Fiskars rotary has a 45 mm
technique instructions, clear illustra-
rotary blade that retracts with the simple
tions and inspirational photos, sug-
push of a button. Its award-winning contoured
gestions for experimentation, and a
handle makes cutting easy on your hand and
wide variety of artistic projects.
wrist and fits both righties and lefties.
Stitch Magic: A Compendium of Sewing Tech-
Fiskars, www2.fiskars.com, $17.
niques for Sculpting Fabric into Exciting New
Forms and Fashions by Alison Reid, $22.50.

The illusTraTeD guiDe

Great for making lunch bags, pot
holders, and ironing-board covers,
insul-Fleece will keep hot things
hot and cold things cold longer.
The insulated interfacing of metal-
ized Mylar sandwiched between
layers of polyester fleece creates a
barrier that reflects heat and cold.
C&T Publishing, ctpub.com, $5.95.
TO seWing series is a solid
reference collection for any sewing
library. Each title features clear illustra-
tions and thorough step-by-step instruc-
tions. The Garment Construction volume be-
gins by explaining basic sewing techniques
and carries the reader through the custom
construction of five classic wardrobe
staples. The Tailoring volume offers a com-
plete course on sewing a professional suit.
The third volume, Couture Techniques, is an
encyclopedia of information that ranges
from sewing different types of collars,
pockets, and hems to troubleshooting
a garment design to get the perfect fit.
Illustrated Guide to Sewing series by the editors at Skills
Institute Press, $19.95–$24.95.

6
stitch

SMSS1109.indb 6 6/6/11 7:39 AM

 Transform Your Table With
Create a customized companion with
A Charming Bubble Runner
the cOmPleTe DOll making kiT from Celebrate Summer with Tropical Paintstik
The Doll Loft. Each kit comes with supplies and tools Colors and a delightful Design Magic Runner.
to make your own unique doll, and the included copy Join our community at www.cct2.me/Stitch
of Doll Fashionistas by Ellen Lumpkin Brown provides pat- and the pattern is free! The Design Magic
h
terns for a complete fashion-forward mini-wardrobe. Starter Pack includes the colors shown and
The Doll Loft, thedollloft.com, $125. the Bubbles stencils. $69 + shipping.
See online store for details.
Offer good through
For embroidery and August 15, 2011.
appliqué lovers, the new NOW ON
a-
sTicky FaBri-sOlvy FACEBOOK
sTaBiliZer is a dream
come true. It has a self-
adhesive back that works
by simply peeling off the
paper backing, and it’s
water-soluble, so it stays
in place until your project is
finished and washes away neatly. It’s also avail-
able in a printable version that allows you to print
or photocopy your design onto 8 1⁄2 x 11" sheets.
Sulky, sulky.com, $6.99 and up depending on sheet size.

Whether you’re guiding a seam

allowance open or folding and
pressing bias tape with your iron,
getting your fingers in an iron’s
way is never fun. Enter the Dritz
Thermal ThimBles. Made from
100% silicone, these heat-resistant
finger protectors shelter your
fingertips from steam and heat at www.cedarcanyontextiles.com
the ironing board and are designed 877.296.9278
to fit index finger and thumb on
either hand. Dritz Clothing Care, PAINTSTIKS • RUBBING PLATES
joann.com, $5.99. STENCILS • BOOKS • PATTERNS

7
interweavestitch.com

SMSS1109.indb 7 6/6/11 7:39 AM

 sewboutique
A Second life
Thomas Knauer creates new
meaning through sewing
Text Tricia Waddell
Thomas Knauer’s journey to becoming a fabric and
children’s clothing designer and avid quilter was com-
pletely unexpected. Two years ago, Knauer was work-
ing his dream job as an assistant professor of design,
and he and his wife were happily awaiting the birth of
their first child. Then, he became mysteriously ill and
bedridden. After a year of going from doctor to doctor,
he was eventually diagnosed with hypokalemic
periodic paralysis, a rare neuromuscular disorder.
Over the next year, he slowly learned to manage his ill-
ness, reenter his life, and enjoy his new baby daughter.
But his illness forced him to leave his teaching posi-
tion, taking away the only career he had ever wanted.
So Knauer redefined himself. Last summer, after
a few sewing lessons from his mother, he made a
dress for his daughter, Matilda, and fell in love with
sewing. He continued to make dozens of dresses for
her, and with the encouragement of friends and family,
8
stitch
SMSS1109.indb 8
From inspiring people to hot
trends, check out the news from
around the sewing world.
opened his Etsy shop, Way Cool Kid, to sell
his favorite designs. He also fell in love with
quilting and began making baby quilts for
all his expectant friends. For Knauer, quilting
became a powerful act of “creating a living object,”
something with a story that could be handed down for
generations. “You are creating something meaningful,
instead of disposable,” says Knauer.
With his design background, it was only a matter
of time before Knauer began to think about designing
his own fabric. A lover of late 1960s and early 1970s
mod design, he created a print line inspired by the
Partridge Family, sent it off to Andover Fabrics, and
heard back within a week. He signed the contract for
his first fabric line, Pear Tree, six months after that
fateful sewing lesson. The fabric line will hit stores in
November.
Through his sewing blog, Knauer has been
enthusiastically embraced by the quilting commu-
nity, providing immense support during his journey,
which touches him deeply. Of his new life as a fabric
designer, quilter, and stay-at-home dad, Knauer
shares, “There is no silver lining to getting sick, but Clockwise: Thomas Knauer
with baby daughter,
this is a wonderful second stage of my life.” Matilda, along with one
of the dresses inspired by
her sold in his Etsy shop;
A sneek peek of Knauer’s
Visit Thomas Knauer at fabric line, Pear Tree.
ThomasknauerseWs.com.
6/6/11 7:39 AM
 THE SPIRAL
FOUNDATION
Empowering artisans
to help others
Text LINZEE McCRAY
On a trip to Vietnam in 1997, Marichia
Simcik befriended a group of resourceful
college students who were generating
funds for their education by making items
from recycled soda and beer cans. Asked if
she’d sell their wares when she returned
to her California home, Simcik agreed. But
instead of sending her the 50 items they’d
promised, the students sent 350.
“I sold them through the PTA, to the
milkman, to my husband’s colleagues at
work,” she remembers. “I wired $7,100 back
to the students.” But rather than putting all
the money toward tuition, the students do-
nated 75 percent of it to fix a roof and fund a
school for impoverished Hmong girls. That
act of giving by a group with so little to give
was a revelation to Simcik, who returned
to Vietnam and in 1999 started the Spiral
Foundation. Today, the organization not
only helps people in poverty earn a living
wage, but lets them help others as well. Spiral Foundation from her California home
The foundation’s efforts have resulted in to keep overhead costs low, and she returns
Clockwise: Marichia Simcik
more than 1,000 jobs in Vietnam and Nepal. to Vietnam three times yearly. She explains Arese (founder of the Spiral
Using traditional sewing, weaving, and her devotion to the project by telling the Foundation) and Silvia Bizio
basketry techniques, resourceful artisans story of a paralyzed Vietnamese woman (journalist and director of the
foundation), are visiting a heart
transform materials such as recycled tires, who said the Spiral Foundation brought surgery patient together with
water bottles, and plastic wrappers into “double happiness,” providing her with not the disabled artisans that help
fund the heart surgery, Hue-Viet-
baskets, bags, picture frames, and more. only income but also the chance to assist nam, 2008; An artisan weaves
Designs also incorporate traditional textiles, those in even greater need. telephone wire into a basket;
such as yak wool fabric woven in Nepal and “Helping others empowers all of us, Textile products include the
Hmong Embroidered Pillow fea-
embroidered and appliquéd Hmong textiles. but especially those considered a burden to turing antique tribal embroidery
In addition, the money supports numerous society,” says Simcik. “The tremendous satis- in the center and the Saru Pillow
made from fabric typically used
educational and medical causes, including faction that comes from helping others is a for Nepalese farmer’s clothing;
nearly three hundred heart surgeries for right that belongs to all, not just a privilege One of the artisans, Timila, sews
in the workshop in Nepal.
children, some of whom are members of belonging to those of us who have more.”
the third generation to suffer the effects of
Agent Orange. For more information on
Simcik, an art historian who worked at the Spiral Foundation, visit
Los Angeles’s Getty Museum, runs the SPIRALFOUNDATION.ORG.

9
interweavestitch.com

p008-11 SewBout.indd 9 6/7/11 8:34 PM

 CPD sponsors design classes, such as this one with subtraction
cutting expert Julian roberts.

CeNTeR FoR
pattern design
resources for patternmakers
Text linda Turner griePenTrog

If you have a passion for pattern design and think no one under-
stands, think again! The Center for Pattern Design (CPD) totally
gets it. Its mission is education, innovation, and making hard-to-
find design resources available.
Director Sandra Ericson, a designer herself, started the orga-
nization in 2006 to pull together resources for those who work
in various facets of the design and clothing industry—including
creators of wearable art, surface designers, theatrical costumers,
DIY designers, and all others with a penchant for creating their
own patterns.
Based in St. Helena, California, the group offers pattern design
resources not available elsewhere. The CPD online store offers
drafting tools, dress forms, instructional DVDs, software, and
exclusive technical books, both self-published, republished, and
print-on-demand.
Sign up for the free email newsletter focused on the latest top-
ics in the field, upcoming designer events, book reviews, pattern-
making and draping classes, and all things design related. CPD also
offers a library of downloadable PDF files on various design topics
and access to commercial pattern archives.
In addition to historical pattern-making resources ranging from
classic Dior to Vionnet, you’ll also find information on contemporary,
cutting-edge pattern-making methods such as subtraction cutting
and zero-waste design. Whether you think of yourself as a pattern
genius or just someone with a budding interest in design, you're sure
to benefit by exploring the offerings at the Center for Pattern Design.

For more information, visit

cenTerForPaTTerndesign.com.

10
stitch

SMSS1109.indb 10 6/6/11 7:39 AM

 Lighten up! Peyton
at Play
The FINEST, Strongest Thread for:
• Micro Stipple Quilting
• Detailed Embroidery & Small Lettering
• Long Arm Quilting • Sergers
• French Hand Sewing • Cross Stitch
Quilt Kit
• Colored Bobbin Thread
• Nearly Invisible Hand-turned Appliqué
• Perfect for Quilt Piecing

Sulky ® PolyLite ™

Available in 60 Colors
440 yds. on Snap-Spools
1,650 yds. on Snap-end Cones
• 24 Multi-Colors
Similar to Sulky
Blendables® only very fine.
Colors change in predictable 1” segments.
Featuring Urban Zoologie
36 Solid Colors by Ann Kelle
• 60 wt. Polyester • Lint Free • Soft and Pliable for Robert Kaufman
• Multi-Filament • Colorfast
Peyton at Play Pattern
Ask for PolyLite TM
at Quilting and Sewing Stores by It’s Sew EmmaTM

Look Out for Our Tags! Tags are your direct connection to Sulky. Using your smartphone
and a free app (http://gettag.mobi.com), just scan the tag to find
out more about PolyLite thread and other exciting products
and events from Sulky. Try it!

www.sulky.com 1-866-826-2069
www.FatQuarterShop.com

Get the free mobile app for your phone

11
http:/ / gettag.mobi
interweavestitch.com

SMSS1109.indb 11 6/6/11 7:39 AM

 Select and sew the best
seam or seam finish for your
projects Text Nicole Smith
seams
right
When it comes to putting together
projects using fabric and thread, sewing the
perfect seam can be incredibly satisfying
for any sewist. those seams are what hold
your handmade projects together, so it’s
important to select the best one for the job
and sew it properly.
here, you’ll find six basic techniques
to add to your sewing arsenal that will
help you stitch seams that look great both
inside and out. choosing the right seaming
method depends on your fabric, the project
type, and the seam shape and position.
Practice each one on scrap fabric to master
the technique and make sure the finished
look is what you want before diving into
your real pieces. You’ll soon see that the
perfect seam is only stitches away.
Basic seams
here are two basic seams that you’ll use
often in your project construction.
12
* stitch
p012-15 Seams.indd 12
[a]
traditional / plain
Traditional
/Plain seam
1 this seam is the most
common one used to stitch
two fabric pieces together.
it works well for a wide
range of fabric types and
weights, and it’s the starting
point for many of the other
seam techniques covered
here. 2 Lay your fabrics on
top of each other with right
sides together, aligning raw
[b]
edges. [a]
3 sew along the seam line, keeping your
seam allowance in mind. make sure to
distance your stitches from the cut line
accurately and evenly as you sew. 4 Press
the seam flat to set the stitches. then press 5 to finish the raw edges, trim the seam
the seam allowances open from the wrong allowance using pinking shears. Alterna-
side. to finish, press a third time from the tively, you can sew the length of each raw
fabric’s right side using a press cloth along edge with a zigzag stitch or serge the raw
the seam. edges. Press again. [b]
6/7/11 8:34 PM
 [a]
corner
corner seam/Joining an inward
corner to an Outward corner
When your project calls for a seam featur-
ing a sharp corner, try this technique to
make a sharp angle. It’s helpful to mark the
seam line before sewing the pieces together
using a temporary fabric-marking tool.
That way you’ll know exactly where to stop
stitching in Step 2 and where to stop clip-
ping in Step 3. 1 Place the outward corner
SMSS1109.indb 13
[c]
piece right side up on your work surface.
Place the inward corner piece on top with
right sides together and raw edges aligned
along one seam edge. The top piece will ex-
tend past the corner and not align with the
remaining seam edge. [a] 2 On the seam
line, sew up to the corner. Leave the needle
in the down position (in the fabric) and lift
the presser foot. 3 Using small scissors,
clip the top (inward corner) piece, up to the
[b]
[d]
seam line. 4 Pivot the top and bottom
layers toward you to align the remaining
raw edges (the clip will spread to allow
the second edges to align). [b] Lower
the presser foot. 5 Continue sewing the
seam. [c] Then press the seam allowance
to one side. [d]
13
interweavestitch.com *
6/6/11 7:39 AM
 flat-felled

[b]

[a]
SEAM FINISHES
The following four seam finishes offer differ-
ent design options for giving a seam a profes-
sional look. 1
t
Flat-Felled [d] s
This reinforced seam finish is commonly P
found on denim garments and dress shirts. It w
finishes the raw edge using the seam allow- [c] 2
ance, and it involves an extra row of stitching o

bias-bound
visible on the fabric’s right side. It’s also great t
for accessory projects such as reversible tote o
bags because the seam is reinforced and both t
sides of the seam look finished. b
1 Sew a traditional seam, with wrong sides m
together and raw edges aligned. 2 Press both b
seam allowances to one side. Trim the bottom
seam allowance to 1⁄8" (3 mm). Do not trim the F
top seam allowance. [a] 3 Wrap the top seam T
allowance around the bottom one, encasing the s
raw edges by folding under the top seam allow- fi
ance 1⁄4" (6 mm) and then wrapping it around g
the trimmed seam allowance. Press in place. f
[b] 4 Topstitch the seam allowance along the g
fold line to finish. [c + d] (

Bias-Bound
[a] 1
w
This technique finishes the raw edges using e
double-fold bias tape, usually 1⁄4" (6 mm) wide. (
You can find bias tape pre-made at your local s
fabric store, or you can make your own with r
bias-cut fabric strips (use 1" [2.5 cm] wide s
strips for a 1⁄4" [6 mm] finished binding). This [
quick and easy technique is wonderful for s
finishing edges that may be seen from the o
outside at times, such as those on an unlined f
jacket. Choose matching tape for a traditional t
look or go bold with a contrasting color.

14
[b]
* stitch

p012-15 Seams.indd 14 6/7/11 8:34 PM

 [a]
french
1 Sew a traditional seam with right sides
together and raw edges aligned, with a
seam allowance at least 1⁄2" (1.3 cm) wide.
Press the seam allowance open from the
wrong side and again from the right side.
2 Wrap the double-fold bias tape around
one seam allowance, snugging the edge of
the seam allowance into the center crease
of the bias tape. [a] 3 Keeping the rest of
the garment out of the way, edgestitch the
binding in place along the seam allowance,
making sure to catch the underside of the
binding in the seam. [b]
French
This seam-finish technique encloses the
seam allowance, leaving behind only
finished edges on the inside and out. It’s a
great option for sheer or very lightweight
fabrics to hide raw edges in see-through
garments. For the version shown here, a 1⁄2"
(1.3 cm) wide seam allowance is used.
1 Lay your fabrics on top of each other
with their wrong sides together and raw
edges aligned. Sew the seam with a 1⁄4"
(6 mm) seam allowance. 2 Trim the
seam allowance to 1⁄8" (3 mm). To prevent
raveling, be careful not to cut into your
stitches or cut too close to the seam line.
[a] 3 Press the seam line flat to set the
stitches. Then press the seam allowance
open from the wrong side. Next, fold the
fabric along the seam line with right sides
together. [b] 4 Sew the seam again,
SMSS1109.indb 15
[c]
[b]
[d]
stitching 1⁄4" (6 mm) from the seamed edge.
[c] 5 Press the seam allowance to one side
to finish. [d]
Welt
This seam finish has a decorative line
of stitching that’s visible from the right
side. It’s similar to the flat-felled seam, but
doesn’t finish the raw edges. It’s a great
choice for any seams that (in some cases)
need to have the seam allowance secured to
one side, such as a princess seam or a yoke
seam, as well as a seam in thicker fabrics.
1 Sew a traditional seam with right sides
together and raw edges aligned. Press the
seam allowance open. Then press the seam
welt [a]
allowance to one side. Trim the bottom
seam allowance to 1⁄8" (3 mm). Do not trim
the top seam allowance. [a] 2 Turn the
piece over to the right side. Topstitch 1⁄4"
(6 mm) away from the seam line, catch-
ing the seam allowance on the wrong side
in the stitching. Press in place. [b] 3 For
a faux flat-felled seam, you can topstitch
again just a hair away from the seam line.
Once you learn and practice these seaming
options, you’ll be ready to turn out profes-
sionally finished projects in no time!
nicole smiTh is a Stitch contributing edi-
tor and author living in Brooklyn, New York.
Visit her website at applianceclothing.com for
information on her books and designs. [b]
15
interweavestitch.com *
6/6/11 7:39 AM
 2 | Wonderful for a day at the
playground or a best friend’s
birthday party, this red Fox
little girl’s Jumper makes
the perfect autumn dress
for any little girl. Made
to order by hand,
these 100% cotton
dresses are avail-
able in sizes from infant
to 2 years. Silly Hilly, sillyhilly
1 | Available in a wide range of colors, this .etsy.com, $38
charming Owl Pillow is the perfect gift for a
nursery or for those looking to add a quirky touch
to their decor. It’s handsewn and printed with
original textile designs. Petunias, petunias.etsy.com, $16

shOP
handmade
3 | These mini Felt
Woodland creatures pat-
terns are sure to bring out
the woodland lover in anyone.
The patterns include everything
cELEBRATE NATURE 4 | Whether you’re passing on
you need to make the cutest min-
congrats to a new homeowner
iature furry friends, including WITh WOODLAND- or welcoming a new addition
pattern pieces and instructions. INSPIRED fINDS to someone’s nest, these hand
Set #1 includes an owl, raccoon,
sewn Bird nest cards are
fox, bunny, and mushroom, while
guaranteed to wow any recipient.
Set #2 comes with a squirrel,
Mounted on a faux-wood card, the
owl, deer, tree, and acorn.
inside is blank, letting you create
Little Dear, littledear.etsy.com,
your own personal message. King
$5 for each set
Popcorn, kingpopcorn.etsy.com, $5

5 | Give your sewing kit some

added style and organization
with a wooden make it for me
needle case holder. Screen-
printed with the phrase “ABC,
Saw See Sew, Make It for Me,” it
encourages your creativity while
keeping your hand needles out of 6 | Flaunt your style moxie with a Foxy clutch. At
harm’s way. It has a rubber-fitted 8 1⁄2" × 5", there’s plenty of room to tuck away your make-
top and the length to accommo- up, keys, and more. Each clutch is handprinted and sewn
date needles up to 3" long. The by Anne Waters, of Bondi Beach, Australia, and shipped
Small Object, thesmallobject.com, $6 to you across the globe. Sir Tom, sirtom.etsy.com, $70

16
stitch

SMSS1109.indb 16 6/6/11 7:39 AM

 196 pages
packed with
quick & easy
contemporary
patchwork

Celebrate
projects.

the modern
patchwork
revival!

101
projects

Faye Burgos presents clean lines in oversized florals,

paisley and coordinates - use her neutrals and soft colors
Patch-It™

separately, or follow emerging décor trends by blending

the palettes. Either way, you’ll create an airy, modern
statement in quilts and home accents to enjoy all year long.
Patch-It™

For fresh creative options, you’ll love Faye’s new Patch-It™ layout
of 5” squares, and our free project sheet, with clever cutting and
piecing suggestions.

View the entire collection and free project

sheet online at www.MarcusFabrics.com

17
interweavestitch.com

SMSS1109.indb 17 6/6/11 7:39 AM

 wear
you are what you

Zero-Waste Fashion Design and You

Text marlene Blessing

IF YOU THINK the clothes you sew are trivial in terms of carbon
footprint, think again. Innovative fashion designers such as Timo
Rissanen are spreading the word about zero-waste fashion to achieve
sustainability. A first target is the fashion industry itself, which cur-
rently sends 15 to 20 percent of its fabric waste from pattern-cutting
into landfills or incinerators.
Rissanen, assistant professor of Fashion Design and Sustain-
ability at New York’s Parsons The New School for Design, works
with students to discover ways they can achieve zero-waste in
their design work—from “jigsaw” and “subtraction” pattern cut-
ting (careful design and layout that minimizes fabric waste) to
upcycling used clothing to developing zero-waste jeans. In fact,
jeans, our beloved fashion go-to, are among the “most wasteful
and polluting garments made,” says Simon Collins, dean of the
School of Fashion at Parsons.

ThOughTFul Design
Designs coming out of the zero-waste fashion movement are a mix
of art and engineering. Picture a kimono, the ultimate example of
zero-waste design. The classic design, with its straight lines, creates
virtually no waste. In a recent exhibit of zero-waste fashion designs,
Rissanen and his New Zealand colleague Holly McQuillan (fellow de-
signer and teacher) show how beautiful such a thoughtful approach
to design can be.
1

2 3

photographs by Jonathan grassi

18
stitch

SMSS1109.indb 18 6/6/11 7:40 AM

 4
1 The simplicity of this vest
designed by Parsons student
Julie Hendrix made it popular
with her classmates and one of
the five finalists in the school’s
Zero-Waste installation.
2 In the Zero-Waste design
competition, Parsons student
Janelle Abbott sketched and
constructed a jacket entirely
made of triangles. 3 Parsons
student erin Draper created
a soft, flowing look in her
sketches for these zero-waste
garments as part of her core
fashion design class this spring.
4 Zero-Waste Denim exhibit
at Parsons in February 2011.
5 Sketches for additional
zero-waste garments designed
by finalist Julie Hendrix.

Whether addressing the fashion industry, their students, or the

home sewist, Rissanen and McQuillan offer philosophical and practi-
cal mind-shifts that make a difference. From Rissanen: “Have an open
mind—sometimes unlearning is needed to learn.” Also, he advises, “Al-
ways consider the width of the fabric; it is the space within which you
create.” From McQuillan: “It shouldn’t be a ‘sew A to B’ type of exercise.
Don’t use notches, just pay attention.”
But what about jeans? McQuillan says we’re not wrong to love our
jeans. “There are many innovations in terms of denim manufacturing
occurring at the moment—Levi’s Water<Less jeans being a standout.
But I think the problem with all garment types is the number of them
we have: we consume too much.”

PracTical susTainaBilTy
Finally, there’s you, the passionate sewist dedicated to transforming 5
yards of fabric stash into unique clothing, home decor, toys, and more.
You’re not sewing on an industrial scale, but you’d like to do your part
to contribute to today’s “waste not, want not” sustainability efforts. practice “slow fashion”: Buy less, choose “timeless” designs, and
Here are some practical tips: keep what you have in good repair.
learn zero-waste pattern cutting: Experiment with pattern lay- Perhaps Timo Rissanen’s advice to “Respect the fabric: a lot of
outs where pieces abut. resources go into it” is the very best place to start your own journey
Repair, revamp, reuse: Anything you make can be made to last toward zero-waste.
longer, be restyled, or be incorporated in a new project.
trade your stash: If you’re tired of fabric or clothes you haven’t marlene Blessing is the editorial director for books at Interweave
photographs by Jonathan grassi

used or worn, have a party with your sewist friends and trade stash. and a contributing editor for Stitch.
Keep it moving!
get “scrappy”: Fabric scraps aren’t just for quilts. They can be used
for repairing torn garments, reinforcing vulnerable seams, creating ap- For more information visit Timo rissanen’s blog,
pliqué and other embellishments, even making handmade paper. ZeroFabricWasTeFashion.blogsPoT.com. For
Revise your laundering practices: Both cold-water laundering and zero-waste and subtraction cutting patterns, go
to cenTerForPaTTerndesign.com.
hanging clothing to dry save energy and help clothing wear longer.
Plus, you don’t always have to launder items after only one use—
clothes can often be hung to air out and be reworn.

19
interweavestitch.com

SMSS1109.indb 19 6/6/11 7:40 AM

 Go behind the scenes of Project Runway
and follow contestants from the casting call

inside
to life after TV. Text alissa haighT carlTon

mike yarish/lifetime networks, 2009

Above: Marie Claire fashion director, Nina Garcia, and New

York designer Michael Kors judge the contestants every
week. Right: Designer mentor Tim Gunn gives the con-
testants feedback on their designs in progress. Far right:
Project Runway host and executive producer, Heidi Klum.

20
stitch

SMSS1109.indb 20 6/6/11 7:40 AM

 After eight seasons of
Project Runway, we’re all
familiar with the structure
of the show: sixteen
up-and-coming fashion
designers compete in
a series of incredibly
fast-paced and stressful
fashion design challenges.
Competitors are elimi-
nated one by one until
the top three designers
show their collections at
New York Fashion Week.
In the end, supermodel
host Heidi Klum, fashion
editor Nina Garcia, and
top American designer
Michael Kors pick one
designer, who wins
$100,000 to take his or
her fashion career to the
next level.

21
interweavestitch.com

SMSS1109.indb 21 6/6/11 7:40 AM

 Project Runway has become the sewing commu-
nity’s favorite television show and deservedly so. If
you can’t drape a garment or draft a pattern, you don’t
have the sewing chops to be a competitor. While
design and fashion take a front seat, no one would
succeed at any of the challenges without the core
sewing skills that take years to master. Although
many reality shows require few skills, Project Runway
demands that you know how to sew amazingly well.
This show’s reality stars bring some serious skills and
talent to the table.

cenTral casTing
A multistep casting process determines whether
someone has what it takes to be on the show. To begin,
designers submit an application, a portfolio, and a

clockwise from top: barbara nitke/lifetime ; DaviD russell/lifetime ; lifetime , 2009

Above: Season 6 contestants wait for their next challenge.
video in which they tell the casting department about
themselves. Based on their applications, selected design-
ers are invited to a casting call.
The applicants vary widely in terms of fashion
background. Some are 100 percent self-taught while
others have attended fashion design school. And they
are of many ages and origins. One need only to look
to former cast members to see the diversity of creative
voices applying for the show. Korto Momolu’s Liberian
background, Irina Shabayeva’s Russian roots, and Andy
South’s Laotian immigrant upbringing offer just three
examples of the widely varied backgrounds of designers
who’ve been on the show. On Season 8, the designers’
ages ranged from twenty-two to forty-nine. However,
all candidates have one thing in common: they passion-
ately want to have successful fashion design careers,
mike yarish/lifetime

Right: Accomplished designers, such as Tommy Hilfiger, and they’re doing the hard work it takes to make that
appear as guest judges.
happen.

22
stitch

SMSS1109.indb 22 6/6/11 7:40 AM

 seth aaron henderson
WINNEr, SEASoN 7
sethaarondesigns.com
SEaSon 7 WInnEr and self-
taught designer Seth aaron
Henderson is known for his
rock-and-roll fashion sensibil-
ity, but his daily life is much
more grounded than the look he
sports. Married with two teenage
children, he works nonstop to
grow and develop his fashion
career.
Q What are you up to now, both
personally and professionally?
a I’m doing so many different
things. I showed a ready-to-wear
line at los angeles Fashion Week,
and in mid-april, I launched an
iPad accessory line. I’m also do-
ing a lot of events. I’m still based
in Vancouver—my family, studio,
and fabric sources are here. I also
work with a small factory here.
clockwise from top: barbara nitke/lifetime ; DaviD russell/lifetime ; lifetime , 2009
Q What’s up next for you
and your business?
a although I didn’t have a lot
of time to put things together
for the los angeles Fashion
Week show, I presented twelve
looks—and some were really
mass market. So from there,
we shot the lookbook and will
try to sell to places in new York
City, los angeles, and Chicago.
Then after a short break, I’ll be
working on a Spring 2012 col-
lection, which I’ll be showing in
September.
Q How did you start sewing?
a I bought a machine and
mike yarish/lifetime
started cutting the next day. I
was a fashion stylist for many
years, so I had a dress form.
one important factor is that
SMSS1109.indb 23
I taught myself sewing from
vintage patterns of the 1940s
and 1950s. back then, without
synthetic stretch fabrics, the
fit had to be just right. Gar-
ments had to be sewn perfectly.
I taught myself tailoring skills
with those vintage patterns and
combined all that with lots and
lots of practice.
Q Do you think it has helped
or hurt your career that you’re
self-taught?
a I knew in my gut that this
is what I wanted to do, and I
didn’t want to wait four years,
so I just started sewing a ton.
but I always tell young design-
ers to go get the degree. It’s
like music. Some people can
pick up the guitar and play, and
some people are taught how to
play. They can both be great at
it—they just took different ap-
proaches. I’d been sewing four
and a half years by the time I got
on Runway. I applied three times
before I got on. Each time, I got
the positive feedback I needed to
go home and practice and move
forward. Tim Gunn told me I had
something but that it wasn’t
developed yet. Thank god I was
rejected because then, when it
was my time, I knew it was right.
because it’s so much work just
to get on the show, you don’t
want to be booted right away.
Q Why do you think you suc-
ceeded so well on the show?
a I went on the show to do what
I do, and I wasn’t going to worry
about pleasing everyone. You
can’t. You have to go and be
yourself, and either it will work
out or it won’t. The two most
important things are that you
know who you are and that you
can operate on very little sleep in
high-pressure situations. I love
stress and pressure. It’s “me” to
have a crazy timeline. If they had
given us a week to design a gar-
ment, I would have gone batty.
The speed forces you to go from
your gut.
Q What does it take to make it
in the fashion business?
a The work ethic is a huge part
of it. and I never get bored. I can
do this every day, all day.
Clockwise: Tim
Gunn gives Seth
Aaron Henderson
design feedback; A
finale look from Seth
Aaron’s show at New
York Fashion Week;
Seth Aaron shows
off his signature
fashion sense.
23
interweavestitch.com
6/6/11 7:40 AM
 Facing The FashiOn Panel
Once at the casting call, candidates meet with a panel of
fashion experts. The panels vary, but they often include a
former cast member, a magazine fashion editor, and the
show’s designer mentor, Tim gunn. This group of experts
studies the work of each applicant, reviewing their con-
struction skills and design aesthetic.
Many designers who come before the panel are no
longer in fashion school or never attended at all, so this
arena is one of few in which they get feedback and criti-
cism from fashion-industry experts. Some of the design-
ers love the critique experience and grow from it, while
others struggle if their work isn’t well received. Working
from the results of casting calls around the country and
further interviews, the cast is chosen.

Designing The challenges
To create the challenges that structure each episode, a
team of producers brainstorms situations that will be au-
thentic to designers’ real-world processes and simultane-
ously enjoyable for viewers. Additionally, each challenge
includes a twist that’s relevant to the current fashion
world and pushes the designers’ creativity.
They don’t call them challenges for nothing. From all ac-
counts, being on the show is one of the most stress-inducing
situations a designer could ever face. A designer needs more
than sewing skills to make it on Project Runway. “You have
to be the type who is motivated by a crazy deadline,” says
Season 7 winner, Seth Aaron Henderson.

Above: Tim Gunn and Michael Kors give critiques

to contestants in the workroom. Below: Season
8 designers are given a challenge to refashion a
bridesmaid dress into a new look.

barbara nitke/lifetime

barbara nitke/lifetime

24
stitch

SMSS1109.indb 24 6/6/11 7:40 AM

 gretchen Jones
WINNEr, SEASoN 8
gretchenjonesnyc.com
Colorado-born Gretchen Jones
won Season 8 with her effort-
lessly chic designs. newly moved to
new York City after her win, she’s
grabbing the bull by the horns and
making the absolute most of the
opportunities coming her way.
Q What are you up to now in
your professional life?
a I have moved and established
my business here in new York City.
I live and work out of my home
(studio soon, please universe!?) in
Fort Greene, brooklyn, which is a
nice little refuge from Manhattan.
I just launched my new website
and am in the midst of completing
my Piperlime jewelry collection.
Plus, I’m working sales meetings
with the a/W 2011 collection and
preparing for my hard launch in
September. but I’m also in the
process of completing my busi-
ness plan and finishing an investor
portfolio.
Q What are you looking forward
to next in your career?
a I want to reach a level of
financial sustainability that will
enable me to grow my brand, while
also creating collaborative works
that reach a low price point and
wider customer demographic.
My ultimate goal is to create a
design house that can support my
creative desires, one that reaches
into accessories, housewares, and
eventually menswear.
barbara nitke/lifetime
barbara nitke/lifetime
Q How did you start sewing?
a I designed my first dress at
seven with my grandmother. as I
grew, my family put me into fine-
SMSS1109.indb 25
art classes, and at about thirteen,
I started taking sewing classes
through my local 4-H. I think
americans have let go of many
artful crafts that bind our culture to
what we use. and I’m grateful I had
the opportunity to learn from my
elders, grow my skill sets through
time, and appreciate the art behind
the craft.
Q are you self-taught or school-
trained, and what have been the
benefits and challenges of your
path to fashion?
a architecture dropout. Self-
taught. I grew up in a town of
400 people. The K-12 school in
its entirety housed 100 students.
Hands-on, personal attention is
how I learned best. I chose to fol-
low my passion after my second
year at the University of Colorado,
through hands-on and real-world
experience. I focused on learning
in as many areas of fashion and
design as I could access. I’ve been
a seamstress; I’ve managed and
been a buyer for boutiques; I’ve
managed at the resale clothing
shop buffalo Exchange; styled,
modeled, apprenticed in handcraft-
ed leatherwork; vended at trade
shows; and finally, started selling
my own line. Understanding both
design/production and retail buy-
ing/selling has put me in a place
where I understand the necessity of show, with so little time, no use of
branding, quality construction, and
fit, salability, and style.
I’m not technically trained,
which at times is challenging.
However, I think choosing to learn
Clockwise: Drafting a pattern in the
workroom; a winning look from her
finale show at New York Fashion
Week; Gretchen Jones ready to
take on the fashion world.
hands-on rather than in a class-
room guided me into understanding
that while you can’t do it all, you can
manage it all. My weaknesses can
be addressed by delegating some
areas to others, and I can take care
of the things I’m good at.
and I do not believe that you
have to go to design school in order
to succeed in fashion. It’s a lot of
money to spend on a degree that
can’t give you vision. Community
colleges offer affordable programs
to gain technical skills, and the most
important things are practice and
time for finding your voice.
Q Why do you think you suc-
ceeded so well on the show?
What skills were really used and
stretched?
a I knew how to talk about
my work and understood
the difference between
taste and constructive
criticism. I also stayed true
to not only my aesthetic, but
myself. and I think in the end, my
strong opinions made for good TV.
Pattern drafting is by far the
most important skill set on the
slopers, and always having to work
with new models. You really need to
know how to make what it is you’re
thinking about and sew it faster than
you ever have before.
25
interweavestitch.com
6/6/11 7:40 AM
 As in the real world, the
designers must work in
teams to create a cohesive
collection. Ivy Higa, Valerie
Mayen, and Andy Smith
from Season 8.

By the time designers make it onto the show,

chances are they have been working incredibly
hard for years to develop their sewing and design
skills. Seth Aaron Henderson applied three times
before he was cast on the show on his fourth at-
tempt. “I’m so glad I wasn’t put on the show earlier,
because I wasn’t ready yet,” he says.

DOing The WOrk

There’s no doubt that Project Runway has had an
impact on countless aspiring designers. It’s impor-
tant to note that the skills displayed on the show
are not simple ones; draping, pattern-making, design
ability, superior sewing skills, along with a distinct fash-
ion point of view, are absolutely essential to conquer the
challenges and make it to Fashion Week.
Project Runway proves that fashion isn’t all glamour;
it’s mostly hours and hours of putting hard-earned skills
to use in pressure-filled situations. The designers work
tremendously hard to make their designs come to life.
Although no one knows how many people have been
inspired to buy a sewing machine, sign up for a sewing
class, or enroll in design school as a result of watching
Project Runway, the show has had a significant impact
on making sewing cool again and motivating sewists to
try their hand at designing clothes. Have you considered
taking on a Runway-worthy challenge? Why not just dive
in and create a dress from that idea you’ve had bouncing
around in your head for a while? Maybe if you work at
it long and hard enough, you’ll be the next designer on
Project Runway.

laura singewarD/spoolsewing.com

The contestants must have superior

draping, pattern-making, and sewing
barbara nitke/lifetime

skills to survive the challenges.

26
stitch

SMSS1109.indb 26 6/6/11 7:40 AM

 Jay mccarroll
WINNEr, SEASoN 1
jaymccarroll.com
THE WInnEr of the first season
of Project Runway has taken a new
turn in his career: fabric design.
Jay McCarroll’s latest fabric line,
Habitat, is innovative and truly
brings something new to quilting-
cotton design.
Q What are you up to now, both
personally and professionally?
a It’s been an interesting ride, to
say the least. I am well. I am in
my mid-thirties and have cre-
ated some balance in my life both
privately and publicly. I live in
Philadelphia in a cute house with
my cat, my boyfriend, and his dog.
You can catch a glimpse of my
daily grind on my blog, jaymccar
roll.wordpress.com.
as for my professional life,
things are chugging along. I’m
really excited and stimulated by
my new role of textile designer. I’ve
always been obsessed with fabric,
and it’s a dream come true to
provide a medium for people to be
creative with. I still design clothes
and accessories, which can be
found on my website, and I’m also
getting back to my roots and sell-
ing my stuff at indie arts and crafts
shows this summer. Those shows
are great because you actually get
to interact with the people buying
laura singewarD/spoolsewing.com
and enjoying your goods, and the
overall vibe is very artistic and
homespun, which I love.
barbara nitke/lifetime
Q What do you hope comes next
in your career?
a I have all sorts of mini as well as
lofty goals. I definitely hope to de-
sign more fabric lines and expand
SMSS1109.indb 27
the fabrications into more home
decor and fashion weights. I would
like to eventually expand into other
surface design outlets—paper
products, furniture, wallpaper,
bedding, bath accessories, and
other home decor products. I also
would love to do a book and defi-
nitely more television.
Q How did you start sewing?
a My mother sewed and crocheted
and did cross-stitch. She was also
in charge of fitting the uniforms
for the high school marching band,
which I, as well as my four older
sisters, participated in. our hall
closet housed all sorts of fabric
scraps, yarn, and sewing goodies.
I was a creative kid and always
found something in that closet to
play with. I was also a fat kid and
needed to have my pants hemmed.
Eventually, the stack of Sears-
brand Husky corduroys piled
up next to my mother’s sewing
machine in my parents’ bedroom.
I had to take charge and learn
how to hem my own pants. From
there I just started sewing my own
clothes and costumes. When it
came time for college, fashion de-
sign seemed like a good fit for my
interests. In retrospect, I perhaps
should have gone to school for
textile or interior design.
Q in regard to your design train-
ing, what have been the benefits
and challenges of your path to
fashion?
a I went to fashion design school
and learned a lot of techniques
and the fundamentals of design
there. Even though I had learned
to sew before I got to college,
I felt so creatively and socially
overwhelmed during that span of
time that I couldn’t possibly put
into practice what I was learning. I
really honed in on my sewing skills
after college. I knew I wanted to
do my own thing, and I couldn’t be
putting out poorly executed prod-
uct. I wanted to challenge myself,
and it became very satisfying to
make clothing and accessories
that were beautifully finished. I
can’t say there were pluses or
minuses to my path. The way I look
at it, it’s life and there isn’t really a
right or wrong way to do anything.
Q Why do you think you suc-
ceeded so well on the show?
What skills were really used and
stretched?
a I think I was successful on Proj-
ect Runway because my passion
and my references really showed
Clockwise: Sea-
through in my work. There was son 1 winner and
something artistic and inspired fabric designer,
Jay McCarroll
and weird yet relatable in the shows off his
clothes that I made on the show. I new Habitat
was also a kind of personality you line of quilting
cottons with
didn’t see very much on television graphic appeal.
at that point. being entertaining
and kind of snarky didn’t hurt
either. Every single inch of my edu-
cation and skill level and patience
was put to the test on that show. It
was very stressful and challeng-
ing, but it was equally reward-
ing—and I wouldn’t change a thing
about the actual experience. now
some of the aftermath, that’s a
different story…
27
interweavestitch.com
6/6/11 7:40 AM
 mondo guerra
FINAlIST, SEASoN 8
lovemondotrasho.com
alTHoUGH Mondo Guerra
didn’t win his season of Project
Runway, it’s pretty safe to say
that it doesn’t matter. His likabil-
ity and amazingly moving story
about secretly living HIV-positive
made him an instant star and
a fan favorite. Project Runway
not only showed the world his
design skills, but also gave him
a platform from which he has
grown into an outspoken HIV/
aIdS activist.
Q What are you up to now, both
personally and professionally?
a I showed a new collection at
El Paseo Fashion Week in Palm
Springs—fifteen complete looks.
It’s totally true to my aesthetic,
and I really enjoyed the process.
I’m still in denver and in
a happy relationship. I’m also
doing a lot of college speaking
gigs. They have me come in two
capacities. Sometimes it’s about
my creative life, how it was before
I got on Runway, and what I’m
doing now. or they hire me to talk
about my HIV status and how I
got through that whole story.
but it’s hard to separate
them. The response from people
to the HP fabric design episode
[in which Mondo revealed he
is HIV-positive] has just been
wonderful. For me it was a
huge release, and my life has
changed completely. People tell
me it inspired them to talk about
things they didn’t have the cour-
age to talk about. and it’s not just
about HIV—it’s about living with
a secret. That secret was holding
28
stitch
SMSS1109.indb 28
me back so much. Six months
out, I feel like everything has
completely changed. I’ve had the
opportunity to lobby on Capitol
Hill and speak at the United
nations. I just signed a contract
with Merck, and we’re going to
be launching a new national HIV
educational initiative. It has been
an amazing ride.
Q What do you hope comes next
for your career?
a I started my career in junior
street wear, and I was into the
trade-show circuit. I would love
to get back to that. I want to pro-
vide product that doesn’t intimi-
date people, and I want people to
know they’ll get something fun
when they buy my designs.
Q How did you start sewing?
a a friend wanted me to make
a pair of pants for him, and I lied
about my skill set and said yes.
So I went to my aunt’s house and
borrowed her old Montgomery
Ward sewing machine, and she
showed me how to thread it. and
from there I just drafted a pat-
tern, and I made him a little pair
of pants.
Q You just instinctually knew that
drafting a pattern was what you
had to do? and you knew how?
a When I was a little boy,
everyone was worried about the
development of my motor skills.
So I had to do these exercises
where I’d put my hand in a paper
bag that had something in it, a
toy truck or whatever, and I had
to describe what I was holding.
I had to see in my brain what I
was holding—without looking
at it. I think I knew shapes and
how they went together because
of that. It’s relevant to how I
make patterns. I just can see it
in my head, how the pieces fit
together. Plus, I was going out
a lot, so every single Saturday
I would create a new look for
parties. Every single week for
years! I just learned how to sew
with a lot of practice and by be-
ing observant of fashion.
Q Why do you think you suc-
ceeded so well on the show?
a I wasn’t scared to think out-
side the box, and I stayed true to
who I am. I listened to and took
the judges’ critiques, without
catering to them. I also went in
visualizing how I would progress
on the show day by day. I was
working not only for myself but
also for everyone who has sup-
ported me creatively my whole
life. That kept me going.
Q any tips for designers who
are just getting started?
a Just like anything, you can Clockwise: Mondo
Guerra shows off
have a vision and an idea, but
his sewing skills;
everything takes practice. and it’s The winning look
important to stay true to who you from the HP fabric
design challenge
are and your own voice. There are inspired by his HIV
people who will tell you that they status; A finale run-
way look showing
don’t understand what you’re Mondo's whimsical
doing, but if you stay true to your- design style.
self, eventually you’ll find that
one person who completely gets
it, and that will change your life.
barbara nitke/lifetime
alissa haighT carlTOn has been obsessively quilt-
ing for the past four years. She is one of the founders of the
Modern Quilt Guild and has co-written a book titled Block
Party: The Modern Quilting Bee. When not quilting, she
casts reality shows, including seasons 7 and 8 of Project
Runway. She blogs at handmadebyalissa.com.
BRTHR-113
6/6/11 7:40 AM Br
barbara nitke/lifetime

29
interweavestitch.com

BRTHR-11383_FR.indd 1 5/20/11 8:50 AM

Brother • Job# 11383 • Bleed Trim: 8.375" W x 10.875" H, Live: 7.875" H x 10.375" H, Bleed: 8.625" W x 11.125"
SMSS1109.indb 29 6/6/11H7:40 AM
 twinkle’s

WHEN IT COMES TO gREAT DESIgN,

Meet Wenlan Chia,
the design powerhouse
behind the Twinkle brand
Text nicOle smiTh
star
Wenlan Chia has what it takes in spades.
From her early days as an art student in Tai-
wan to her accomplished career as a fashion
designer and craft book author in New
York City, Chia has developed a signature
style. Like most DIY enthusiasts, she began
designing clothes because of her dissatisfac-
tion with what she found in ready-to-wear.
After launching her clothing collection in
2000, her Twinkle line quickly became a
go-to favorite for knitwear lovers and those
looking for fashion with a youthful edge.
Soon she also became known in the craft
community for her popular knitting and
sewing books. “Being a knitter is like being
a farmer growing a plant,” she says. “It is
“I have always been interested in
design,” says Chia. “However, it was when
I knitted my first sweater that I knew
instinctively I wanted to create fashion.”
And thank goodness she did. At the age
of thirty-two, Chia began using a sewing
machine and knitting for the first time. One
year later, the Twinkle line was born.
In 2002, Chia presented her first Twinkle
collection in the gen Art’s Fresh Faces in
Fashion show, where she received extensive
praise from both retailers and editorial
reviewers. Now, she regularly shows at New
York Fashion Week, her clothing is carried
in boutiques around the globe, and women
have come to know Twinkle as a destina-
tion for classic pieces with a whimsical and

photos courtesy twinkle by wenlan anD by kevin o'brien from twinkle sews/potter craft
organic and spontaneous. Being a sewer is modern twist. As Chia says, “It’s all about
like being an engineer putting all the parts the details. The smallest finishing touches,
to work; it takes planning and strategy.” including how a seam is sewn, can really
By sharing her passion for design both on make a garment.”
the runway and in print, Wenlan Chia has
become a fashion-design darling, inspiring Branching OuT
sewers and knitters all over the globe. As the Twinkle brand grew, Chia began
passing on her love of knitting by writing
in The Beginning
Born in Taiwan, Chia loved art
and design from an early age.
She eventually ended up in
art school at the National
Chengchi University in Taipei. At
twenty-three, Chia moved to the
United States and made New York
City her home. She resumed her art
education with a master’s degree
from New York University, and she
continued to develop her signature
aesthetic and love for the art world.

30

SMSS1109.indb 30 6/6/11 7:40 AM


several books in collaboration with Potter
Craft, including Twinkle’s Big City Knits,
Twinkle’s Weekend Knits, and Twinkle’s
Town and Country Knits. Next, Chia wrote
the sewing-pattern book Twinkle Sews: 25
Handmade Fashions from the Runway to Your
Wardrobe to share her stitching know-how
and signature style with home sewists. Tiny
elements make each project special includ-
ing tucks, Japanese origami folds, color
blocking, and more.
Her true DIY spirit of creating led Chia
to make jewelry pieces, under the brand
Twinkle Jewels, to complement her unique
fashions. And in 2006, under the brand
Twinkle Living, she started making home
décor pieces. When it comes to designing
for each of her three lines, Chia says,
e “In spirit, they’re all the same—I want
to design things that are accessible,
playful, and unique. I approach each
of them differently depending on the
specific character of the product. For
example, my home products have more of
photos courtesy twinkle by wenlan anD by kevin o'brien from twinkle sews/potter craft
Far left + right:
Current ready-to-
wear looks from
Twinkle’s Spring
2011 Lookbook.
Left: A shirt project
from Twinkle Sews
features fashion
details such as
diamond pleats.
SMSS1109.indb 31
a sense of humor; my fashion line has more
feminine details; and my jewelry has a much
harder edge to it. These elements all have
their role to play within the Twinkle brand.”
Chia’s journey from art student to suc-
cessful designer and author is truly a great
motivator for any budding sewist. These days,
Chia finds inspiration for her Twinkle line in
all aspects of her life in New York, with her
husband, Bernard, and her dog, Milan. It’s hard
to imagine someone as busy as Chia having
time to admire the smaller things in life; how-
ever, she says that every moment influences
her sewing and knitting. A lover of both crafts,
she still enjoys creating things for herself, and
she strives to encourage everyone to find that
sometimes elusive designer inside them.
nicole smiTh is a Stitch contributing editor
and author living in Brooklyn, New York. Visit
her website at applianceclothing.com for infor-
mation on her books and designs.
For more information, visit
TWinklebyWenlan.com.
lET Your inner
Designer SHINE
EaCH SEaSon, Wenlan Chia
embarks on a new journey to cre-
ate a fresh collection of pieces for
the Twinkle brand. She offers the
following list of her top five tips for
getting your design juices flowing.
Following these tips will get you
out of any sewing rut and unleash
your inner artist.
know your customer. Whether
you’re creating a project for a
friend or a family member or work-
ing to make your own designs to
sell, always keep the end user in
mind. You want your hard work to
be loved.
know yourself + your strengths.
Find what you love to do and
showcase your talents as best you
can. If you know that you can sew
amazing curved seams or that
you’re gifted in layering appliqués,
figure out a way to highlight those
points in your designs.
always think outside the box. Truly
challenge yourself to push your
designs and your sewing as far as
they can go. You’ll be surprised
at what you can accomplish and
create when you don’t let yourself
settle for less.
Be open to challenges + criti-
cisms. Take critiques as challenges
to help you expand your sewing
horizons and look at your work
from a different perspective. It’s a
fact that not everyone is going to
love everything you create, so it’s
important to stay positive and learn
to grow from every situation.
Don’t give up. Sometimes, when
you’re behind the sewing machine
or at the cutting table, a project can
seem so daunting that it may ap-
pear impossible. It’s not. don’t give
up. Instead, try to push through the
problem. In the end, you’ll learn
more, and your sewing will improve
by leaps and bounds.
31
interweavestitch.com
6/6/11 7:40 AM
SMSS1109.indb 32 6/6/11 7:40 AM
 sewinnovative
From unique details to clever construction, here are
38 fantastic projects that will have you
sewing outside the box throughout the fall. From
cozy projects for relaxing in style to stepping out
with the coolest handbag to using typography as
inspiration to sewing projects men will love, you’ll
find unexpected projects to spark your creativity.
get
inspired
to sew!

p033 Projects Opener.indd 33 6/7/11 8:33 PM

 cocoon
Get cozy with projects
featuring lush texture,
perfect for relaxing
with the entire family.

curly cashmere scarf

Make a luxurious scarf from supersoft repur-
posed cashmere sweaters. The double ruffle de-
sign gives you two cozy layers for warmth, and
the curly edges create maximum fluff. Choose
similar shades for the two layers to create a soft
look or use contrasting colors for bold effect.
designed by Betz White
[project instructions on page 75]

34
stitch

SMSS1109.indb 34 6/6/11 7:40 AM

 velvet yo-yo cushion
Appliqué handsewn yo-yos in rich velvet
to embellish a luxurious cushion. The
random placement and multiple sizes
of the yo-yos give this pillow organic ap-
peal. Finish the pillow back with a pretty
print fabric and zipper closure.
designed by ruth Singer 35
[project instructions on page 76] interweavestitch.com

SMSS1109.indb 35 6/6/11 7:40 AM

 cocoon wrap
This easy-to-sew jacket will quickly become your
favorite cover-up for relaxing at home. Made with
lightweight wool jersey, the jacket features gener-
ous shaping that makes it comfortable to wear
and layer. Use a fun printed knit for the lining
and add a showcase button to complete the look.
designed by Cheryl Kuczek
[project instructions on page 78]

SMSS1109.indb 36 6/6/11 7:40 AM

 cozy wrap bathrobe
Bundle up your little one in cozy comfort with
this wrap bathrobe made with French terry.
Fold-up cuffs, adjustable ties, and a generous
hood allow the robe to grow as your child grows.
designed by Bonnie Ferguson
[project instructions on page 79]

37
interweavestitch.com

SMSS1109.indb 37 6/6/11 7:40 AM

 woodland sweater
skirt + appliqué top
give new life to old knits with a skirt made
of felted sweater panels. Complete the
outfit with a felt appliqué squirrel to adorn
a store-bought top. A knit waistband makes
the skirt easy to wear, while hand-beaded
accents add a touch of sparkle.
designed by Amanda Norell
[project instructions on page 81]

SMSS1109.indb 38 6/6/11 7:40 AM

 cuddly
caterpillar scarf
Choose a soft knit, cozy flannel, or warm
fleece to stitch up a cute caterpillar scarf
children will love! The simple piecing
makes it a snap to sew, and the face can
be customized to make any child smile.
designed by Stephanie Smith
[project instructions on page 82]

39
interweavestitch.com

SMSS1109.indb 39 6/6/11 7:40 AM

 pair of owls
Chenille, wool felt, and corduroy are
stitched together to create a pair of rich-
ly textured softies with freestyle stitch-
ing on their round bellies. A simple fold,
stitch, and clip technique creates fun felt
loops around the handstitched eyes.
designed by Heidi Boyd
[project instructions on page 83]

kimono
baby swaddle
Keep a newborn sleeping soundly
in this wrap-style swaddle. Cush-
ioned with a light batting and made
in organic fabric, this quick-to-sew
project makes a great shower gift!
designed by Theresa Gonzalez
[project instructions on page 84]

40
stitch

SMSS1109.indb 40 6/6/11 7:41 AM

h-
-
ld,
elt

double-bolster dog bed

You’ll make sure your best four-legged friend
is comfy and cozy when you make this double-
bolster dog bed from stylish home decor fabrics.
The center cushion fits inside the bottom bol-
ster, and a bonus bolster attached on top makes
a perfect doggie headrest.
designed by Carol Zentgraf
[project instructions on page 85]

SMSS1109.indb 41 6/6/11 7:41 AM

 bag
in the

Sew a stylish carryall featuring

innovative detailing, cool handles
and straps, interesting closures,
and impeccable construction.

stitcher's
haversack
Repurpose your favorite T-shirt
graphics as appliqués on a roomy
tote with enough space to carry
projects in progress. Add felt num-
bers, letters, or shapes for graphic
interest and spice up the handle
and interior with fun prints.
designed by Jenn rhoads
[project instructions on page 89]

42
stitch

SMSS1109.indb 42 6/6/11 7:41 AM

 drop-top
messenger bag
Cool styling combined with clever
es design make this unique gusseted asym-
metrical bag equally fun to make and
wear. With the extended strap across
your body, it serves as a messenger bag;
if you use the bound cutout handle, it
becomes a stylish shoulder bag.
designed by Steffani K. Burton
[project instructions on page 90]

43
interweavestitch.com

SMSS1109.indb 43 6/6/11 7:41 AM

 studio satchel
Play with pattern and prints
in this delightful yet versatile
bag. Use the long strap to
wear it across your body for
hands-free multitasking or
carry it by the stylish handles
as an elegant alternative.
designed by
Trish Preston [project
instructions on page 92]

44
stitch

SMSS1109.indb 44 6/6/11 7:41 AM

 zip zip purse
Zip it closed and you have a tidy little
purse. Unzip it to reveal a decorative
contrasting panel that expands to create
a roomier bag. Play with machine
embroidery on the center panel for
textural interest and use a contrasting
zipper for a graphic touch.
designed by rebecca Kemp Brent
[project instructions on page 94]

45

SMSS1109.indb 45 6/6/11 7:41 AM

 pleats please bag
The unique pleated handles make
a fun design element on this wool-
felt handbag, with insets that add
a pop of color. An adjustable strap
pulls in the sides of the bag to give
it its elegant shape, and roomy
pockets on the sides make it easy
to carry all your essentials.
designed by Ayumi Takahashi
[project instructions on page 96]

46
stitch

SMSS1109.indb 46 6/6/11 7:41 AM

 slouch bag
You can make this stylish bag with designer
details from a variety of heavyweight fabrics.
Try it in wool (as shown), denim, or home
décor fabrics. Or sew it in pleather or vinyl
(Bonus Web Project) for an upscale look.
designed by Cheryl Kuczek
[project instructions on page 98]

DOWNLOAD THE FULL-SIZE PATTERN DO

+ PROJECT INSTRUCTIONS AT
INTERWEAVESTITCH.COM IN

47

SMSS1109.indb 47 6/6/11 7:41 AM

 Russian doll
backpack + wallet
Matryoshka doll meets backpack in this
cheery and colorful bag and lunch money
wallet. The front-zip pocket and adjustable
straps will keep preschoolers looking sharp
for back to school. Customize the skin and
hair color for your favorite little girl!
designed by Theresa Gonzalez
[project instructions on page 101]

48
stitch

SMSS1109.indb 48 6/6/11 7:41 AM

 BAG
construction
text katrIna loVIng
HandbaG, PUrSE, ClUTCH, ToTE,
or CarrYall, you just never have
enough of these useful accessories!
Use the following tips the next time
you feel inspired to stitch up a bag.
ConsiDeR tHe
stRess points
Think about how your bag will be
used. Will you be toting heavy loads?
Will you be storing the bag by hanging
it from a hook? Make sure that your
stitching is strong enough to with-
stand the wear and tear of everyday
use. Here are some techniques to
strengthen your tote:
Îdouble stitch (stitch the first
seam, then stitch again within the
seam allowance, 1⁄16–1⁄8" [2–3 mm]
from the first seam line) and/or
topstitch seams (catching the seam
allowances in the stitching) to add
strength. Try using a contrasting
thread to make topstitching an eye-
catching design element.
ÎTo attach exposed straps or handles,
topstitch a square on the strap/
handle, then topstitch an X shape
through the middle of the square.
Îbartack (see page 69) or use a
short zigzag stitch at the top cor-
ners of patch pockets to reinforce
the attachment.
SMSS1109.indb 49
TIPS +
TrICKS
oRganize YoUR
essentials
Most of us have lots of little things we
carry around that can easily become
lost in the depths of a handbag. If you
plan to use your bag to carry things
such as a cell phone, pens, makeup,
and other loose items, consider add-
ing pockets, so you can easily find
what you need. Here are some tips to
make sure your pockets serve their
purpose well:
ÎTopstitch lines from the top to the
bottom of a pocket to quickly cre-
ate divided slots for multiple items
that are about the same length.
ÎCreate a separate pocket just
for your cell phone. Measure the
length, width, and depth (thickness)
of your cell phone and record the
measurements. To ensure that
your phone will fit into the pocket,
you’ll want to add about twice the
depth measurement to the width.
This is the spacing you’ll need be-
tween the stitch lines attaching the
pocket to the bag. remember that
you’ll also need to fit the length
of the phone between the bottom
stitching on the pocket and the top
of the pocket.
ÎIn the side seam near the top edge
of the bag, sew a length of sturdy
cord or trim to create a small loop.
Use a key chain clip to attach your
house or car key to the loop for
quick access.
line tHe Bag
FoR FUn anD Use
a lining is a fun place to feature a
bright-colored contrasting fabric or a
fantastic print. Even if the outside of
your bag is all business, the inside is
for your eyes only, so pick a lining fab-
ric that you love. Here are some other
things to consider when choosing a
lining fabric:
Îavoid delicate or loosely woven
fabrics prone to snagging. The
lining of your bag will be exposed
to all of the items you carry, so the
fabric needs to be able to withstand
the normal jostling of items.
ÎIf your bag will be used for carrying
food and drink or other liquids such
as sunscreen or makeup, consider
using a water-resistant or water-
proof lining fabric (such as rip-stop
nylon or laminated cotton) for easy
cleanup in case of a spill.
49
6/6/11 7:41 AM
 what’s your

get inspired by typography to

sew projects with graphic appeal.

AB quilted text pillow CDEFGHIJKLMNOPQRSTUVW

Spotlight a single word in thread with mul-
tiple layers of stipple quilting in different
thread shades. Accent your word with free-
motion quilted background text featuring
a favorite quote, poem, or inspiring words
for this one-of-a kind pillow.

designed by Missy Shepler

[project instructions on page 105]

SMSS1109.indb 50 6/6/11 7:41 AM

 paper shredder quilt
No one likes to be buried under a pile of paper-
work—unless it’s for a nap under this striking
lap quilt, inspired by strips of paper falling out of
a shredder. The semi-improvisational process is
perfect for the quilter who doesn’t go by the book.

designed by Kevin Kosbab

[project instructions on page 107]

ABCDEFGHIJKLMNOPQRSTUVWXYZABCDE

STUVWXYZABCDEFGHI-

51
interweavestitch.com

SMSS1109.indb 51 6/6/11 7:42 AM

 alphabet soup quilt
Make a custom quilt to personalize a kid’s room
featuring a bold striped patch showcasing the
first letter of the child's name. Inspired by
alphabet soup, the letters float on a sea of
colorful solids in all different sizes and shapes.

designed by rachel Hauser

[project instructions on page 109]

ABCDEFGHIJKLMNOPQRSTUVWXYZABCD

52
stitch

SMSS1109.indb 52 6/6/11 7:42 AM

 ABCDEFGHIJKLMNOPQRSTUVWXYZABCDEFG

poetry skirt
Hand-embroider your favorite poem on a
simple-to-make circle skirt with a frayed hem
for a unique take on a classic silhouette. Use
contrasting thread for graphic appeal or print,
stamp, stencil, or paint the words onto the
skirt panel for a custom look.

designed by Katrin Vorbeck

[project instructions on page 113]

SMSS1109.indb 53 6/6/11 7:42 AM

 the
men’s
Stylish projects
that are modern yet

room
practical items guys
will want and use.

CiRCUit sCaRF
Fiber art details hint at circuit boards in
this wool and felt scarf, geeky enough to
excite the tech-head on your gift list but
subtle enough to be a sleek accessory for any
well-dressed guy. Machine embroidery and
couched yarn add texture and design interest.

designed by Kevin Kosbab

[project instructions on page 116]

SMSS1109.indb 54 6/6/11 7:42 AM

s

Roll-Up ReveRsible
stadiUm blanket
No matter what the weather, you’ll be
ready for game day with this reversible
stadium blanket. Featuring cozy flannel
on one side and water-resistant supplex
fabric on the reverse, it can be used to
sit on or under. Clip-on straps with a
handle make it easy to carry.

designed by Carol Zentgraf

[project instructions on page 117]

55
interweavestitch.com

SMSS1109.indb 55 6/6/11 7:42 AM

 D

GadGet
messenGeR baG
It’s easy for laptop bags to get clut-
tered with cables and connectors.
Instead of fumbling through the bag
for flash drives, a wireless mouse, and
keyboard receivers every time you
use your laptop, you can store them
plugged into the USB hub built into
this bag. Just plug the bag into the
computer and get to work!

designed by Kevin Kosbab

[project instructions on page 123]

SMSS1109.indb 56 6/6/11 7:42 AM

 Road waRRioR
oRGanizeR
Whether it’s work or play that keeps
a guy in his car, this organizer, with
pockets for the owner’s manual, license
and registration, insurance papers, and
other glovebox necessities, will tidy
and protect all his important car info.

designed by Kevin Kosbab

DOWNLOAD THE FULL-SIZE PATTERN DOWNLOAD THE PROJECT

+ PROJECT INSTRUCTIONS AT INSTRUCTIONS AT
INTERWEAVESTITCH.COM INTERWEAVESTITCH.COM

g
d

HaRdwaRe toiletRy kit

Create masculine appeal with a toiletry kit embel-
lished with items from the plumbing section of the
hardware store. Detailed with black rubber washers
against a faux leather background, the kit features an-
tique brass zippers with large zip pulls for easy access.

designed by Cathy Bullington

[project instructions on page 120] 57
interweavestitch.com

SMSS1109.indb 57 6/6/11 7:42 AM

 F

Se
S

zip-FRont pUlloveR
A cozy fleece pullover is the perfect week-
end wear for any guy. Learn the technique
for sewing the contrast zipper closure into
the placket, then add simple design details
such as topstitching and easy side slits.

designed by Jil Cappuccio

[project instructions on page 117]

58
stitch

stitch_fallM
SMSS1109.indb 58 6/6/11 7:42 AM
 For those who love to sew beautiful things...
CHECK OUT OUR NEW UPDATED ONLINE STORE!

Tons of New Product! coupon special

Imported Laces, Fine Fabrics, Cool Trims,
Must-Have Notions, Patterns From Your Favorite
Designers, Technique & How-To Pattern Books, free shipping
Ready-To Blanks, Machine Embroidery Designs, ONLINE PURCHASE ONLY
Step-by-Step DVDs, & More! Cannot be used with other discount offers or coupons.

Expires December 31, 2011 COUPON CODE: STITCH11FREE

Sewing Tips, Project Ideas & Product Specials!
www.marthapullen.com
Sign up for our weekly e-newsletter at www.marthapullen.com

You are invited to a four day

Sewing Celebration!
We are back in
ORLANDO, FLORIDA!
January 12-14, 2012
Pre-day Sit & Sew - Jan. 11, 2012

WITH CELEBRITY GUESTS:

> Mary Fons, “Love of Quilting” co-host
> Gloria McKinnon, Australian Embroidery Expert
For more information visit
www.marthassewingmarket.com
or call 800-547-4176, ext. 4
Sit & Sew Classes • Daily Seminars
Vendor Shopping • Celebrity Events

stitch_fallMPC11.indd 1 6/1/11 3:39 PM

SMSS1109.indb 59 6/6/11 7:42 AM
 work
space Fill your creative
workspace with pretty
yet practical items
that keep you orga-
nized and inspired.

machine cover + organizer in one

Make a decorative machine cover that also doubles as an organizer
with a snap-on thread catcher, detachable pincushion, and notions
holder. When it isn’t covering your machine, it sits under your
machine, allowing easy access to all your sewing essentials.

60 designed by lisa l. Anderson [project instructions on page 128]

stitch

SMSS1109.indb 60 6/6/11 7:42 AM

 nested
storage boxes
Make pretty little boxes to
keep all your small sewing
notions or other assorted bric-
a-brac beautifully organized.
Make a nesting set in coordi-
nating fabrics or just one to
hold tiny treasures.

designed by
lucie Summers [project
instructions on page 129]

scrappy machine-
needle cushion
If you regularly sew on lots of different
fabrics, you’ll quickly assemble a plethora of
gently used machine needles—but how do
you remember which is which? Store them in
this handy gridded needle cushion complete
with stamped size labels across the top.

designed by Kevin Kosbab

[project instructions on page 131]

28] 61

SMSS1109.indb 61 6/6/11 7:42 AM

 DOWNLOAD THE FULL-SIZE PATTERN DOWNLO
+ PROJECT INSTRUCTIONS AT INST
INTERWEAVESTITCH.COM INTERW

embroidery
hoop wall
pockets
Display your favorite fabrics
while storing your sewing no-
tions in these simple-to-make wall
pockets. Make several wall pockets
to group together for a striking yet
practical display in your sewing space.

designed by Bonnie Ferguson

hedgehog pincushion +
tree-stump measuring tape
This charming pair will add woodland whimsy to your work-
space. Felt accents the printed cotton of the hedgehog, who
happily holds all those pesky pins. The forest-friendly cover for
a purchased measuring tape requires only small fabric scraps
and features spiral topstitched details for an organic look.

designed by Heidi Boyd

[project instructions on page 132]

62
stitch

SMSS1109.indb 62 6/6/11 7:42 AM

 DOWNLOAD THE PROJECT
INSTRUCTIONS AT
INTERWEAVESTITCH.COM

craft apron
Get organized in style with this
handy utility apron featuring a
bold mix of prints. A variety of
pockets and utility loops keep all
your essential tools at the ready
for easy access as you work.
e.
DesigneD by
Whitney Crutchfield
[project instructions on page 135]

r
pretty pattern
weights
Keep your patterns from slipping
and sliding with these pretty pattern
weights. Two metal washers are hidden
inside the fabric to provide the neces-
sary weight, and a fabric-covered
button adorns the top.

DesigneD by Bonnie Ferguson

DOWNLOAD THE FULL-SIZE PATTERN DOWNLOAD THE PROJECT

+ PROJECT INSTRUCTIONS AT INSTRUCTIONS AT
INTERWEAVESTITCH.COM INTERWEAVESTITCH.COM

63
interweavestitch.com

p060-65 WS.indd 63 6/7/11 8:35 PM

 quilted bookends
Bring order to your creative space
with a set of stylish bookends. Each
bookend cover fits over a standard-
sized paving brick, which provides the
stability and weight to hold up all your
craft books and magazines.

designed by Briana Arlene Balsam

[project instructions on page 136]

sew much
business-card
portfolio
Organize an unwieldy stack of
business cards using this sewn
portfolio. Each portfolio holds
thirty-two cards kept in plastic
sleeves, and you can custom-
ize portfolios with your
favorite fabrics.

designed by
Carolyn Friedlander
[project instructions
on page 138]

64
stitch

SMSS1109.indb 64 6/6/11 7:42 AM

 DESIGN • MAKE • MARKET

VOYAGEURPRESS.COM
w w w.craf tside.t ypepad.com

65
interweavestitch.com

SMSS1109.indb 65 6/6/11 7:42 AM

 Pattern Collection

!
NEW

eShrug · download · just $6

www.sewingworkshop.com 800.466.1599

The only magazine for

contemporary art quilters

Art by Kathy York

quiltingarts.com
66
stitch

SMSS1109.indb 66 6/6/11 7:43 AM


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 mea-
suring grid at least 2" (5 cm) wide × 18" (45.5 cm) long. A
rigid acrylic (quilter's) ruler should be used when work-
ing with a rotary cutter.
clOTh measuring TaPe Make sure it’s at least
*French
60" (152.5 cm) long.
craFT scissOrs Use these for cutting out paper
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.
SMSS1109.indb 67
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.
curve A template of metal, plastic, or wood
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 pre-
vent 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.
67
interweavestitch.com
6/6/11 7:43 AM
 PaTTern symBOls & markings
Here is a quick reference guide to the
symbols and markings on the patterns.

cuTTing DarTs angled lines show where the nOTches notches are triangle-
lines stitching will be, and the dot shows shaped symbols used for accurately
Multisize you the position of the dart point (sig- matching seams. Pieces to be joined will
patterns have naling the point, at the end of the dart, have corresponding notches.
different cutting where your stitching should end).
lines for each PaTTern DOTs Filled circles indicate
size. that a mark needs to be made (often on
the right side of the fabric), for place-
ment of elements such as a pocket or
a dart point. Mark by punching through
XL

the pattern paper only, then mark on the

L

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 will be twice
the size of the pattern piece, without hav-
place on fold

ing 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 cross-
wise.

Bias grainline This grainline is

diagonal and indicates that the pattern
piece should be cut on the bias. The
B
ia

"true" bias is at a 45-degree angle to the

s

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

68
stitch

SMSS1109.indb 68 6/6/11 7:43 AM

 PaTTern inserT guiDe A quick
reference to the full-size patterns on the insert.

layOuT, marking + cuTTing guiDelines
1 The pattern insert features overlapping patterns, so you may
not want to cut patterns or templates directly from the insert.
Instead, use pattern paper (or other paper such as newsprint) or
pattern tracing cloth to trace the pattern pieces you need from the
insert and then cut out your traced pieces. Regular office paper
may be used for small templates that will fit. If necessary, use a
light box or bright window for tracing.
2If you are cutting pattern pieces on the fold or cutting two of
the same pattern piece, fold the fabric in half, selvedge to selvedge,
with right sides together or as indicated in the cutting layout or
instructions.
3All pattern markings should be on the wrong side of the fabric
unless otherwise noted.
4Lay the pattern pieces on the fabric as close together as possible.
Double-check that all pattern pieces cut “on the fold” are placed
on the fold.
5Make sure all pattern pieces are placed on the fabric with the
grainline running parallel to the lengthwise grain unless a bias
grainline is present or as otherwise noted.
6Use weights to hold the pattern pieces down and use pins to
secure the corners as needed.
7Cut pieces slowly and carefully.

glOssary OF seWing Terms

+ Techniques A quick reference to the technical
sewing terms used throughout the project instructions.
BackTack Stitching in reverse for a
short distance at the beginning and 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" (6 mm)
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
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 care-
ful not to catch tucks in the seam.
eDgesTiTch A row of topstitching
placed very close (1⁄16 – 1⁄8" [2–3 mm]) 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" (3 mm) from the
seam line, within the seam allowance.
Sometimes you will be instructed to place
the first line of stitches 1⁄8" (3 mm) 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
bobbin threads from both lines of stitching
at one end and pull gently. Work the gath-
ers 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.

69
interweavestitch.com

SMSS1109.indb 69 6/6/11 7:43 AM

 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 al-
lowance that will lie closer to the exterior
of the project slightly wider.
grainline A pattern marking show-
ing 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 Mate-
rial used to stabilize or reinforce fabrics.
Fusible interfacing has an adhesive coat-
ing 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 ma-
chine 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. (See also
Overcast Stitch on page 71 to complete
by hand.)
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 loca-
tion of a garment closure. A placket
70
stitch
SMSS1109.indb 70
can be finished by hemming or with
binding or a facing. Plackets are often
seen on sleeve vents (above the cuff)
and are also used at neckline and waist
edge openings, often in conjunction
with buttons or other closures.
Preshrink Many fabrics shrink
when washed; you need to wash, dry,
and press all your fabric before you
start to sew, following the suggested
cleaning method marked on the fabric
bolt. Don’t skip this step!
righT siDe (rs) The front side, or
the side that should be on the outside
of a finished 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 wo-
ven 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. (Refer to
Uneven Slip Stitch on page 71 for assis-
tance, but take longer, even stitches).
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 ro-
tary 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
disappear into the seam.
TOPsTiTch Used to hold pieces firmly
in place and/or to add a decorative
effect, a topstitch is simply a stitch that
can be seen on the outside of the gar-
ment 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.
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.
6/6/11 7:43 AM
 sTiTch glOssary
A quick reference to the handstitches
used throughout the project instructions.
2 1
BuTTOnhOle sTiTch
Working from right to left and with the point
of the needle toward you,1bring the needle
2
above the fabric edge at 1, loop the thread
3
to the left, then down and to the right,
inserting the needle from the wrong side
at 2, keeping the loop of thread behind the
needle at both the top and bottom.
4 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.
11 22
3
3 sliP sTiTch
4
4
Fly sTiTch
Working from left to right, bring the needle
up at 1 and insert at 2, leaving the thread
loose. bring the needle back up at 3, keep-
ing the needle above the thread and pulling
the needle toward you gently to tighten the
thread so that it is flush with the fabric. Tack
the thread down by inserting the needle at 4.
repeat for the desired number of stitches.
French knOT
bring the needle up at 1 and hold the thread
taut above the fabric. Point the needle toward
your fingers and move the needle in a circular
motion to wrap the thread around the needle
SMSS1109.indb 71
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
Keeping your stitches at consistent depth and
spacing, take a diagonal stitch by bringing
the needle through the fabric at 1, wrapping
the thread over the edge, and then bringing
the needle through the fabric again at 2, to
the side of the previous stitch. The result is a
diagonal stitch that wraps around the edge.
11
22
Working from right to left, join two pieces of
fabric by taking a 1⁄16–¼" (2–6 mm) 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.
sTem sTiTch
Working from left to right, bring the needle
up at 1 and insert it 1⁄8–1⁄4" (3–6 mm) away
at 2 (do not pull taut). bring the needle up
halfway between 1 and 2, at 3. Keeping the
needle above the loop just created, pull the
stitch taut. repeat by inserting the needle
1
⁄8–1⁄4" (3–6 mm) to the right and bring up at 2.
3 2
1
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" (3–6 mm) 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
2
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" (6 mm) long, in straight stitch
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
71
interweavestitch.com
6/6/11 7:43 AM

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.
Cutting Bias Strips
1 1
2
Folding Binding
Folding Binding Folding Binding
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
(1).Corners
Attaching Binding with Mitered With the fabric placed on a self-
healing mat, cut off the fold with a rotary
Attaching Binding with Mitered Corners
cutter, using a straight edge as a guide
to make a straight cut. With theAttaching
edge and rotary cutter, cut strips to the
appropriate width (2). Join the strips with
diagonal seams.
DiagOnal seams
FOr JOining sTriPs
lay two strips right sides together, at
right angles. The area where the strips
overlap forms a square. Sew diagonally
across the square as shown above. Trim
the excess fabric ¼" (6 mm) away from
the seam line and press the seam allow-
ances open. repeat to join all the strips,
forming one long fabric band.
72
stitch
SMSS1109.indb 72
Cutting Bias Str
Cutting Bias Strips
FOlD BinDing
a. Double-fold Binding This option will
back down along the project raw edge (2).
This forms a miter at the corner. Stitch
Cutting Bias Strips
create binding that is similar to pack- the second side, beginning at the project
aged double-fold bias tape/binding. Fold raw edge
Cutting Bias(2) and ending ¼" (6 mm) from
Strips
the strip in half lengthwise, with wrong the next corner, as before. Continue as
sides together; press. open up the fold established until you have completed the
and then fold each long edge toward the last corner. Continue stitching until you
wrong side, so that the raw edges meet are a few inches from the beginning edge
in the middle (1). refold the binding along of the binding
Folding Binding fabric. overlap the pressed
the existing center crease, enclosing the beginning edge of the binding by ½" (1.3
raw edges (2), and press again. cm, or overlap more as necessary for
B. Double-layer Binding This option cre- security) and trim the working edge to
ates
Cutting a double-thickness binding with only
Bias Strips
fit. Finish sewing the binding (opening the
one fold. This binding is often favored by center fold and tucking the raw edge inside
Folding Binding the pressed end of the binding strip). refold
quilters. Fold the strip in half lengthwise
with wrong sides together; press.
Folding Binding
the binding along all the creases and
then fold it over the project raw edges to
the back, enclosing the raw edges (there
are no creases to worry about with option
B). The folded edge of the binding strip
should just
Attaching cover
Binding the
with stitches
Mitered visible on
Corners
the project back. Slip-stitch the binding in
place, tucking in the corners to complete
2 the miters as you go (3).
Attaching Binding with Mitered Corners
Attaching Binding with Mitered Corners
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" (1.3 cm) to
the wrong side at one short end (refold the 1
straight- binding
Binding with at Corners
Mitered the center crease and proceed).
Starting with the folded-under end of
the binding, place it near the center of
the first edge of the project to be bound,
matching the raw edges, and pin in place.
2
begin sewing near the center of one edge,
along the first crease (at the appropriate
distance from the raw edge), leaving sever-
al inches of the binding fabric free at the
beginning. Stop sewing ¼" (6 mm) before
reaching the corner, backtack, and cut
the threads. rotate the project 90 degrees 3
to position it for sewing the next side. Fold
the binding fabric up, away from the proj-
ect, at a 45-degree angle (1), then fold it
DOWnlOaD full-size templates + pattern PDFs at Zip-Front Pullover
interweavestitch.com for the following projects in seen on page 55
this issue: road Warrior
cocoon Wrap seen on slouch Bag (pleather Organizer seen
page 36 version) seen on page 47 on page 57
cozy Wrap Bathrobe alphabet soup quilt embroidery hoop Wall
seen on page 37 seen on page 52 Pockets
Woodland Poetry skirt seen on page 62
sweater skirt + Top seen on page 53 Pretty Pattern Weights
seen on page 38 seen on page 63
6/6/11 7:43 AM
 800-561-9731
519-442-2988
www.eucalan.co
m
Paris, ON, Canada
Eucalan Inc.

the
g care™ from
On The Go clothin e wash people
no rinse delicat
or pocket!
office, car, purse
Ideal for the
Ideal for the
office, car, purse
or pocket!
no rinse delicat
On The Go clothin e wash people
g care™ from
the

Eucalan Inc.
Paris, ON, Canada
m
www.eucalan.co
519-442-2988
800-561-9731

perfect for laundering:

cashmere • wool • alpaca
cotton • silk • mohair ...and more!

a whole new spin on laundry!

and On The Go Clothing CareTM line

info@eucalan.com

73
interweavestitch.com

SMSS1109.indb 73 6/6/11 7:43 AM

 Your Resource for the
Handmade Life
Essential Online and Offline Resources for Artists and Crafters
c
Magazines Books
Inspiration, projects and ideas from top artists Immerse yourself in your passion for sewing

BONUS FULL SIZE pattern inserts SPECIAL ISSUE

creating
with fabric
+ thread

PROJECT
RUNWAY INNOVA
PROJEC TIVE
TS FOR
from casting
to life after TV
fall

7
UNIQUE
BAGS to
MAKE

COMFORT
+style
COZY
items to sew

11 inspired
projects
for a personalized
interweavestitch.com

SEWING ROOM
the
design
issue
fall 2011

Video & Television Online Stay connected with your community

Techniques from talented, well-known instructors

shop.sewdaily.com sewdaily.com
s

quiltingdaily.com clothpaperscissors.com

Interweave’s multi-media approach to sewing,

quilting, and mixed-media will keep you inspired with .COM
books, magazines, television shows, DVDs, interactive online
communities, eBooks, digital downloads, eMags, and online
shopping experiences.

1101_GpMkt-QuiltingFPStow.indd
SMSS1109.indb 74 1 5/23/11
6/6/11 11:08
7:43 AM
AM

cocoon
Curly Cashmere Scarf
by BeTZ WhiTe {from page 34}
FaBRiC
—2 women’s size medium or larger, flat knit
(not cabled or textured) pullover (not cardi-
gan) cashmere sweaters in complementary
shop.clothpaperscissors.com
colors (shown: cream and taupe)
otHeR sUpplies
—2 yd (1.8 m) of ¼" (6 mm) wide elastic
—Sewing thread to match sweaters
—ball point sewing machine needle (size
70/10 or 80/12)
—rotary cutter, rigid acrylic ruler,
and self-healing mat
—Washing machine and dryer
FinisHeD size
about 5" × 50–60" (12.5 × 127–152.5 cm)
notes
—For explanations of terms and techniques,
see Sewing basics on pages 67-72.
1 11:08 AM SMSS1109.indb 75
figure 1
—read through the steps to familiarize
yourself with the technique before you start
sewing. It is recommended that you prac-
tice on some scraps before continuing.
—To achieve a look similar to the sample
scarf, choose sweaters in two similar
tones.
pRepaRe tHe sWeateRs
1 Machine wash the sweaters with hot water
and detergent; dry them with the dryer set on
low heat. This will slightly shrink and fluff the
sweaters, but they will not become felted.
2 disassemble the sweaters by carefully
cutting off the sleeves at the armhole seams.
Cut the sleeves open by cutting along each
underarm seam. Cut the shoulder seams
open from the armhole to the neckline. on
each sweater, cut along one of the sweater’s
side seams to open the body flat. Trim off the
sweaters’ bottom edges, ribbing, or hems
(you can save the trimmings in your stash for
a future project).
3 Working horizontally across the body of
each sweater, cut 5" (12.5 cm) wide strips
using a rotary cutter, rigid acrylic ruler, and
self-healing mat. The longer the strips, the
longer the finished scarf will be. Sort the
strips into two piles—one pile for each color.
asseMBle tHe sCaRF
4 To create the first layer of the scarf, with
the right sides facing up and working with
the same colored strips, overlap the short
ends by ¼" (6 mm). Pin the layers together
and then sew the overlaps in place with wide
(4.5–5 mm) zigzag stitches (figure 1). repeat
until the total length of the assembled strips
equals about 80–90" (203–229 cm).
Note: If you need to add more length, you may
cut more strips from the sleeves of the two
sweaters. note that the stretch will be differ-
ent (cutting on the lengthwise grain versus
cutting on the crosswise grain), so the knits
will react differently when ruffled; consider
testing to see if you like the effect.
5 With the remaining set of strips (in the
second color), follow the process in Step 4 to
assemble the second 80–90" (203–229 cm)
long strip.
6 With the wrong side facing up, place one
assembled strip on your work surface. Posi-
tion the ¼ (6 mm) wide elastic in the center of
the strip, 1–2" (2.5–5 cm) from the short end
of the strip. Secure the end with a pin. Place
the second strip wrong side down on top of
how-to
the first strip and elastic. Make sure all the
edges of the strips are aligned. The elastic
will be centered and sandwiched between
the strips. To secure the end of the elastic
through all three layers, insert a second pin
through all the layers and remove the pin you
placed earlier.
7 Set your sewing machine to a wide zigzag
stitch (4.5–5 mm) and a stitch length of
3 mm. beginning at the end of the layered
strips where you just placed the pin, tack
the end of the elastic in place through all
the layers by zigzagging back and forth a
few times for a short distance. after you’ve
tacked down the end, leave the needle in the
down position.
8 To gather the strips, you will gently stretch
about 6" (15 cm) of the elastic at a time while
zigzag stitching through the layered strips
and elastic. beginning with the needle in the
down position, grip the elastic in one hand,
about 6" (15 cm) from the secured end (which
is under the presser foot), and gently stretch
the elastic toward you. as you zigzag stitch,
be sure to keep the elastic flat and centered
between the layers—and in the center of the
strips. do not stretch the fabric at any time;
only stretch the elastic. do not allow the
elastic to twist. With your other hand, grasp
the scarf behind the presser foot to guide
as you sew. Whenever you need to stop or
pause during the sewing process, be sure to
place the needle in the down position. Stop
stretching the elastic and stitching when
you are about 1" (2.5 cm) from the end of the
layered strips and tack the end of the elastic
in place by sewing backward and forward
a few stitches. Carefully cut off the excess
elastic. If the strips are uneven at the ends,
trim them to match.
FinisH tHe eDges
9 To create the ruffled lettuce edges on
your scarf, set your machine’s zigzag stitch
to a width of 3 mm and a stitch length of 2
mm. Position one scarf layer’s edge under
the presser foot. backtack a few stitches and
then leave the needle in the down position.
Grasp the scarf behind the presser foot while
you gently stretch the scarf edge with your
other hand. begin zigzag stitching along the
edge of the scarf layer, pulling to stretch the
edge as you sew. Continue to stretch and zig-
zag stitch all around the edge, back to where
you started. backtack a few stitches. repeat
this step to ruffle the edge of the second
scarf layer.
75
interweavestitch.com
6/6/11 7:43 AM
 how-to
beTZ WhiTe is a designer, author, and
“green" crafter who combines her whimsical
color and design sense with a love for repurpos-
ing. Her line of home and fashion accessories is
sold online and has been featured on Martha
Stewart’s television show and in CRAFT,
Country Living, and Adorn magazines. She
is the author of two books, Warm Fuzzies and
Sewing green. Visit her at betzwhite.com.
Velvet Yo-Yo Cushion
by ruTh singer {from page 35}
FaBRiC
—¾ yard (68.5 cm) of 44–46" (112–117 cm)
wide rayon/silk velvet for pillow front and
yo-yos (shown: taupe)
—one 18" × 24" (45.5 × 61 cm) piece or ½ yd
(46 cm) of cotton quilting fabric (shown:
silver dot on beige)
otHeR sUpplies
—Matching sewing thread
—Handsewing needle
—8" (20.5 cm) standard or invisible zipper
—20" × 14" (51 × 35.5 cm) pillow form
—Knitting needle or point turner
—Walking foot for sewing machine (optional)
—Zipper foot for sewing machine
—Invisible zipper foot for sewing machine
FinisHeD size
20" × 14" (50 × 35 cm)
76
stitch
SMSS1109.indb 76
invisiBle ZiPPer aPPlicaTiOn
Note: Always sew from the top of the zipper to the bottom, on each side of the zipper, to prevent
any distortion.
1 Unzip the zipper and place it facedown on your ironing board. Set your iron to the
appropriate temperature for a synthetic fiber and press the zipper tapes as flat as pos-
sible, rolling the zipper teeth to the right side of the zipper.
2 Place the zipper facedown, with the zipper teeth on the seam line on the right side
of the fabric (the zipper and garment should be right sides together), with the top stop
of the zipper placed about 1⁄2" (1.3 cm) below the seam line (if finishing with a facing or
similar application) or just under the seam line (if finishing with a waistband or other
application such as a stand collar), and pin in place. The zipper will lie completely on
top of the garment (figure a). Note: If you prefer, you can baste the zipper tape in place before
sewing with the invisible zipper foot in the following step. Just remember to remove your bast-
ing stitches when you are done.
3 Install the invisible zipper foot on your sewing machine and place the garment on
the machine with the top edge of the zipper facing you. Adjust and lower the presser
foot so that the zipper teeth lie in the right or left groove of the invisible zipper foot
(depending on which side you are sewing first; figures a and b). Stitch down the zip-
per until you are about 1" (2.5 cm) above the zipper pull, stitching as close to the teeth
as possible without stitching through them.
seam
Repeat the process for the opposite side of line
the zipper, using the opposite groove in the
invisible zipper foot (be careful not to twist
the zipper).
4 To finish the bottom, install a regular zip-
per foot on your sewing machine, then zip
the zipper to get the pull out of the way and
hang onto the zipper tails. With the needle
to the right of the zipper foot, stitch through
all layers, from the wrong side of the gar-
ment, beginning slightly to the left of where
you stopped the earlier stitching and sew
the rest of the seam below the zipper (figure
c). Catch the lower zipper tape to the seam seam
line
allowances if desired.
figure a
figure b figure c
6/6/11 7:43 AM

notes
—all seam allowances are 5⁄8" (1.5 cm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67-72.
—Finish all velvet raw edges with a zigzag
or overcast stitch or serger, to prevent
fraying.
—Machine stitching velvet seams can be
tricky because the fabric has a tendency
to slide and shift. To prevent stitching
problems, pin the velvet pieces right
sides together with lots of pins, matching
corners carefully. adjust the pieces as nec-
essary to make them sit correctly. Hand
baste the seam with small stitches before
attempting to machine sew. To prevent the
layers from shifting, try a walking foot on
your machine. alternatively, try layering
pattern tissue paper scraps between the
fabric layers before pinning and bast-
ing. This can stop the velvet from shifting
around. alternatively, handsew the velvet
seams together.
—Marking velvet is tricky—chalk doesn’t
tend to work. Mark the wrong side of the
fabric with a sliver of soap, a soft chalk
pencil, or a vanishing fabric pen.
—don’t iron or press velvet or you will crush
the pile. Steam lightly if required and
finger press the folds.
—To adapt this project to suit a square pil-
low form of any size, cut the pillow front
piece 1½" (3.8 cm) larger than the pillow
form. The backing pieces should also
equal these dimensions when the zipper is
installed.
CUt tHe FaBRiC
1 For the pillow front, cut the front panel
from velvet 21½" × 15½" (54.5 × 39.5 cm).
Use the remaining fabric to cut the yo-yos.
Use a range of circle templates (jars, rolls of
tape, plates, etc.) to cut out about twenty-
three circles from the velvet scraps in vari-
ous sizes from 4½" (11.5 cm) to 14" (35.5 cm)
in diameter.
2 For the pillow back, cut two pieces 12" ×
15½" (30.5 × 39.5 cm) from the cotton.
Make tHe Yo-Yos
3 Thread a handsewing needle with a
doubled thread about 18" (45.5 cm) long. on
one yo-yo fabric circle, fold about ½" (1.3 cm)
to the wrong side and, leaving a thread tail,
stitch around the circle’s edge using running
stitches about ½" (1.3 cm) long through both
thicknesses, refolding the hem under as you
go (as necessary). Keep the stitches and hem
allowance even (figure 1).
4 When you return to the starting point,
bring the needle out and, leaving the needle
on the thread, pull the threads to gather the
yo-yo (figure 2). once you have gathered the
yo-yo, tie the thread tails securely together
and then use the needle to secure the thread
SMSS1109.indb 77
figure 1
inside the yo-yo by making three tiny stitches
into the ridges of the first gather. Trim the
threads and flatten the yo-yo out.
5 repeat Steps 3 and 4 to gather the remain-
ing fabric circles into yo-yos.
attaCH tHe Yo-Yos
6 lay the pillow front fabric right side up on
your work surface. arrange the yo-yos on the
pillow front so they overlap in several places,
following the photo at left as a guide. allow
a few yo-yos to extend past the outer edge of
the pillow front—these will overlap the seam
and will be stitched down on the pillow back.
When you are happy with the arrangement,
pin and then baste them in place (note that
the yo-yos overlapping the edges will need to
be kept out of the way of the seam when sew-
how-to
figure 2
ing, so do not baste down the portions that
will need to be folded out of the way).
7 Stitch the yo-yos to the pillow front using
small slip stitches around their outside
edges. Where the yo-yos overlap, stitch
through all layers to ensure they are firmly
attached, but continue to keep your stitching
hidden. Where the yo-yos overlap the seam
allowance, do not stitch them down: knot the
thread where the yo-yo’s edge meets
the seam line and fold the yo-yo back on
itself. Pin the yo-yo out of the way so it
doesn’t get caught in the machine sewing
when you construct the pillow (you’ll need to
leave a little extra space on the yo-yo, past
the seam allowance, unstitched to allow for
folding them completely out of the way of
your seam).
ConstRUCt tHe pilloW
8 assemble the back pieces: Insert the zipper
between the two back pieces along the longer
15½" (39.5 cm) sides as follows: Pin the back
pieces right sides together. along one of
the 15½" (39.5 cm) sides, sew the first 3¾"
(9.5 cm) of the seam with a regular stitch
length and backtack. Sew in the zipper accord-
ing to the instructions in the Invisible Zipper
application sidebar on page 76. note that you
will be placing the zipper at the basted portion
of the seam in the center of the back, begin-
ning at the interior end of the seamed portion,
instead of at the suggested distance from the
edge. When you are finished inserting the zip-
per, sew the rest of the seam as instructed in
the sidebar.
9 open the zipper. Place the pillow front on
the assembled pillow back with right sides
together and raw edges aligned. Make sure
the yo-yos are all pinned securely away from
the seam allowance. Sew the pillow together
around all the edges (refer to the notes for
tips on sewing velvet). Pivot at the corners
with the needle down to get a neat finish.
aDD tHe Final toUCHes
0 Turn the pillow right side out through the
zipper and push out the corners using a knit-
ting needle or point turner.
- repin the loose yo-yo edges, curving them
around to the pillow back, and stitch the edges
77
interweavestitch.com
6/6/11 7:43 AM
 how-to
down using a slip stitch. Steam the finished pil-
low with a form inside rather than pressing to
avoid flattening the velvet pile or the yo-yos.
ruTh singer is a British textile artist with a
background working in museums. She has a long-
standing love of traditional sewing techniques,
which she applies to contemporary designs. She is
the author of The Sewing Bible and Sew Eco.
Find out more at www.ruthsinger.com.
Cocoon Wrap
by cheryl kucZek {from page 36}
DOWnlOaD The Full-siZe
PaTTern FOr This PrOJecT
aT inTerWeavesTiTch.cOm
FaBRiC
—21⁄8 (21⁄8, 21⁄4, 21⁄4, 21⁄3) yd (1.9 [1.9, 2, 2, 2.1] m)
of 60" (152.5 cm) wide knit fabric for shell
(Main)
—13⁄4 (13⁄4, 17⁄8, 17⁄8, 2) yd (1.6 [1.6, 1.7, 1.7, 1.8] m)
of 60" (152.5 cm) wide jersey knit or very thin
knit fabric for lining (Contrast)
—(optional) 13⁄4 (13⁄4, 17⁄8, 17⁄8, 2) yd (1.6 [1.6, 1.7,
1.7, 1.8] m) of 60" (152.5 cm) wide lightweight
polyester tricot knit in nude or other light
color that won’t show through for interlining
otHeR sUpplies
—Matching sewing thread
—11⁄2–2" (38–51 mm) diameter (decorative) but-
ton for the front
—Two 3⁄4–1" (2–2.5 cm) diameter sew-on snaps
—Stretch sewing machine needle (size 70/10
or 80/12)
Bust
Xs 32" (81.5 cm)
s 34–35" (86.5–89 cm)
M 36–37 1⁄2" (91.5–95 cm)
L 39–40 1⁄2" (99–103 cm)
XL 42 1⁄2" (108 cm)
sample shown in size Small.
78
stitch
SMSS1109.indb 78
—Handsewing needle
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Full-size pattern PdF at interweavestitch
.com
notes
—all seam allowances are 1⁄2" (1.3 cm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—Test the seams on scrap fabric to get the feel
of the stitches; try a 3.0 mm stitch length
to start with, unless otherwise noted, and
adjust as needed.
—If the lining can be seen through the Main
fabric, add the optional interlining.
CUt tHe FaBRiC
1 Print out and assemble the full-size pattern
PdF from interweavestitch.com. Select the size
that best fits your measurements. This gar-
ment is meant to have a loose, comfortable fit.
Cut the following pieces as directed, referring
to the cutting layouts included in the PdF for
assistance.
2 From the Main fabric, cut:
—2 Fronts (cut 1, cut 1 reverse)
—1 back on the fold
—2 Cuffs
—2 Front bands (cut 1, cut 1 reverse)
—1 back band on the fold
From the Contrast fabric, cut:
—2 Fronts (cut 1, cut 1 reverse)
—1 back on the fold
(Optional) From the interlining fabric, cut:
—2 Fronts (cut 1, cut 1 reverse)
—1 back on the fold
asseMBle tHe BoDY
3 lay the Main fabric back right side up on
your work surface. Gently place the Main fabric
Fronts on top of the back, with right sides
together and raw edges aligned. Pin the Fronts
to the back, matching the shoulder, sleeve,
and side edges. Sew the shoulder/sleeve top
seam from the neckline to the wrist and the
sleeve/underarm seam from the wrist to the
hem. You have created the shell wrap.
4 (optional: baste the interlining pieces to
the wrong sides of the corresponding lining
pieces by sewing 3⁄8" [1 cm] from the raw
edges. Treat the two layers as one when
assembling the wrap and treat the interlin-
ing side as the wrong side.) repeat step 3 to
assemble the lining.
aDD tHe BanD + CUFFs
5 Sew one Front band to each short edge
of the back band, right sides together. Sew
the two Front bands together at the center
back neck. Press the seams open. Fold the
assembled band in half lengthwise with wrong
sides together and press, taking care not to
stretch the fabric.
6 Pin the band to the shell wrap, right sides
together, matching the center backs, notches,
and raw edges. Sew the band to the wrap, us-
ing a 3⁄8" (1 cm) seam allowance.
7 Fold one Cuff piece in half with right sides
together and sew the short edges, forming a
tube. Press the seam allowances open. Fold
the cuff in half lengthwise, with wrong sides
together, matching the raw edges, and press.
repeat to assemble the second cuff.
8 Fold one cuff in half along the seam line
and mark the fold created at the opposite end
with a pin at the raw edges. bring the pin and
seam together and mark the two new fold
lines at either side with pins (you are finding
four equally spaced points around the cuff).
Fold one sleeve so the seamlines meet and
mark the folds with pins at the wrist edge. Pin
the cuff to the sleeve with right sides together,
placing the cuff seam at the underarm seam
and matching the pinned quarter-marks. The
cuff is smaller than the wrist opening. Sew the
cuff to the sleeve, stretching the cuff as you
sew. repeat entire step to attach the second
cuff to the remaining sleeve.
FinisHing
9 With right sides together, pin the lining to
the shell along the seam connecting the wrap
to the band, sandwiching the band between the
shell and lining. Sew the lining to the shell, tak-
ing a ½" (1.3 cm) seam allowance and leaving a
7" (18 cm) opening along the bottom near one
side seam for turning. Turn the wrap right side
out and press, turning the seam allowances
to the wrong side along the gap. Handsew the
opening closed with slip stitches. Topstitch the
wrap ¼" (6 mm) from the band seam.
0 Put the wrap on and mark the button loca-
tion on the right front band at the bustline.
Mark the corresponding location on the left
front band. attach the snap to the inside of the
right band and the outside of the left band at
the marked locations to close the wrap. Sew
the button to the outside of the right front band,
centered over the snap.
- Press the seam allowances to the wrong
side on the wrist edges of the lining. Pin the
fold in place along the cuff seam line and slip-
stitch the lining to the cuff seam.
6/6/11 7:43 AM

CHERYL KUCZEK is the designer of the
independent sewing pattern line, Paradiso
Designs. She enjoys teaching children and
adults how to sew cool fun things while
thinking outside the box. You can find her at
paradisodesigns.com and see what she’s doing
at paradisodesigns.blogspot.com.
Cozy Wrap Bathrobe
by Bonnie Ferguson {from page 37}
download the Full-size
pattern For this project
at interweavestitch.com
FABRIC
—11⁄8 (11⁄3) yd (1.03 [1.2] m) of 60" (152.5 cm)
wide cotton French terry (Main; shown: green,
brown, and taupe print)
—1⁄2 yd (46 cm) of 60" (152.5 cm) wide cotton
interlock or ribbed knit for the hood lining
and cuffs for all sizes (Contrast; shown:
brown solid)
OTHER SUPPLIES
—11⁄2 yd (1.4 m) of 3⁄8" (1 cm) wide grosgrain
ribbon
—Matching sewing thread
—Nylon serger thread for bobbin
(optional; see Notes)
—Ball point needle for sewing machine
—Spray starch (optional; see Notes)
—Seam sealant (such as Fray Check; optional)
—Rotary cutter, rigid acrylic ruler, and self-
healing mat
Chest CB Length
2t–4t 11–13" (28–33 cm) 231⁄2" (61 cm)
5-6 13–16" (33–40.5 cm) 271⁄2" (71 cm)
sleeve
Length 14" (35.5 cm)
16" (40.5 cm)
(Unrolled)
Shown in size small.
p074-087 HTCocoon.indd 79
how-to
—Walking foot for sewing machine (optional)
—Serger (optional)
—Tailor’s chalk
—Full-size pattern PDF at interweavestitch.com
NOTES
—All seam allowances are ½" (1.3 cm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing Basics on pages 67–72.
—Set your machine’s stitch length to 3.0 mm.
—The pattern is designed so that when the
robe is worn by the child, the right-hand front
overlaps the left-hand front and is secured
with ribbon ties.
—French terry is a medium-weight knit fabric
with a smooth front and loops on the back. It
has a minimal amount of stretch and is easy
to sew, even for those who are new to sewing
with knit fabrics.
—Test sew a sample of your knit fabric and
adjust the presser-foot pressure and tension
settings as necessary (consult your sewing
machine manual).
—Use a walking foot and a ball point needle
when sewing knits to keep your seams flat
and neat and to prevent fabric runs.
—Nylon serger thread wound into your sewing
machine bobbin will help seams and top-
stitching to stretch without breaking.
—Hemming the bottom edges of the robe
pieces before stitching the side seams will
reduce the amount of puckering in your knit
fabrics. If you prefer, you can hem the bottom
edge after you sew the side seams together.
—Wash and press the fabrics before beginning
the project. table below, with the stretch running along
—French terry has a tendency to curl along the the longer edge (the direction of most stretch
cut edges. A little spray starch when pressing is usually crosswise).
helps control fabric curling. —2T-4T: 11" × 5" (28 × 12.5 cm)
—When you have completed the bathrobe, trim
—5-6: 13" × 5" (33 × 12.5 cm)
the ribbon ties to no longer than 11" (28 cm)
—Cut the ribbon into four 13" (33 cm) lengths.
to prevent a strangulation hazard for small
children.
ASSEMBLE THE ROBE
CUT THE FABRIC 2 Hem the bottom edge of each of the Front
and Back pieces by folding 1" (2.5 cm) toward
1 Print and assemble the full size pattern PDF
the wrong side. Press the fold and then pin in
from interweavestitch.com. Before cutting,
place. Topstitch 7⁄8" (2.2 cm) from the bottom
determine the directional stretch of the fabric
edge of the hem, backtacking on each end to
(usually the crosswise direction has the most
secure the stitches. Press.
stretch, which means that the grainlines should
run parallel to the lengthwise grain of the fabric 3 With right sides together, pin the two Front
so that the most stretch goes around the body). pieces to the Back at the shoulder seams,
Refer to the cutting layout for assistance and aligning the raw edges and matching the
transfer all pattern markings with tailor’s chalk. notches. Sew or serge the pieces together.
Cut the following pieces as directed.
4 With the joined Front and Back pieces lying
From the Main fabric cut: flat and right side up, place one Sleeve, right
—1 each of the Left and Right Front side down, on one armhole. Beginning at the
—2 Back on the fold center notch on the Sleeve, match it to the
—2 Sleeves (cut 1, cut 1 reverse) shoulder seam of the armhole. Pin the Sleeve
in place at the shoulder seam. Continue pin-
—2 Hoods (cut 1, cut 1 reverse)
ning the Sleeve to the armhole, easing it around
From the Contrast fabric, cut: the armhole. Sew or serge the pieces together,
—2 Hoods (cut 1, cut 1 reverse) removing the pins as you sew. Repeat this step
—Measure and cut two Cuffs, according to the to attach the second Sleeve.
79
interweavestitch.com
6/7/11 8:35 PM
 how-to
22
1 flat across that side of the robe. When you have
figure 1
3 bottom of one front edge of the robe, topstitch
3 the hemmed edge 3⁄8" (1 cm) from the fold,
5 Fold the end of one ribbon over ½" (1.3
cm). With the right side of the back piece
right side up and the hemline closest to you,
pin the folded edge of the ribbon to the left-
hand side (as it is worn on the child’s body),
1 (2)" (2.5 [5] cm) below the armhole, aligning
2 it with the raw edge of the seam allowance.
To secure the ribbon, topstitch the ribbon in
place, ¼" (6 mm) from the raw edge of the
seam allowance. Turn the back piece over so
that the wrong side faces up and the hemline
is closest to you. Fold the end of a second
ribbon over ½" (1.3 cm). on the right-hand
side (as it is worn on the child’s body), pin
the folded edge of the ribbon, 1 (2)" (2.5 [5]
cm) below the armhole, aligning it with the
raw edge of the seam allowance. Topstitch
the ribbon in place, ¼" (6 mm) from the raw
edge.
6 With right sides together, pin the two Front
pieces to the back along the side seams and
underarm seams. Position the ribbons so that
3
the free ends will not be caught in the stitching.
Sew the pieces together, beginning at the bot-
tom edges of the robe and ending at the bottom
edges of the Sleeves (figure 1). To secure each
end of your seams, backtack if you are using a
conventional sewing machine or tie off the ends
if you are serging.
7 Fold the bottom (neckline) edge of each
Main fabric Hood piece ½" (1.3 cm) to the wrong
side and press. Pin the shell Hood pieces right
sides together. Sew around the curved edges
from the back to the top of the Hood, stitching
over the folded edges to secure them to the
wrong side of the Hood. Clip the curved edges
of the seam allowances, being careful to not
clip into the stitches. Press the seam open.
repeat the same process to join the Contrast
fabric Hood pieces. The two assembled Hood
pieces will now be referred to as the hood shell
and hood lining.
8 To join the hood shell with the hood lining,
with right sides together and the front edges
aligned, pin and then sew them together
around the front edge. Turn the completed
80
stitch
SMSS1109.indb 80
figure 2
figure 3
hood right side out through the opening in the
bottom and push the lining inside the shell so
that the wrong sides are now together. Press
the front edge so that the lining stays neatly
inside the shell.
9 on the assembled robe body, fold ¼" (6 mm)
to the wrong side around the neckline between
the notches and press.
0 With right sides together (the right side of
the hood is the shell), place the hood on top of
the robe body, aligning the folded edge of the
neckline with the folded bottom edges of the
hood. Match the center back seam of the hood
to the center back notch on the neckline of the
robe. Pin in place. next, match the marked
pattern dots on each bottom edge of the hood
with the corresponding marked pattern dots on
the neckline, and pin in place. Working between
the three pins, pin the rest of the hood in place,
keeping the folded edges of the neckline and
hood aligned. Sew the hood to the robe, 3⁄8"
(1 cm) from the folded edges. (Note: For a
professional-looking finished seam, sew the
hood in place using a sewing machine and not
a serger.) Press the seam allowances toward
the robe. The neckline will be finished and
topstitched later.
- With the front of the robe lying wrong side up
on your work surface, place one piece of ribbon
across the robe and align the right-hand end
of the ribbon with the front edge of the robe,
¼" (6 mm) below the angle where the neckline
edge meets the front edge of the robe. Pin and
then stitch in place to secure the ribbon. Sew
the remaining piece of ribbon to the wrong side
of the opposite front piece, in the same manner.
= With the wrong side of the robe facing up,
beginning at the bottom of one front edge, fold
the edge over ¼" (6 mm) to the wrong side,
then fold over another ½" (1.3 cm) and pin.
W
Continue folding and pinning until you reach S
the first ribbon. Fold the edge as you have been b
doing, making sure the ribbon continues to lie
finished making the ½" (1.3 cm) fold, pick up
the ribbon and bring it across the folded edge
toward the opposite side (see figure 2). at the
corner where the front edge of the robe meets
the lower neckline edge, fold the neckline edge
over ¼" (6 mm) and then another ½" (1.3 cm) to
encase the ribbon (figure 2). Continue folding
and pinning the hem in the same manner until
you reach the front edge of the hood. Follow
the same process to fold and pin the opposite
front edge of the robe and encase the end of
the ribbon. Where the hood joins the neckline,
pin the folded edges to the robe. Starting at the
continuing around the bottom edge of the hood
and down the front edge of the opposite side.
be sure to catch the ends of both ribbons in the
stitching to secure them (figure 3).
FinisHing
q Fold one long edge of each Cuff piece ½"
(1.3 cm) to the wrong side and press to create
F
a crease. Unfold the creased edge. With right
—
sides together, fold the Cuff pieces in half
widthwise (short end to short end). Pin in place
and then sew or serge the two short ends to-
gether. refold the previously folded long edges
to reestablish the crease.
—
w With the assembled robe right side out, in-
sert the sleeve inside one cuff piece, so that the
right sides are together. align the raw edges
and match the seams of the cuff and sleeve. —
Pin in place and then sew them together. Press
the seam allowances toward the sleeve. Turn
the sleeves wrong side out and pull the cuffs
o
—
to the inside, making sure the seam you just
stitched is at the bottom edge of the cuff. Pin
the cuff in place. Sew the folded edge of the —
cuff to the sleeve, topstitching 1⁄8" (3 mm) from
the folded edge. Follow the same process to —
sew the remaining cuff to the other sleeve. Turn —
the sleeves right side out and fold the cuffs to
the right sides of the sleeves. adjust the cuffs —
to the desired length.
—
e Trim the ribbons to 11" (28 cm), at an angle, —
and heat seal the ends by carefully melting
them slightly with a lighter to prevent fraying
(not appropriate for natural fibers). If you
—
prefer, you can apply seam sealant to the ends,
however, with repeated washing, the seam
sealant may fail to keep them from fraying.
bonnie Ferguson is a full-time mom to
six amazing children, who are great inspira-
tions for her sewing projects. She designs and
sells patterns at fishsticksdesigns.com, and you
can check out sewing tutorials on her blog at
fishsticksandfries.com/blog.
6/6/11 7:43 AM
 how-to

center
back
Woodland Sweater —Washing machine and dryer
—Serger (optional)
Skirt + Appliqué Top —Fabric marking pen or pencil
by amanDa nOrell {from page 38} —Woodland Sweater Skirt pattern at
interweavestitch.com; squirrel applique
templates on the pattern insert side b.
ge
folded ed
notes
—all seam allowances are ¼" (6 mm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pp. 67–72.
—Felted wool does not fray, so finishing raw
edges is not required.
—If you choose to sew beads to your skirt and
T-shirt, it is important to use beading thread
to sew the beads in place because beading
thread is made from strong, smooth 100%
continuous filament nylon that is specially
treated to resist abrasion and tangling. also, figure 1
it pulls through fabric effortlessly. If you use
conventional sewing thread to sew beads
onto garments, over time the fibers of the
DOWnlOaD The Full-siZe thread are worn thin by the beads, and the
PaTTern FOr This PrOJecT beads have a greater chance of falling off. a
aT inTerWeavesTiTch.cOm good option is Coats & Clark beading Thread
art d35, which comes in a variety of colors.

FaBRiC pRepaRe + CUt tHe FaBRiC

—6 or 7 large wool sweaters (sweaters must
be at least 50% wool if not higher; shown: a
variety of heathered, cabled, solid-colored,
and Fair Isle sweaters, in muted color tones,
plus one solid brown)
—3⁄8 yd (34.5 cm; all sizes) of 60" (152.5 cm)
wide lightweight stretch jersey in a color to
complement the sweaters (shown: brown)
—long-sleeve cotton T-shirt in appropriate size
for child (shown: off-white with tan polka dots)
otHeR sUpplies
—one 9" × 12" (23 × 30.5 cm) sheet of paper-
backed fusible web
—Sewing thread to coordinate with the felted
fabric
—Sewing thread to match the stretch jersey
—beading thread to match your beads (op-
tional; see notes)
—beading needle (optional)
—Sequins (optional; shown: clear iridescent)
—Small beads to embellish the appliqués (op-
tional; shown: clear aqua and multicolored
iridescent seed beads)
—rotary cutter, rigid acrylic ruler, and self-
healing mat
skirt Waist
2t 21–22" (53.5–56 cm)
3t 22–23" (56–58.5 cm)
4t 23–24" (58.5–61 cm)
5 24–25" (61–63.5 cm)
6 25–26" (63.5–66 cm)
Shown in size 2T.
1 Felt the sweaters by washing them in a
washing machine with hot water and detergent.
rinse on the cold cycle. If the felting is not
dense enough, throw the sweaters in the dryer
for a bit—otherwise, hang them to dry.
2 disassemble the sweaters by carefully cutting
off the sleeves at the armhole seams. Cut the
sleeves open by cutting along each underarm
seam. Cut the shoulder seams open from the
armhole to the neckline. on each sweater, cut
along one of the sweater’s side seams to open
it flat.
3 download and assemble the full-size pat-
tern PdF from interweavestitch.com. Using
the provided pattern pieces, cut one Waistband
from the jersey and six Skirt Panels from the
felted sweaters (the skirt features three panels
on the front and three panels on the back; cut
the panels from an assortment of colors/pat-
terns for a look similar to the sample skirt).
asseMBle tHe skiRt panels
4 To make the skirt front, choose three Panels to
feature on the front and, with right sides together
and the raw edges of the sides aligned, pin and
then sew two of the Panels together. Press the
skirt Length (from bottom of waistband)
61⁄2" (16.5 cm)
7" (18 cm)
71⁄2" (19 cm)
8" (20.5 cm)
81⁄2" (21.5 cm)
figure 2
seam allowances open. Follow the same pro-
cess to sew the remaining front Panel in place.
5 repeat Step 4 to create the skirt back with
the three remaining Panels.
6 Fold the back skirt in half, matching the
side seams, to find the center; mark the center
at the waistline with a fabric pen or a piece of
tape. Unfold the skirt back.
7 With right sides together, pin and then sew
the assembled front and back skirts. Press the
seam allowances open. You have completed the
body of the skirt.
pRepaRe + attaCH tHe WaistBanD
8 With right sides together, fold the Waist-
band widthwise, with right sides together,
and align the short edges. Pin and then stitch
the short edges together. Press the seam
allowances open.
9 Fold the Waistband in half lengthwise, with
the right side facing out (wrong sides together).
Pin together along the raw edges.
0 With right sides together, pin the prepared
waistband to the skirt, aligning the edge of the
skirt’s waistline with the finished edges of the
waistband. also, align the seam of the waist-
band with the marked center back of the skirt

81
interweavestitch.com

SMSS1109.indb 81 6/6/11 7:43 AM

 how-to
(figure 1 on page 81). Sew together and press
the seam allowances toward the waistband.
For a finished edge, serge or zigzag-stitch the
seam allowances together.
- optional: Using your beading needle and
thread, sew seed beads and/or sequins to the
skirt front. Sew them on randomly or by follow-
ing a pattern of your choosing. on the sample, a
few beads were stitched in a straight line across
one panel, just below the waistband (following a
stripe in the felted fabric). another line of beads
was stitched in a straight line 2 ½" (6.5 cm) be-
low the first, this time layering a sequin below
each seed bead (the seed bead traps the sequin
in place; figure 2 on page 81).
aDD tHe appliqUé to tHe sHiRt
= From your felted sweater fabric, cut a 4" ×
3" (10 × 7.5 cm) rectangle for the Squirrel’s Tail.
From a different felted sweater fabric, cut a 5"
× 4" (12.5 × 10 cm) rectangle for the Squirrel
body. apply fusible web to the wrong side of
each fabric rectangle, following the manufac-
turer’s instructions.
q Use the provided Squirrel templates to trace
the body and Tail onto the paper backing of the
rectangles, tracing the Tail on one piece and
the body on the other (templates are already
reversed for tracing). Cut out the two pieces
along the drawn lines.
w decide where you want the Squirrel body
and Tail to be placed on the T-shirt. on the
sample, the appliqués are centered on the front,
with the top edge of the Tail about 2" (5 cm)
below the top of the neckline band. remove the
paper backing from the body appliqué piece and
then fuse it in place. let the piece cool to allow
the adhesive to set and then turn the T-shirt
inside out and press from the wrong side. Place
the Tail appliqué on top of the body, overlapping
slightly (see the photo above). Follow the same
process to fuse the Tail in place.
e optional: Using your beading needle and
thread, sew seed beads and/or sequins ran-
domly on the Squirrel body and Tail. or, sew
them on in a pattern of your choosing. on the
sample, a few beads (with no sequins) were
stitched in a straight line onto the Tail, following
a stripe in the felted fabric.
82
stitch
SMSS1109.indb 82
amanda norell is a self-taught Minne-
apolis creative who loves to learn. While she and
her husband await the arrival of their firstborn,
they foster homeless dogs, cook from their urban
garden, and delight in their adopted neighborhood
kids. Her work can be found in her Etsy store at
etsy.com/shop/almostevelyn.
Cuddly Caterpillar Scarf
by sTePhanie smiTh {from page 39}
FaBRiC
—1⁄3 yd (30.5 cm) each of 3 different colors of
60" (152.5 cm) wide fleece, flannel, or other
warm snuggly fabric (shown: dusty [pink],
beach house [tan], and warm gray)
otHeR sUpplies
—Coordinating sewing thread
—Contrasting thread for stitching mouth
(shown: red)
—Matching thread for handstitching button
eyes
—Matching thread for handstitching face to
body (shown: pink)
—Handsewing needle
—Two 7⁄8" (22 mm) round shank buttons
(shown: black)
—Small amount of fiberfill stuffing
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Fabric-marking pen
—needlework/embroidery scissors
—Point turner (optional)
—Cuddly Caterpillar Scarf pattern on the
pattern insert side b
FinisHeD size
—41" (104 cm) long × 5" (12.5 cm) wide
Face: 6" (15 cm) long × 6" (15 cm) wide
diagram
notes
—all seam allowances are ¼" (6 mm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—If using a medium- to heavyweight fleece,
test your machine’s tension by sewing on a
double layer of scrap fabric to make sure it is
not too tight. adjust as necessary, referring to
your sewing machine manual for assistance.
—Practice stitching the mouth on scrap fabric
before beginning the project, to experiment
with the desired look.
—It is recommended to use a straight stitch
with increased length, 3–4 mm, for heavier
types of fabric.
—Test the fabric-marking pen on scrap fabric
before you begin, following the manufac-
turer’s instructions.
—When clipping corners, be sure not to cut
through the stitches.
CUt tHe FaBRiC
1 Set the Tail pattern aside for now. Cut
the following pieces as directed (fabric can
be doubled to cut multiple pieces at once, if
desired), cutting each from the desired color of
fleece (or desired fabric):
—2 Faces (shown: dusty [pink])
—4 antennae (shown: beach house [tan])
2 Cut the following pieces for the caterpillar
body as directed, cutting each group from a
different color of the fleece.
From fabric color 1 (shown: dusty [pink]):
—Two 4½" × 10½" (11.5 × 26.5 cm) rectangles
—one 3½" × 10½" (9 × 26.5 cm) rectangle
From fabric color 2 (shown: beach house [tan]):
—Three 4½" × 10½" (11.5 × 26.5 cm) rectangles
—one 1½" × 10½" (3.8 × 26.5 cm) rectangle
From fabric color 3 (shown: warm gray):
—Two 4½" × 10½" (11.5 × 26.5 cm) rectangles
—one 2½" × 10½" (6.5 × 26.5 cm) rectangle
asseMBle tHe CateRpillaR BoDY
3 With right sides together, stitch the long
sides of the 4½" × 10½" (11.5 × 26.5 cm) body
pieces together using a straight stitch, arrang-
ing the colors as shown in the diagram below.
Then join the narrower body pieces to the end
indicated in the diagram, sewing the 3½" (9 cm)
rectangle first, then the 2½" (6.5 cm) rectangle,
and finally the 1½" (3.8 cm) rectangle.
4 Fold the assembled body lengthwise with
right sides together, matching raw edges.
Pin and stitch the long raw edges of the body
together.
5 at the end of the body with the narrow
stripe pieces, pin the Tail pattern onto the body,
6/6/11 7:43 AM
 how-to

matching the straight sides with the curved end
of the template on the outer end of the body.
Cut through all layers of fabric following the
curved edge of the Tail pattern.
6 Stitch along the curved edges of the tail,
joining up with the existing side seam and
backtacking when starting and stopping.
7 Clip into the seam allowances around the
curve of the tail, spacing clips about ¼" (6 mm)
to help the seam lie flat.
8 Turn the body right side out, using a point
turner to help shape the seams from the inside
if necessary. Finger-press the seams so that
the body lies flat (if using a fabric other than
fleece, pressing with an iron may be appropri-
ate). Set aside.
asseMBle tHe CateRpillaR FaCe
9 referring to the Face pattern piece for place-
ment, mark the position of the eyes and mouth
of the caterpillar on the right side of one face
piece with a removable fabric-marking pen.
0 Handstitch the buttons on the eye marks
with matching thread.
- Using desired machine stitch (such as a
straight stretch stitch), stitch the mouth of the
caterpillar using contrasting thread. Pull the
thread ends to the wrong side and tie them
to secure. Set aside. Note: depending on the
density of the fabric, you may need to stitch
over the mouth several times to achieve the de-
sired look; a straight stretch stitch sews three
straight stitches on top of one another, which
helps thicken the mouth line automatically.
= Pin both Face pieces (one with a face and
one plain) right sides together. Stitch together
with a straight stitch, leaving an opening on
the top edge of the face (opposite the mouth),
between the notches. Clip around the curved
corners and turn right side out, using a point
turner to help shape the seams and rounded
corners from the inside if necessary. Finger-
press (or use an iron if appropriate for your
fabric) the seams flat, tucking the raw edges in
at the opening.
q Place two of the antennae pieces right sides
together. Stitch together, leaving the bottom
(flat) end open. Clip around the curves and
in the corners and then turn right side out,
smoothing the seams as before, if necessary.
Stuff the antenna with fiberfill and then close
the opening by stitching across the bottom
with a straight stitch a scant ¼" (6 mm) from
the edge. repeat the entire step to create the
remaining antenna.
CoMplete tHe CateRpillaR
w Pin one antenna ½" (1.3 cm) in from each of
the side edges of the body (on the end opposite
the tail), matching the raw edges. Stitch into
place close to the edge.
e Insert the antenna end of the body into
the opening in the Face, inserting it about ¼"
(6 mm); pin in place.
r Handstitch the face and body together with
small slip stitches, making sure that the edges
of the opening of the face remain turned under
and the machine stitching closing the antennae
is concealed. Stitch around the opening until
it is completely closed around the body. Tie off
the thread securely, trim the thread tails, and
remove the pins.
sTePhanie smiTh loves to craft, sew, and
quilt and enjoys designing and creating things
for the home and family. She does design work
for several publications and lives with her
husband and a barn full of horses, dogs, and
cats in Michigan.
Pair of Owls
by heiDi BOyD {from page 40}
FaBRiC
Refer to Notes for further information about
fabrics. Note that if making both owls, ¼ yd (23
cm) of fabric C is sufficient for both.
large owl
—12" × 12" (30.5 × 30.5 cm) square of printed
cotton (a; shown: gold cotton branch design)
—12" × 12" (30.5 × 30.5 cm) square of chenille
(b; shown: white)
—¼ yd (23 cm) of corduroy (C; shown: white)
—6½" × 6½" (16.5 × 16.5 cm) square of wool felt
(d; shown: white)
—1⁄8 yd (11.5 cm) each of three colors of wool
felt (E, F, and G; shown: blue, gray, and straw)
—1" × 2" (2.5 × 5 cm) scrap of wool felt (H;
shown: off-white)
small owl
—10" × 10" (25.5 × 25.5 cm) square of printed
cotton (a; shown: multicolored dots on blue)
—10" × 10" (25.5 × 25.5 cm) square of chenille
(b; shown: white)
—1⁄8 yd (11.5 cm) of corduroy (C; shown: white)
—5" × 5" (12.5 × 12.5 cm) square of wool felt (d;
shown: beige)
—1⁄8 yd (11.5 cm) each of four colors of wool felt
(E, F, G, and H; shown: straw, white, gold, and
light aqua)
otHeR sUpplies
—Embroidery floss in two colors (shown: beige
for large owl; brown for Small owl)
—Fiberfill stuffing
—Handsewing and crewel (embroidery)
needles
—Sewing thread in 2 colors (shown: beige and
aqua)
—Small dried beans
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Free-motion or darning foot for sewing
machine
—owl Pair patterns and templates on the
pattern insert side C
FinisHeD sizes
—large owl: 11" high × 11 1 ⁄2" wide (28 × 29 cm).
—Small owl: 9" high × 8 ½" wide (23 × 21.5 cm).
notes
—all seam allowances are 1⁄4" (6 mm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—both owls are assembled the same way al-
though they use different-size pattern pieces
and different colored fabrics. Choose between
embroidering a single line for sleepy eyes or a
starburst of stitches for an open eye.
—all felt listed is WoolFelt from national
nonwovens (nationalnonwovens.com). Much
of the felt used was the 35% wool/65% rayon-
blend felt.
CUt tHe FaBRiC
For each owl, refer to the Fabric lists for the
indicated fabric letter and use the appropriate
pattern set for either the large or the Small owl.
Cut the following pieces as directed:
From fabric A:
—1 body (front)
From fabric B:
—1 body (back)
From fabric C:
—4 outer Wings (cut 2, cut 2 reverse)
From fabric D:
—1 belly
From fabric E:
—2 Wing bases (cut 1, cut 1 reverse)
—For large owl only, 2 Eyes
From fabric F:
—Two 4" × 6½" (10 × 16.5 cm) strips for Eye
Fringe
From fabric G:
—1 bottom beak
—2 Top beaks (cut 1, cut 1 reverse)
—1 base
From fabric H:
—For large owl only, 2 Eyeballs
—For Small owl only, 2 Eyes

83
interweavestitch.com

SMSS1109.indb 83 6/6/11 7:43 AM

 how-to
asseMBle tHe oWl
1 Pin the belly, centered, to the lower por-
tion of the right side of the fabric a body.
Thread your machine with contrasting thread
(shown: aqua) and set up your machine for
free-motion stitching by lowering the feed
dogs and installing a free-motion or darning
foot (see your machine manual for assis-
tance). referring to the photo above, free-
motion stitch loopy lines across the belly to
secure it to the body; this is a good chance to
allow your creativity to shine. This piece will
now be referred to as the front body.
2 Placing right sides together, pin the
embellished front body to the fabric b body.
Stitch around the outside edge, leaving the
base edge open. Sew a second reinforcing
seam, 1⁄16–1⁄8" (2–3 mm) from the first, within
the seam allowances. Clip away the excess
fabric at the tips of the ears. Clip additional
slits in the seam allowances all around the
body, clipping closer together along the curve
between the ears.
3 Insert the felt base into the opening
between the body pieces with right sides
together, pinning the base to the front body,
and stitch it in place along the front body
only. Turn the piece right side out and push
stuffing up into the ears. Fill the rest of the
body with stuffing, filling the bottom of the
base with the dried beans (these will help
84
stitch
SMSS1109.indb 84
2 the side of the stuffed owl with two lines of
3 1
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 inserting at 1 and
bringing the needle up at a point that
is a stitch length beyond 3.
weight the bottom of the owl). Fold the seam
allowances at the opening in and handstitch
the base to the bottom of the back body with
a slip stitch.
4 Stack the two Top beak pieces right sides
together and stitch the long sides. open the
seamed top beak and, placing right sides to-
gether, center it over the bottom beak, align-
ing the corners. Pin the two layers together.
Stitch around the outside edge, leaving a gap
for turning. Stuff the beak with fiberfill and
then handstitch the opening closed with a
slip stitch; do not cut the thread. Sew the fin-
ished beak to the center of the owl’s head so
that the bottom end of the beak (the end with
the longer point) overlaps the top of the belly.
5 Fold each Eye Fringe strip in half length-
wise and pin the long edges together. Stitch
along the long edges. Using scissors, clip
slits every ¼" (6 mm) from the folded edge to
about ¼" (6 mm) from the seam. Handstitch
one clipped felt fringe to the wrong side of
one Eye piece, encircling the Eye with fringe
and concealing the fringe seam behind the
Eye. (To ensure the fringe is long enough,
let the fringe strip hang down until the Eye
is completely encircled, then trim the fringe
ends to meet flush.) While the thread is still
connected, handsew the center of the fringed
eye to the body on one side of the beak, plac-
ing the eye so that the center circle abuts the
belly, with the fringe overlapping both belly
and beak. Sew the remaining fringe to the
remaining Eye in the same way and sew the
second eye to the head on the other side of
the beak.
6 Pin two outer Wing pieces right sides
together, then stitch them along the center
seam edge (edge with greater curve). Place
the Wing base piece and the seamed outer
wing right sides together and stitch around
the outer edge, leaving a 1 ½" (3.8 cm) gap
for turning. Trim away excess fabric at the
points and turn the wing right side out. lightly
stuff the wing with fiberfill and handstitch the
opening closed with a slip stitch; do not cut
the thread. Handstitch the felt wing base to
slip stitches, each about one-third of the way
in from the outer Wing seam. leave about 1"
(2.5 cm) loose at the bottom point of the wing.
repeat the entire step to assemble and attach
the second wing to the other side of the owl.
7 Thread the crewel needle with three
strands of embroidery floss (shown: brown
for large owl; beige for Small owl). To make
a sleepy eye (seen on the Small owl), draw
the needle up from under the edge of the felt
fringe and backstitch in a downward-arching
line within the eye felt. bring the needle
through the inside of the head and pull it out
in the second eye and repeat the stitching.
To make an awake eye (seen on the large
owl), draw the needle up through the center
of the eye and then thread one Eyeball onto
the needle. Make six equally spaced straight
stitches out from the center of the Eyeball
and into the eye below, creating a starburst
pattern. Then, make a French knot in the cen-
ter of the starburst (to make a larger French
knot that will stand out more, wrap the floss
around the needle an extra time or two before
reentering the fabric). Knot the end under the
felt fringe. bring the thread through the head f
to the other eye and then repeat the stitching
process to make the second eye.
heidi boyd is the author of ten books with
North Light Books, most notably the Simply
Beautiful series. Her goal is to make sophis-
ticated design approachable and easy for all.
She has a fine-art degree and got her start in
professional crafting as a contributor to Better
Homes and gardens books and magazines.
Visit her blog at heidiboyd.blogspot.com.
Kimono Baby Swaddle
by Theresa gOnZaleZ {from page 40}
FaBRiC
—3⁄4 yd (68.5 cm) of 45" (114.5 cm) wide print
cotton (a; see notes)
—3⁄4 yd (68.5 cm) of a second 45" (114.5 cm)
wide print cotton (b; see notes)
otHeR sUpplies
—3 yd (2.7 m) of ½" (1.3 cm) wide double-fold
bias tape (shown:1 package of Wrights Extra
Wide double Fold bias tape in teal)
—1¼ yd (1.1 m) of piping trim (shown: 1 pack-
age of Wrights bias Tape Maxi Piping in
white)
—½ yd (46 cm) of low-loft batting
—Matching sewing thread
—Zipper foot for sewing machine
—Kimono baby Swaddle pattern on the pattern
insert side C
6/6/11 7:43 AM

figure 1
FinisHeD size
—20" long × 12" wide (51 × 30.5 cm) when
closed
notes
—all seam allowances are ½" (1.3 cm) unless
otherwise noted.
—Pink all raw edges and press all seams open
unless otherwise noted.
—For explanations of terms and techniques
see Sewing basics on pages 67–72.
—The fabrics used in the sample are from
the My Happy nursery organic fabric line by
Cloud9 Fabrics. Find them at cloud9fabrics
.com. Fabric a is Flock in color Sky; fabric b
is Speckle in color Sky.
CUt tHe FaBRiC
1 Using the Kimono baby Swaddle pattern, cut
the following pieces as directed.
From fabric A:
—1 Main body (includes left wing)
—1 right Wing
From fabric B:
—1 Main body (includes left wing)
—1 right Wing (reversed)
2 Cut the left wing away from the Main body
pattern along the batting cut line. Using the
remaining section of the Main body pattern, cut
1 piece of batting.
3 Cut the upper section of the Main body pat-
tern away along the Pocket cut line. Using the
SMSS1109.indb 85
lower section of the Main pattern, cut 1 Pocket
each from fabrics a and b.
seW tHe poCket + piping
4 Pin the Pocket pieces right sides together.
Stitch along the straight edge. Turn right side
out and press.
5 Pin the seamed pocket, fabric a side up,
onto the right side of the fabric b Main body,
lining up the curved bottom edges.
6 Starting at the top right corner and aligning
the raw edges, pin the piping along the right-
hand edge of the fabric b Main body, continuing
around the pocket and ending at the upper left
corner of the pocket. (note that this corner of
the pocket extends beyond the lower edge of
the left wing.) Trim the end of the piping flush
with the seamed edge of the pocket, or if de-
sired, trim it about ¼" (6 mm) longer and turn
the end under. Using a zipper foot to sew close
to the piping cord, stitch the piping to the fabric
through all layers. Clip the seam allowance
around the curved bottom edge.
seW tHe sWaDDle
7 Pin the right Wing pieces wrong sides
together, then pin a 24" (61 cm) length of
bias tape along the lower edge of the wing,
encasing the raw edges, with one short end
of the tape flush with the curved edge of
the wing (the other end will extend past the
wing pieces; the flush end will be caught in
the seam when you sew the swaddle layers
together). Pin the wing pieces to the right
side of the fabric a Main piece, aligning the
curved edge of all layers (figure 1). Then pin
these pieces to the piped pocket, right sides
together, sandwiching the wing pieces in
between. Pin the batting piece to the wrong
side of the fabric a Main piece. If necessary,
baste the layers together around the edges
to secure them.
8 Starting from the upper right-hand corner
and again using a zipper foot to sew close
to the piping cord, sew the pieces together
through all layers, leaving an opening on the
right wing where marked and being sure not
to catch the outer tip of the right wing or the
extended end of the bias tape in the seam.
Stop sewing with a backtack at the point
where the left wing meets the body. The left
wing and the top edge will remain open.
9 Turn the swaddle right side out through the
open top edge, removing any pins still holding
the layers together. Turn under the seam
allowances along the piping that extends past
the inside corner of the left wing, then top-
stitch along the piping cord through all layers
from the wing corner to the end of the piping,
backtacking when starting and stopping. Trim
the batting where it meets the left wing if
necessary for the batting to lie flat.
seW tHe Bias tape
0 Close the remaining raw edges with bias
tape: Pin a 13" (33 cm) length of bias tape
along the lower edge of the left wing, encas-
how-to
ing the raw edges inside the tape. Pin a 60"
(152.5 cm) length of bias tape along the top
edge from the outer corner of the right wing
to the corner of the left wing (overlapping
the other tape piece), encasing the end of the
previous length of tape and letting the loose
tape extend past the corner of the left wing
to create a tie. Pin the 24" (61 cm) length of
bias tape (inserted in the right wing seam
in Step 7) along the lower edge of the right
wing pieces, again encasing the intersecting
tape and letting the loose end extend past.
Edgestitch to sew the tapes to the swaddle
edges, backtacking when starting and stop-
ping. Stitch the inner end of the lower left
tape to the body just inside the piping cord.
Trim the outer ends of the ties at an angle
and topstitch them closed, about 3⁄16" (5 mm)
from the end. If desired, edgestitch the open
sides of the ties closed, folding the short ends
under before stitching the ends.
- To close the swaddle, fold the right wing
over the body, then fold the left wing over.
Pull the left wing’s tie through the hole in
the right wing seam and tie the ends of the
ties in a bow.
Theresa gonZaleZ is the coauthor
of Dorm Décor: Remake Your Space
with More Than 35 Projects and has
contributed designs to Stitch, Cutting Edge,
Design*Sponge online, Apartment Therapy,
the San Francisco Chronicle, and more. She
lives, writes, and crafts in San Francisco.
Double-Bolster
Dog Bed
by carOl ZenTgraF {from page 41}
FaBRiC
For Small/Medium size:
—1 yd (91.5 cm) of 54" (137 cm) wide home
decorator fabric for cushion, top bolster
ends, and top bolster piping (a)
—3½ yd (3.2 m) of 54" (137 cm) wide home
decorator fabric for bolsters and bottom of
bed (b)
85
interweavestitch.com
6/6/11 7:43 AM
 how-to

bottom bolster rectangle

S/M: 2¼" (5.5 cm) S/M: 3½" (9 cm) S/M: 3½" (9 cm) S/M: 2¼" (5.5 cm)
For Large size: l: 2¾" (7 cm) l: 4½" (11.5 cm) l: 4½" (11.5 cm) l: 2¾" (7 cm)
—1¾ yd (1.6 m) of 54" (137 cm) wide home
decorator fabric for cushion, top bolster
ends, and top bolster piping (a) figure 1a
—7 yd (6.4 m) of 54" (137 cm) wide home
decorator fabric for bolsters and bottom of
bed (b)

otHeR sUpplies
—Coordinating sewing thread
—Size 80/12 universal sewing needle top bolster rectangle
—5 lb (2.3 kg) box of polyester fiberfill for
Small/Medium bed; 10 lb (4.5 kg) box for
large bed
—¾ yd (68.5 cm) cotton batting for Small/
Medium bed; 7⁄8 yd (80 cm) for large bed
—11⁄3 yd (1.2 m) of 5⁄32" (4 mm) wide fusible pip-
ing or nonfusible cord
—Permanent fabric glue
—rotary cutter, rigid acrylic ruler, and self- S/M: 2" (5 cm) S/M: 3" (7.5 cm)
healing mat l: 2½" (6.5 cm) l: 4" (10 cm)
—Serger (optional)
—Zipper foot for sewing machine figure 1b
—double-bolster dog bed templates on the
pattern insert side b
—Two 55⁄8" (14.3 cm) circles for the Top bolster a pair of lines for 3" (7.5 cm) wide pleats in the
FinisHeD size Ends, using the provided template center of each long side. Skip to step 5.
—Small/Medium bed (shown) is 30" (76 cm) in —Two 13⁄8" × 171⁄2" (3.5 × 44.5 cm) bias strips for 3 For the Large size, cut the following pieces as
outer diameter × 12" (30.5 cm) high, with a the Top bolster Piping directed (it’s a good idea to label the pieces on
21" (53.5 cm) cushion; large is 42" (106.5 cm) From fabric B, cut: the wrong side with a removable fabric marker
in outer diameter × 17" (43 cm) high, with a or tape, to avoid confusion):
—Two 24" (61 cm) circles for the bed bottom,
27" (68.5) cushion.
using the provided template (cut on the fold) From fabric A, cut:
notes —Two 23" × 48" (58.5 × 122 cm) rectangles for —Two 30" (76 cm) circles for the Cushion
—all seam allowances are 1⁄2" (1.3 cm) unless the bottom bolster Panels, using the provided template (cut on
otherwise noted. —Two 171⁄2" × 36" (44.5 × 91.5 cm) rectangles the fold)
—For explanations of terms and techniques, for the Top bolster —Two 7" (18 cm) circles for the Top bolster
see Sewing basics on pages 67–72. From the batting, cut: Ends, using the provided template
—one 24" (61 cm) circle for the bed bottom, —Two 13⁄8" × 22" (3.5 × 56 cm) bias strips for the
CUt + MaRk tHe FaBRiC using the provided template (cut on the fold) Top bolster Piping
For the Large size, skip to Step 3
From fabric B, cut:
2 on the long edges of each bottom bolster
1 For the Small/Medium size, cut the following rectangle, mark a pleat line perpendicular —Two 30" (76 cm) circles for the bed bottom,
pieces as directed (it’s a good idea to label the using the provided template (cut on the fold)
to the edge 21⁄4" (5.5 cm) in from each end on
pieces on the wrong side with a removable
the wrong side. Mark two more pairs of lines —Two 32" × 68" (81.5 × 173 cm) rectangles for
fabric marker or tape, to avoid confusion):
for 31⁄2" (9 cm) wide pleats on each long edge, the bottom bolster
From fabric A, cut: spacing them evenly, as shown in figure 1. on —Two 22" × 52" (56 × 132 cm) rectangles for the
—Two 24" (61 cm) circles for the Cushion the long edges of each Top bolster rectangle, Top bolster
Panels, using the provided template (cut on mark a pleat line 2" (5 cm) from one end and
the fold)
86
stitch

SMSS1109.indb 86 6/6/11 7:43 AM


5 cm)
m)
From the batting, cut:
—one 30" (76 cm) circle for the bed bottom,
using the provided template (cut on the fold)
4 on the long edges of each bottom bolster
rectangle, mark a pleat line perpendicular to
the edge 23⁄4 (7 cm)" in from each end on the
wrong side. Mark two more pairs of lines for
41⁄2" (11.5 cm) wide pleats on each long edge,
spacing them evenly, as shown in figure 1. on
the long edges of each Top bolster rectangle,
mark a pleat line 21⁄2" (6.5 cm) from one end and
a pair of lines for 4" (10 cm) wide pleats in the
center of each long side (figure 1).
asseMBle tHe CUsHion
5 Sew the Cushion Panels right sides together,
leaving an 8" (20.5 cm) opening for turning.
6 Turn the assembled cushion right side out
and press, pressing the opening seam allow-
ances under.
7 Stuff the cushion with fiberfill and then slip
stitch the opening closed.
pRepaRe + asseMBle tHe BolsteRs
8 Pin the bottom bolster rectangles right
sides together and sew both pairs of short
ends, leaving an 8" (20.5 cm) opening in one
seam for stuffing. Sew the two Top bolster
SMSS1109.indb 87
figure 2
pleat marks
rectangles right sides together along the short
edges with the pleat markings near them, leav-
ing the remaining short ends loose. Press the
seam allowances open.
9 Form inverted box pleats on the long edges
of both bolster pieces: Fold the fabric at the
pleat marks, bringing the two folded edges to-
gether to meet in the center of the pleat on the
right side of the fabric (some of the pleats will
meet at a seam). Machine baste across the folds
near the edge of the fabric to hold the pleats in
place (figure 2).
0 layer the fabric b bed bottom pieces with
wrong sides together and the batting bed bot-
tom piece sandwiched in between. baste the
edges together.
- Fold the joined bottom bolster piece in half
with wrong sides together and raw long edges
meeting and baste the long edges together.
= Pin the long edges of the bottom bolster to
the edges of the basted bed bottom, easing extra
fullness evenly. Serge or sew the edges together.
For a sewn seam, trim the seam allowance to ¼"
(6 mm) and finish with zigzag stitches.
q If you use the fusible piping, wrap each bias
strip around an equal length of piping with the
right side out and fuse the edges together fol-
lowing the piping manufacturer’s instructions.
To make piping using conventional nonfusible
cord, wrap each bias strip around an equal
Look for our supersized WINTER
issue, packed with 40 fabulous
projects! On sale OcTOBer 2011
Don’t miss our holiday
special issue, STITCH GIFTS
on sale nOvemBer 2011
how-to
length of cord, wrong sides together and long
edges aligned, then sew close to the cord using
a zipper foot. With raw edges even, baste a
length of the piping along each raw short end
(right side up) of the joined top bolster panels.
w Fold the top bolster in half lengthwise with
right sides together. Sew the long edges to-
gether for 4" (10 cm) on each end. Matching raw
edges and with right sides together, pin a Top
bolster End piece to each end of the bolster. Us-
ing a zipper foot to sew close to the piping cord,
sew the End pieces into the bolster, sewing over
the ends of the piping to secure them inside the
bolster. Trim the seam allowances and clip the
curves. Sew the remaining long edges of the
bolster together, leaving an opening for turning
in the center. Turn right side out.
e Stuff both bolsters with fiberfill and slip stitch
the openings closed.
asseMBle tHe BeD
r Place the completed cushion in the bed and
arrange the bottom bolster around the cushion.
adjust the fiberfill as needed so the bottom
bolster is evenly stuffed and slightly flattened
on top.
t Position the top bolster on the bottom bolster
with the seam side down. arrange it as desired,
making sure it is upright, and hand-tack the top
bolster in place. To reinforce the tacking, carefully
lift one section at a time and glue the top bolster
to the bottom bolster with permanent fabric
adhesive. Wipe up any excess glue immediately.
When the glue has dried, check for a secure hold
and add more glue if necessary.
carol ZenTgraF is a writer, a
designer, and an editor, who specializes in sew-
ing, textiles, painting, and decorating. Her work
has been published in several magazines and
she is the author of many sewing books, most
recently, Sewing Season’s greetings.
87
interweavestitch.com
6/6/11 7:43 AM
 set your sewing
FREE
D I S C OV E R T H E U N L I M I T E D F R E E D O M A N D P O S S I B I L I T I E S
of color, pattern, and customized fabric. Get wild with printing, painting,
drawing, stenciling, and other surface design methods. Inside you’ll find
12 simple sewing projects to make colorful, wearable, and hip designs.
Plus, author Alisa Burke offers insider’s tips on an enclosed bonus DVD.
I N C LU D E S
I N ST R U C T I O N A L

Sew Wild: Creating with Stitch and Mixed-Media D VD

Alisa Burke | $26.95 | 144 pages | 8 1/2 x 9
1-hour Bonus DVD ISBN: 978-1-59668-350-1

SW_FP_LOV_NEW1.indd 1 5/24/11 11:28 am

SMSS1109.indb 88 6/6/11 7:43 AM
 how-to

bag
in the

Stitcher’s
Haversack
by Jenn rhOaDs {from page 42}

figure 1

FaBRiC
—5⁄8 yd (57.5 cm) of 47–48" (119.5–122 cm)
wide burlap, canvas, rug hooker’s cloth, or
linen for shell bag (Main)
—1 yd (91.5 cm) of 45" (114.5 cm) wide
quilting cotton, shirting, or other medium-
weight fabric for lining bag (Contrast)
—one 9" × 12" (23 × 30.5 cm) square of wool
or wool/rayon felt
—T-shirt with great graphics for appliqué (or
print fabrics with large motifs)
otHeR sUpplies
—Press cloth
—1¼ yd (1.1 m) of medium-weight woven
fusible interfacing
—1 yd (91.5 cm) of fusible web (or more as
needed for appliqué)
—Thread to match Main fabric, appliqué,
and felt
—1½ yd (1.4 m) of 2" (5 cm) wide cotton
webbing
—1½ yd (1.4 m) each of 2 different ribbons
(varying widths, shown: 1¼" [3.2 cm] and
¾" [2 cm] ribbons)
—rotary cutter, rigid acrylic ruler, and self-
healing mat (optional for cutting)
—Stitcher’s Haversack templates on pattern
insert side C, or print your own (see notes)
FinisHeD size
—bag is 19" wide (from side seam to side
seam) × 15½" high excluding strap as mea-
sured along the side seam (48.5 × 39.5 cm);
strap is 50" (127 cm) long finished.
notes
—all seam allowances are ½" (1.3 cm)
unless otherwise noted.
—Press all seams open unless otherwise
noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—The strap on this bag is quite long. If you
would prefer a shorter strap, change
the measurement in Step 3 accordingly,
remembering to account for 1" (2.5 cm) of
total seam allowance.
—The font used for the numerals on this bag
is Copperplate Gothic bold at point size
400. Use the provided templates or create
your own on the computer by typing the
desired numerals (or letters) at the desired
size and printing them out.
CUt tHe FaBRiC
1 Using the rotary cutter, mat, and rigid
ruler (or ruler and chalk on the wrong side of
the fabric and scissors), cut two 19½" wide
× 20" long (49.5 × 51 cm) panels each from
the Main fabric, Contrast fabric, and fusible
interfacing. Fuse one interfacing piece to the
wrong side of each Main fabric panel, follow-
ing the manufacturer’s instructions.
2 From the remaining Contrast fabric, cut a
15" wide × 10" long (38 × 25.5 cm) piece for
the pocket.
3 Prepare the strap by trimming the cotton
webbing and each ribbon to 51" (129.5 cm).
These will be layered to create the finished
strap.
pRepaRe tHe appliqUés
4 To get the graphics from your T-shirt, cut
the shirt up the side seam so that you can lay
it flat. now, measure your graphic image(s),
and cut a piece of fusible web that is ½"
(1.3 cm) bigger on all sides. Follow the man-
ufacturer’s instructions to fuse the web to the
wrong side of the T-shirt, directly under the
chosen graphic, being careful of the printing
if using an iron. be sure to use a press cloth
or scrap of fabric to ensure that the iron
never touches the printing on your T-shirt (it
will smudge and melt). once the fusible web
is fused to the wrong side of the T-shirt (be-
hind the graphic), cut the graphic out of your
shirt, cutting along the lines of the graphic or
trimming to the desired finished size.
5 Trace the 2, 1, and 0 templates from the
pattern insert (or your desired printed-out let-
ters) onto the paper side of the remaining fus-
ible web, leaving at least a ½" (1.3 cm) margin
between shapes. The included templates are
already reversed for tracing; if using your own
templates, print them with a mirror-image
setting or trace from the wrong side to re-
verse. roughly cut around each shape, leaving
about ¼" (6 mm) on all sides, and fuse to the
wrong side of the felt. now cut your numbers
out along the drawn line.
seW tHe Bag
6 Place the two Main fabric panels right
sides together and sew along one 20" (51 cm)
edge. Press the seam allowances open and
lay the bag right side up on your work surface.
remove the paper backing from the appliqué
pieces (graphics and numerals) and arrange
them on the right side of one of the seamed
Main fabric panels (figure 1). For extra inter-
est, allow some of the appliqués to lie across
the side seam, but note that the lower 4½"
(11.5 cm) will become the bag bottom. With
an iron and press cloth, fuse all graphics in
place, following the manufacturer’s instruc-
tions. Topstitch each piece in place around
the edges with coordinating thread. For the
sample, the T-shirt graphics were topstitched

89
interweavestitch.com

1 11:28 am
SMSS1109.indb 89 6/6/11 7:43 AM
 how-to
1
⁄8" (3 mm) from the edge with thread to match
the T-shirt, while the felt number appliqués
were topstitched 1⁄16" (2 mm) from the edge
with thread to match the Main fabric.
7 Place the Main fabric panels right sides
together again and stitch the remaining side
seam and the bottom seam of the bag.
8 Finish the top edge (10" [25.5 cm] edge) of
the Contrast fabric pocket rectangle by turn-
ing under ½" (1.3 cm), then ½" (1.3 cm) again.
Topstitch close to the inner folded edge. Turn
the remaining three sides under by ½" (1.3 cm),
press, and open the folds. Turn the bottom
corners up diagonally to the point where the
side and bottom creases meet to miter the
corners, press, refold the side and bottom
creases, and press into place (figure 2).
9 Place the pocket on one of the Contrast fab-
ric panels, centered from side to side and about
3" (7.5 cm) down from the top 19½" (49.5 cm)
2 edge. Topstitch around the sides and bottom of
the pocket, 1⁄8" (3 mm) from the edges. be sure
to backtack or bartack at the top edge on both
sides because this will be a stress point.
0 once your pocket is in place, place the two
Contrast fabric panels right sides together
and stitch together along both side edges
and the bottom edge, leaving a 3" (7.5 cm)
opening in the center of the bottom seam for
turning. Set aside for now.
- layer the widest ribbon along the cot-
ton webbing, centering it between the long
edges. Topstitch the ribbon in place, as close
to each edge of the ribbon as possible. (If the
ribbon contrasts with the webbing, you can
make the stitching blend better by using a
bobbin thread to match the webbing and a
top thread to match the ribbon.) layer the
narrower ribbon on top, again centering it
between the long edges of the webbing, and
topstitch in place in the same way.
= To box the corners of the shell bag, with
right sides together, match one side seam to
the bottom seam. Measure up along the seam
4" (10 cm) from the corner and draw a straight
line that is perpendicular to the seam. It should
be about 8" (20.5 cm) long (4" [10 cm] to each
side of the side seam). Stitch along the drawn
line, through both layers. Trim the corner
away, ¼" (6 mm) from the seam line (figure 3).
repeat on the other corner, then repeat to box
the lining bag corners.
q Pin the strap inside the lining (Contrast
fabric) bag (still with right sides together) so
the strap is centered over each side seam,
ribbon side out, with the ends of the strap
flush with the top of the lining. The length of
the strap should be inside the lining bag.
w Turn the shell bag right side out and place
into the lining bag, matching the top edges,
with right sides together. Sew around the top
of the bag, catching the ends of the strap.
backtack when you come full circle and meet
the start of the seam.
90
stitch
SMSS1109.indb 90
2
figure 2
figure 3
e Turn the bag right side out through the hole
left in the bottom seam of the lining. once the
bag is pulled all the way through, sew this hole
closed as close to the edge as possible by ma-
chine or invisibly by hand with slip stitches.
r Press the seam where the lining and the
shell bag meet as flat as possible through all
of the layers, being mindful of your T-shirt
graphics if they are close to your top edge.
Smooth the lining to the inside of the bag,
pressing around the top edge so the smallest
amount of the shell (Main) fabric shows on
the inside of your bag. Topstitch ¼" (6 mm)
from the top edge to secure your straps and
keep everything in place.
Jenn rhoads is a graduate of the Fashion
Institute of Technology and has been a sewist
as long as she can remember. While designing
and sewing clothing is her passion, she is also a
contemporary quilter and creator of all things
sewable.
Drop-Top
Messenger Bag
by sTeFFani k. BurTOn {from page 43}
FaBRiC
—1¼ yd (1.1 m) of 54" (137 cm) wide wool
fabric for shell and tabs (Main)
—1 yd (91.5 cm) of 54" (142 cm) wide home-
decorator-weight cotton for lining and
interior cell pocket (Contrast)
—12 assorted accent scraps, about 5" × 10"
(12.5 × 25.5 cm) for bars (shown: assorted
wool scraps)
—18" × 18" (45.5 × 45.5 cm) fabric square to
use for armhole bias binding
otHeR sUpplies
—2½ yd (2.3 m) of 23" (58.5 cm) wide light-
weight woven fusible interfacing (shown:
bosal 300)
—Press cloth
—Matching sewing thread
—12⁄3 yd (1.5 m) of 3 ¾" (9.5 cm) wide jute
upholstery webbing
—Size 100/16 jeans sewing machine needle
—Two 1" (2.5 cm) heavy-duty swivel clips
—Two 1" (2.5 cm) d rings
—1¾" (4.5 cm) buckle (shown: hammered
silver oval buckle)
—drop-Top Messenger bag pattern on the
pattern insert side d
FinisHeD size
—about 15" wide × 20" tall × 3½" deep at the
gusseted bottom (38 × 51 × 9 cm). When
folded over and using the long strap, height
is 11" (28 cm) not including strap. Including
adjustable strap, total height is adjustable
from about 25–37" (63.5–94 cm).
notes
—all seam allowances are ½" (1.3 cm) unless
otherwise noted.
—For explanations of terms and techniques
see Sewing basics on pages 67–72.
—Take care when pressing and fusing inter-
facing to the wool. Use a press cloth and
make sure the iron is set to the appropriate
6/6/11 7:43 AM

temperature to avoid shrinkage.
—Jute webbing can be found at upholstery
businesses and Jo-ann Fabrics. Check with 1
your local fabric/craft store as well.
—The buckle used for the sample bag was
removed from a belt, but similar buckles can
be found at fabric/craft stores or online.
—The term “subcut" in the instructions
simply refers to cutting pieces you have
already cut into smaller pieces.
CUt tHe FaBRiC
1 Cut the following pieces as directed,
transferring all pattern markings to the
wrong side of the fabric. note that the shell
Main Panels will not be cut until later.
From Main fabric:
—oneGus set
—2 strips, 4½" (11.5 cm) wide × wof (width
of fabric); subcut the following rectangles
from these strips for accent strip ends:
—12 rectangles, 1¾" × 4½" (4.5 × 11.5 cm)
—12 rectangles, 2" × 4½" (5 × 11.5 cm)
—8 rectangles, 2¼" × 4½" (5.5 × 11.5 cm)
—12 rectangles, 2½" × 4½" (6.5 × 11.5 cm)
—4 rectangles, 3½" wide × 14" tall (9 ×
35.5 cm) for Side Extensions
—2 rectangles, 3" tall × 18½" wide (7.5 ×
47 cm) for bottom Extensions
—2 rectangles, 12" tall × 18½" wide (30.5 ×
47 cm) for Top Extensions
—1 rectangle 4" × 7" (10 × 18 cm) for Tabs
From Contrast fabric:
—2 Main Panels (cut 1, cut 1 reverse); trans-
fer cell pocket placement dots to the right
side of one Panel
—1 Gusset
—1 4½" wide × 11" long (11.5 × 28 cm) rect-
angle for Cell Pocket
From lightweight woven fusible interfacing:
—4 Main Panels (cut 2, cut 2 reverse)
—2 Gussets
—one3 ½" × 6½" (9 × 16.5 cm) rectangle for
Tabs
From assorted accent scraps:
—Cut 2 of each of the following rectangles for
accent bars:
—1½" × 6" (3.8 × 15 cm)
—1¾" × 7¾" (4.5 × 19.5 cm)
—1¾" × 8½" (4.5 × 21.5 cm)
—1¾" × 10" (4.5 × 25.5 cm)
—2" × 7¾" (5 × 19.5 cm)
—2" × 8" (5 × 20.5 cm)
—2" × 8½" (5 × 21.5 cm)
—2¼" × 6½" (5.5 × 16.5 cm)
—2¼" × 7" (5.5 × 18 cm)
—2½" × 7" (6.5 × 18 cm)
—2½" × 8" (6.5 × 20.5 cm)
—2½" × 8½" (6.5 × 21.5 cm)
From armhole binding fabric:
—2 bias strips, 2" wide × 22" long (5 × 56 cm)
SMSS1109.indb 91
1 one for each side of your bag shell.
figure 1
2 stack of strips. Trim each strip set to 11" tall
figure 2
Make tHe taBs
2 Fuse the interfacing Tabs piece, centered,
to the wrong side of the Main fabric Tabs
piece, following the manufacturer’s instruc-
tions.
3 Fold the Tabs piece in half lengthwise,
wrong sides together, and press. open and
press the long raw edges toward the center
crease so that they meet at the crease. refold
the piece in along the center crease, enclosing
the raw edges. Press. The piece should now
measure 1" × 7" (2.5 × 18 cm). Edgestitch down
both long edges. Cut this strip in half width-
wise so you have two 1" × 3½" (2.5 × 9 cm) tab
pieces. loop one completed tab through one
d ring and baste the raw ends together. repeat
the entire step with the second tab and d ring.
Set both aside.
seW tHe stRip sets
4 Matching widths, sew a Main fabric accent
strip end rectangle to each short end of all ac-
cent bar rectangles (for example, a 1¾" × 4½"
[4.5 × 11.5 cm] Main fabric piece will be joined
to each short end of one 1¾" × 7¾" [4.5 ×
19.5 cm] accent bar). assembled pieces will
vary in length. Press all seam allowances open.
5 Separate your pieced strips into two
stacks, each containing one of each size you
how-to
stitched. You will be creating two strip sets,
6 lay out one stack of pieced strips in a pleas-
ing manner, staggering the accent bars. once
you have an arrangement you like, sew the long
edges of adjacent strips together and press
seam allowances open (figure 1, viewed from
right side).
7 Center one 3½" × 14" (9 × 35.5 cm) Main
fabric Side Extension rectangle on each short
end of your strip set. Pin with right sides to-
gether and stitch into place (figure 1). Press
seam allowances open.
8 repeat Steps 6 and 7 with the remaining
× 18½" wide (28 × 47 cm).
ConstRUCt tHe pieCeD
sHell Main panels
9 Sew a Top and bottom Extension rectangle
to each of the trimmed strip sets with right
sides together, along the 18½" (47 cm) sides.
Press the seam allowances toward the
Extension pieces.
0 Using the Main Panel pattern piece, cut
two Main Panels (cut 1, cut 1 reverse) from
the pieced strip sets. be sure to center the
pattern and align the marked guidelines
(from the pattern) with the strip set seams.
remember to transfer all pattern markings
to the wrong side (do not transfer cell pocket
markings).
- Fuse the interfacing Main Panel pieces to
the wrong sides of the just-cut Main Panels,
making sure the seam allowances remain
3
pressed as directed in Step 9.
= If desired, topstitch ⁄8" (3 mm) inside and
1
1
⁄8" (3 mm) outside all edges of each accent
bar piece.
ConstRUCt tHe sHell Bag
q Fuse the interfacing Gusset to the wrong
side of the Main fabric Gusset.
w aligning the center bottom notches, pin
one Main Panel to the Gusset, right sides
together, pinning around the bottom curved
edge. Sew the pieces together, starting and
stopping ½" (1.3 cm) before the ends of the
Gusset piece.
e Using the tab placement notches, align
the raw edges of the tabs with the raw edges
of the Main Panel so that your d rings face in.
baste the tabs onto the shell Main Panel.
r attach the remaining Main Panel to the
other side of the Gusset as in Step 14.
t Continue sewing up both sides of the Main
Panels and backtack at each end (figure 2).
Press the seam allowances open and then
turn the bag right side out.
Make tHe Cell poCket
+ ConstRUCt tHe lining
y Fold the Cell Pocket piece in half, right
91
interweavestitch.com
6/6/11 7:43 AM
 how-to
sides together, so it measures 5½" × 4½"
(14 × 11.5 cm). Using ¼" (6 mm) seam al-
lowances, sew all raw edges, leaving a 2½"
(6.5 cm) gap for turning on one side. Clip the
corners and turn right side out. Press flat,
turning the seam allowances in at the gap.
u Topstitch across the folded top edge of the
pocket, 3⁄16" (5 mm) from the edge.
i Using the pocket placement dots on the
Contrast fabric Main Panel as a guide, pin the
pocket in place on the right side of one Main
Panel. Edgestitch the pocket in place around
the three seamed edges, leaving the top
folded edge unstitched and closing the gap
left in the pocket side.
o repeat Steps 13–17, excluding Step 15,
to construct the lining bag. Press all seam
allowances open.
asseMBle tHe Bag
p With the shell bag turned right side out,
place it inside the lining bag, aligning the
top edges. Pin and then sew the top edges
together.
[ Clip the curves and side seam “V". Press
the seam allowances open.
] Turn the bag right side out through the
armhole, press, and topstitch around the top
of your bag 1⁄8" (3 mm) from the edge.
FinisHing
\ baste the shell and lining together ¼"
(6 mm) from the edge around the armhole on
the front and back panels of the bag.
a refer to Create binding on page 72 to
prepare the binding strips for use as double-
figure 3
92
stitch
SMSS1109.indb 92
fold binding. open the binding and press ½" Studio Satchel
(1.3 cm) to the wrong side at one short end
by Trish PresTOn {from page 44}
of each strip. Starting with the folded-under
end of the binding, pin one binding strip
to each lining armhole, matching the raw
edges. leaving about 2" (5 cm) of the binding
fabric free at the beginning, sew the binding
to the armhole along the first crease. When
you are a few inches from the beginning edge
of the binding fabric, stop sewing, overlap
the pressed beginning edge of the binding by
½" (1.3 cm), and trim the working edge to fit.
Finish sewing the binding. refold the binding
along all creases and then fold it over the
armhole raw edges to the shell side, enclos-
ing the raw edges. The folded edge of the
binding should just cover the stitches visible
on the shell. Edgestitch the binding to the
shell through all layers (or slip-stitch in place
by hand if you prefer).
s Fold the jute webbing in half lengthwise
and press. Topstitch ¼" (6 mm) from both
long edges. This is your strap. FaBRiC
Fabric should be at least 45" (114.5 cm) wide
d Secure one end of the strap to your buckle unless otherwise noted. Bag shown is velveteen
by folding 2" (5 cm) of the strap over the with quilting cotton lining and strap.
buckle’s center bar, then sew back and forth —½ yd (46 cm) of print fabric for body of bag
across the strap several times near the raw (Main; shown: gold tree/floral print)
end to trap the center bar.
—1 fat quarter of print fabric for flap (a;
f Slide one swivel clip onto the loose end shown: multicolor dense floral print)
of the strap and run that end of the strap —¾ yd (68.5 cm) of cotton print for lining (b;
through the buckle (over the already stitched shown: brown starburst print)
end of the strap attached to the center bar).
—1⁄3 yd (30.5 cm) of print fabric for strap (C;
Secure the second swivel clip to the loose
shown: pink/orange medallion print)
end of the strap by folding over 2" (5 cm) and
sewing across the strap as described in Step otHeR sUpplies
28 (figure 3). —1½ yd (1.4 m) of heavyweight fusible fleece
g Clip the strap to the d rings on the bag (recommended: Pellon 911FF)
with the swivel clips. To use your bag, wear —Matching sewing thread
the shoulder hole over your arm with the bag —Two ¾" (2 cm) magnetic snaps
fully extended or allow both layers of the top
—1 set (2) of sturdy purse handles with 5 ½"
of the bag to fold over like a flap and use the
(14 cm) wide spread at base
jute strap; when folded over, the shoulder
—Six ¾" (2 cm) swivel hook rings
hole becomes a new design feature, allowing
the accent bars to peek through! —Two 1½" (3.8 cm) square rings
—Studio Satchel pattern on the pattern
sTeFFani k. burTon has a degree in insert side a
design and currently resides in Minnesota.
Working in her mother’s fabric store as the FinisHeD size
third generation of “women who sew”, she’s about 15" wide × 9" tall (38 × 23 cm)
passionate about designing and sewing. She notes
shares her creative endeavors on the store’s —all seam allowances are ¼" (6 mm)
blog, countryfabricsandquilting.blogspot.com, unless otherwise noted.
—For explanations of terms and techniques,
and on her personal design blog, sewwithsass
.blogspot.com. see Sewing basics on pages 67–72.
—When sewing through multiple thick layers,
you will want to use a stitch length of at
least 3.0–3.5 mm. It is recommended to
use a jeans needle when sewing thick lay-
ers that include the fusible fleece.
—Fat quarters are fabric cuts often sold
(alone or in color-coordinated sets) at
fabric and quilt stores. Fat quarters are
generally 18" × 22" (45.5 × 56 cm).
—note that a magnetic snap is used in this
6/6/11 7:43 AM

bag. Though the information we have avail-
able suggests that these will not cause
harm to computerized sewing machines,
if you are concerned about your machine,
please contact your sewing machine dealer
or manufacturer to inquire about the use
of this type of magnetic element with your
machine.
CUt + pRepaRe tHe FaBRiC
1 Cut the following pieces as directed, trans-
ferring all pattern markings to the wrong side
of the fabric unless otherwise noted.
From Main fabric, cut:
—2 Main Panel; transfer snap placement to
one panel only
—2¼" × 35" (5.5 × 89 cm) strip for Gusset
From fabric a, cut:
—1 Flap (do not mark snap location)
From fabric B, cut:
—2 Main Panel lining; transfer snap location
to both panels
—1 Flap lining; transfer snap location to
right side of fabric
—2¼" × 35" (5.5 × 89 cm) strip for Gusset
lining
—11½" × 12" (29 × 30.5 cm) piece for Pocket
From fabric C, cut:
—4" wide × 42" long (10 × 106.5 cm) strip for
Crossbody Strap
—Four 2½" × 12" (6.5 × 30.5 cm) pieces for
Handle Connectors
—Two 4" × 3" (10 × 7.5 cm) pieces for Strap
Connectors
From fusible fleece, cut:
—4 Main Panel Interlining
—2 Flap Interlining
—Two 1¾" × 34½" (4.5 × 87.5 cm) pieces
for Gusset Interlining
—2¾" × 41" (7 × 104 cm) piece for
Crossbody Strap
—Four 2" × 12" (5 × 30.5 cm) pieces for
Handle Connector Interlinings
—11" × 5¾" (28 × 14.5 cm) piece for Pocket
Interlining
—Two 2¾" × 2½" (7 × 6.5 cm) pieces for Strap
Connector Interlinings
2 Following the manufacturer’s instructions,
fuse the fleece Interlining pieces, centered, to
the wrong sides of the corresponding fabric
pieces; do not fuse the Pocket Interlining
piece.
3 Fold the fabric Pocket piece in half, right
sides together, so that you have a piece
measuring 11½" × 6" (29 × 15 cm); press to
crease. open the fold and place the Pocket
piece wrong side up in front of you. align one
11" (28 cm) edge of the Pocket Interlining
piece with the crease, centered side to side
on the wrong side of the Pocket. Fuse the
fleece in place according to the manufac-
turer’s instructions.
SMSS1109.indb 93
3¼"
(8.5 cm)
3¼"
(8.5 cm)
figure 1
CReate tHe Flap
4 Follow the manufacturer’s instructions to
install the stud side of the magnetic snap at
the marking on the Flap lining piece.
5 Pin the Flap and Flap lining pieces right
sides together. Stitch together around the
edge, leaving the short top (outer) edges
open but sewing the inner edges between
them. Clip the corners, including the inner
corners at the top.
6 Turn the flap right side out through one
of the top openings. This may take a little
maneuvering—just begin to turn the piece
through one of the top openings, gently pull-
ing the fabric through until the flap is right
side out.
7 Steam-press the assembled flap and then
topstitch 3⁄16" (5 mm) from all seamed edges,
leaving the open top edges unstitched.
CReate tHe CRossBoDY stRap
8 Press each long edge of the Crossbody
Strap piece to the wrong side by ½" (1.3 cm).
Then, fold and press the Strap in half length-
wise, wrong sides together. Topstitch 1⁄8"
(3 mm) and ¼" (6 mm) from each long edge.
repeat the entire step with each Strap Con-
nector piece.
9 Thread one short edge of each strap
connector through one square ring and fold
the connector in half so that the square ring
how-to
is trapped in a loop. Topstitch a ¼" (6 mm)
rectangle across the strap, stitching close to
the hardware, to secure.
0 Press under ¼" (6 mm) at each short end of
the crossbody strap. Thread one swivel hook
ring onto each end of the crossbody strap and
fold the strap ends over 1¼" (3.2 cm) to trap
the swivel rings. Making sure the raw ends are
still folded under, sew a ½" (1.3 cm) rectangle
across the strap ends to secure. Set aside the
finished strap and strap connectors for now.
ConstRUCt tHe sHell Bag
- on each Handle Connector piece, press ¼"
(6 mm) of each long edge to the wrong side.
Then, fold each piece in half lengthwise, wrong
sides together, and press. Edgestitch for about
3" (7.5 cm) on each long edge of each Handle
Connector, at one end (the rest will be stitched
later when attached to the bag).
= Thread the edgestitched end of one Han-
dle Connector through one swivel hook ring
until it sits about halfway down the edge-
stitched portion. Fold half of the edgestitched
end of the Handle Connector down, trapping
the hardware in the loop. Topstitch a ½"
(1.3 cm) box with an X inside through both
layers of the Handle Connecter, just below
the hardware, securing the swivel hook in
place. repeat with the remaining Handle
Connectors and swivel hooks.
q With one Main Panel right side up,
place one completed handle connector 3¼"
(8.5 cm) from each side edge (measuring at
the top edge); make sure the swivel hook
ends of the handle connectors are nearest
the top edge of the Main Panel and the raw
ends are flush with the bottom edge of the
Main Panel (the loop of the handle con-
nectors will sit about 1" [2.5 cm] below the
Main Panel top edge; figure 1). Pin in place.
Edgestitch down both long edges of each
handle connector, securing them in place on
the Main Panel. repeat the entire step to at-
tach the remaining handle connectors to the
other Main Panel; make sure the connector
placement is precise so that the swivel hooks
will align across the finished bag.
w Follow the manufacturer’s instruction to
install the socket half of the first magnetic
snap at the marking on one Main Panel; this
is now the front panel.
e Pin one long edge of the Gusset around
the front panel, with right sides together.
Stitch together, then clip around the curved
corners. repeat to attach the remaining long
edge of the Gusset to the other Main Panel.
Trim the gusset flush with the top edges of
the bag. Turn the bag right side out.
r align the open top raw edges of the flap
with the top raw edge on the back panel of
the shell bag; make sure the outer fabrics
are together and the lining fabric of the flap
faces out and the snap on the shell bag is on
the side opposite the flap. Pin (the flap will fit
93
interweavestitch.com
6/6/11 7:43 AM
 how-to
very snugly, so be careful of the placement
of the flap and make sure it does not overlap
the gusset), and then stitch the flap to the
back panel a scant ¼" (6 mm) from the edge.
Flip the flap over the top of the bag to double-
check that the snap halves meet.
ConstruCt the Lining Bag
t Fold the Pocket piece with right sides
together, folding along the existing crease.
Stitch around the three open edges, leaving
a 3" (7.5 cm) gap in the bottom for turning.
Turn the pocket right side out through the
gap, then turn in the seam allowances at the
gap and press. Topstitch ¼" (6 mm) from the
top (folded) edge; for the sample, a scallop
stitch was used instead of a straight stitch.
y Center the pocket on one Main Panel
Lining, with the top edge of the pocket 1¾"
(4.5 cm) down from the top edge of the Main
Panel Lining, and pin in place. Edgestitch
the pocket in place along the side and bot-
tom edges, backtacking several times (or
bartacking) at the stress points. Find and
mark the center of the pocket. Topstitch
straight through the pocket from the mark to
the bottom to create a divided pocket.
u Follow the manufacturer’s instructions to
install one side of the remaining snap at the
markings on each Main Panel Lining.
i Repeat Step 15 to assemble the lining bag,
leaving a 7" (18 cm) gap in the bottom edge
on one side. Do not turn right side out.
Finishing
o Match the raw edge of one strap connec-
tor to the raw edge at the top of one side of
the gusset on the shell bag. Center the con-
nector on the gusset (side to side), pin, and
stitch in place a scant ¼" (6 mm) from the
edge. Repeat to attach the remaining connec-
tor to the other side of the gusset.
p With the shell bag still right side out, place
it inside the lining bag so that the wrong sides
are together. Make sure the flap and strap
connectors are lying flat between the shell
and lining and the swivel hooks are hang-
ing down so that nothing is in the way of the
94
stitch
p088-103 HTBags.indd 94
seam. If necessary, pin through the layers
to pin the connectors or flap in place, out of
the way of the seam. Pin the shell and lining
together around the top edge and then stitch.
[ Pull the shell bag through the gap in the
lining to turn the bag right side out. Check
all seams to make sure they are secure and
nothing was missed. Then, turn the seam
allowances at the opening in and edgestitch
the lining closed.
] Push the lining into the shell and steam-
press the top edge. Then, topstitch 1⁄8" (3 mm)
from the top edge, being careful to avoid all
hardware. Attach the store-bought handles to
the swivel hooks on the bag body and attach
the crossbody strap to the square rings on
the gusset.
TRISH PRESTON is the owner of and
designer for Two Peas in a Pod Homegrown
Designs. Her projects have been featured in
Sew Hip magazine and on the PBS program
It’s Sew Easy. Check out her patterns and visit
with her at twopeasinapod.com.
Zip Zip Purse
by Rebecca Kemp bRent
for Coats & Clark {from page 45}
FaBriC
— ⁄8 yd (57.5 cm) of 45" (114.5 cm) wide cotton
5
broadcloth (Main; shown: muted green)
—¼ yd (23 cm) of 45" (114.5 cm) wide cotton
broadcloth (Contrast A; shown: orangey
gold)
—3⁄8 yd (34.5 cm) of 45" (114.5 cm) wide cot-
ton print for bag lining (Contrast B; shown:
mottled tan print)
other suPPLies
—¾ yd (69 cm) of 48" (122 cm) wide OR 1¾
yd (1.6 m) of 20" (50.8 cm) wide medium-
weight fusible interfacing (shown: Bosal
Fashion Fuse style #400)
—20" (51 cm) separating zipper with metal
teeth (shown: Coats & Clark Separating
Fashion Zipper in cloister brown)
—Four 1" (2.5 cm) D rings
—All-purpose polyester sewing threads
(shown: Coats & Clark Dual Duty)
—Tear-away stabilizer (optional; see Step 3)
—Zipper foot for sewing machine (optional)
—Zip Zip Purse pattern on the pattern
insert side C (Editor’s note: Due to printing
error, go to interweavestitch.com for full-
size Side Body pattern piece.)
FinisheD siZe
—8" high × 10–13" wide (at top) × 4" deep
(20.5 × 25.5–33 × 10 cm)
notes
—All seam allowances are 3⁄8" (1 cm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing Basics on pages 67–72.
Cut the FaBriC
1 Cut the fabrics as directed (use the Zip Zip
Purse pattern pieces where no dimensions
are listed).
From the Main fabric, cut:
—4 Side Bodies (cut 2, cut 2 reverse)
—Two 4" × 20½" (10 × 52 cm) rectangles for
Handles
—Four 4" × 4" (10 × 10 cm) squares for
Handle Tabs
From the Contrast a fabric, cut:
—Two 6" × 14" (15 × 35.5 cm) rectangles for
Body Insert Panels (will be trimmed to size
after embellishment)
From the Contrast B fabric, cut:
—2 Linings on the fold
From the interfacing, cut:
—4 Side Bodies
—2 Linings on the fold
—Two 6" × 14" (15 × 35.5 cm) rectangles for
Body Insert Panels
—Two 2" × 20" (5 × 51 cm) rectangles for
Handles
—Four 2" × 4" (5 × 10 cm) rectangles for
Handle Tabs
2 Following the manufacturer’s instructions,
fuse the corresponding interfacing pieces to
the wrong sides of the Side Body and Lining
pieces and the Contrast A Body Insert Pan-
els. Center one interfacing Handle piece on
the wrong side of each fabric Handle, leaving
¼" (6 mm) exposed at each short end, and
fuse. Center one interfacing Handle Tab piece
on the wrong side of each fabric Handle Tab
and fuse.
PrePare the inserts
3 Using matching or contrasting thread
(shown: muted green to match Main fabric),
stitch parallel rows of a decorative stitch
pattern ¼" (6 mm) apart on the Body Insert
Panels as follows. Sew parallel to the 14"
(35.5 cm) edges of the fabric and cover
the entire surface. The sample alternates
6/7/11 8:49 PM

between straight and zigzag stitches in each
row, with the zigzagged areas randomly off-
set from row to row. Program your machine
to combine different stitches within a row
(if this option is available on your machine;
refer to your sewing machine manual), or
switch manually between stitch patterns. as
an alternative, choose a single decorative
stitch pattern for each line of stitches; even a
simple straight or zigzag stitch can be effec-
tive. Note: For denser stitch patterns a layer
of tear-away stabilizer under the interfaced
fabric may be necessary. remove the excess
stabilizer after stitching.
4 Press the embellished panels from the
wrong side on a padded surface to protect the
embellishment threads. Trim each panel to
4¾" × 11" (12 × 28 cm).
Make tHe HanDles
5 Fold each Handle Tab in half and press
(if the fabric is directional, press the fold
lengthwise).
6 open the fold and press each parallel edge
to the wrong side so the raw edges meet
along the center fold.
7 refold along the original crease and press
again, enclosing the side edges. Edgestitch
both long edges of each piece.
8 Fold one completed handle tab around the
flat side of a d ring. Match the raw ends and
stitch 1⁄8" (3 mm) from the raw edges. repeat
with the remaining three handle tabs and d
rings.
9 Press ¼" (6 mm) to the wrong side on both
short ends of each Handle strip. Follow the
instructions in Steps 5–7 to press and stitch
the handles.
0 Slip one end of a completed handle
through the d ring attached to one handle
tab. Fold 1" (2.5 cm) of the handle to the
wrong side and edgestitch along the pressed
handle edge through all layers. repeat to
join the other end of the handle to a second
handle tab d ring. Make sure the 1" (2.5 cm)
allowance is folded to the same side of the
handle on both ends.
- repeat Step 10 with the remaining handle
and handle tabs.
asseMBle tHe sHell + lining
= With right sides together, sew a Side body
to each long edge of each embellished panel.
Press the seam allowances open. Sew these
assembled bag shells right sides together
along the bottom edge only and press the
seam allowances open.
q open the zipper and separate the two
halves. Center one zipper tape on the seam
between the insert panels and the right-hand
side body pieces with the zipper’s top stop
5
⁄8" (1.5 cm) below the top of the bag and
the bottom stop 5⁄8" (1.5 cm) from the bag’s
other edge. With thread that matches the
SMSS1109.indb 95
figure 1
zipper tape, stitch ¼" (6 mm) from the zipper
teeth through all layers, using a zipper foot if
necessary. repeat to sew the second zipper
tape to the other side of the insert panel.
Make sure both tapes are right side up with
teeth facing each other and that the top zip-
per stops are aligned with each other at the
same edge of the bag. after sewing, trim any
excess zipper tape even with the bag’s upper
edges.
w Switch to a decorative stitch pattern. With
thread that matches the zipper tape, sew
a decorative pattern over the edge of each
zipper tape, allowing the stitch to extend into
the Side body pieces. a 6-7 mm stitch width
works well; for the sample, the stitch was
centered on the zipper tape edge. Substi-
tute a zigzag stitch if your machine has no
decorative stitches. begin and end the rows
of decorative stitching at the bag’s raw edges.
e Fold the assembled shell in half, right
sides together, and sew the side seams (do
not sew the inner corners at the bottom).
Press the seam allowances open. Note: Keep
the zipper open with the pull near the bag’s
bottom seam as you finish the bag.
r refold the shell so the bottom seam is
aligned with one side seam and sew the
curved raw edges from dot to dot to box the
how-to
bag (figure 1). repeat to sew the second bot-
tom corner seam.
t Sew the lining pieces together along the
side and bottom seams, leaving a 6" (15 cm)
gap in the bottom seam for turning. Press
the seam allowances open, also pressing the
seam allowances to the wrong side along
the gap. repeat Step 16 to box the corners of
the lining.
FinisH tHe Bag
y Measure 2" (5 cm) from each side seam
on the bag front and back (at the top edge)
and mark with pins. Position one assembled
handle on the bag front with the outer edges
of the handle tabs at the pins, with right sides
together and raw edges matched. Stitch 1⁄8"
(3 mm) from the raw edges through all lay-
ers. repeat to stitch the second assembled
handle to the bag back.
u Place the bag shell (right side out) inside
the lining (wrong side out), so the right sides
are together. Stitch around the entire upper
edge, catching the handle tabs. Sew slowly
as you approach the zipper and be careful to
avoid striking the zipper teeth or stops with
the needle.
i Turn the bag right side out through the
opening in the lining and smooth the lining
into place. Press the upper edge seam flat.
o With thread to match the bag body in the
needle and a thread to match the lining in the
bobbin, topstitch ¼" (6 mm) from the upper
edge through all layers, beginning at the
decorative stitching on the zipper tape at one
side of the bag front and sewing around the
side to the first zipper tape on the bag back.
Secure the stitches at each end by backtack-
ing or tying off. Tip: Change to a larger needle
to accommodate the multiple fabric and
interfacing thicknesses. repeat to topstitch
the opposite side between the zipper tapes.
(The contrast panels are not topstitched.)
p Close the gap in the bag lining invisibly by
hand, using a slip stitch. Tack the lining to the
bag seam allowances at each lower corner
with a few handstitches.
ResoURCes
—Coats & Clark, coatsandclark.com, dual
duty XP all-Purpose threads and the
Fashion Zipper, available at retailers
nationwide.
—bosal Foam & Fiber, bosalfoam.com,
Fashion Fuse interfacing.
rebecca kemP brenT is an author,
editor, teacher, and designer. Her work has ap-
peared in many magazines and books, includ-
ing Redwork from The Workbasket.
95
interweavestitch.com
6/6/11 7:43 AM
 how-to

Pleats Please Bag FinisHeD size

by ayumi Takahashi {from page 46} —about 12" long × 15" wide × 6½" deep
(30.5 × 38 × 16.5 cm) without handles. With
handles, the bag is about 20" (51 cm) long.

notes
—all seam allowances are ¼" (6 mm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.

CUt tHe FaBRiC

1 Cut the following pieces as directed (you
may want to label each piece on the wrong
side with a removable fabric pen or tape).
From Main fabric, cut:
—Two 15½" × 12½" (39.5 × 31.5 cm)
rectangles for Front/back Panels
—Two 12½" × 7" (31.5 × 18 cm) rectangles
for Side Panels
—one 15½" × 7" (39.5 × 18 cm) rectangle
for bottom Panel
—Two 6½" × 11½" (16.5 × 29 cm) rectangles
for Pockets
From fabric a, cut:
—Two 3" × 42" (7.5 × 106.5 cm) strips for
Handle Insets

FaBRiC
—1 yd (91.5 cm) of 36" (91.5 cm) wide wool
blend felt for main bag (Main)
—¼ yd (23 cm) of 45" (114.5 cm) wide cotton
print for handle insets (a; shown: teal Paris
print)
—½ yd (46 cm) of 45" (114.5 cm) wide cotton
print for main handles (b; shown: black
writing print)
—7⁄8 yd (80 cm) of 45" (114.5 cm) wide cotton
print for lining (C; shown: pastel green
Paris print)
—¼ yd (23 cm) of 45" (114.5 cm) wide cotton
print for interior strap (d; shown: white/
gray stripe)
otHeR sUpplies
—Cotton sewing thread to match main felt
—Cotton sewing thread to match main
handles
—Handsewing needle
—1" (2.5 cm) long piece of Velcro
—Two 1" (2.5 cm) d rings
—rotary cutter, rigid acrylic ruler,
and self-healing mat
From fabric B, cut:
—Two 8" × 42" (20.5 × 106.5 cm) strips for
Main Handles
From fabric C, cut:
—Two 15½" × 12½" (39.5 × 31.5 cm) rect-
angles for Front and back lining Panels
—Two 12½" × 7" (31.5 × 18 cm) rectangles for
Side lining Panels
—one 15½" × 7" (39.5 × 18 cm) rectangle for
bottom lining Panel
From fabric D, cut:
—Two 4" × 10½" (10 × 26.5 cm) strips for
Interior Strap
Make tHe HanDles
2 Fold the fabric b Main Handles in half width-
wise, with wrong sides together. at the raw
short edge, mark 2½" (6.5 cm) in from each
long edge so that the distance between the two
marks is 3" (7.5 cm). Mark 10" (25.5 cm) from
the raw short edge on both long edges. Use a
ruler to connect each short-edge mark with the
corresponding long-edge mark (figure 1). Cut
along these lines through both layers of fabric
so each end of the strip is tapered. repeat this
entire step to taper the ends of the remaining
Main Handle.
3 Pin one prepared main handle (from
Step 2) and one fabric a Handle Inset piece
along both long edges with right sides
together, easing the main handle edges
to match those of the inset. Sew both long
edges. Turn right side out and press with the
fabric a inset centered. Fold the main handle
fabric toward the inset fabric at the seams
and press; the main handle will meet in the
middle with the inset exposed at each end of
the handle. repeat the entire step for the re-
(25.5 cm)
10"
2½" 3" 2½"
(6.5 cm) (7.5 cm) (6.5 cm)
figure 1
maining main handle and Handle Inset piece
to make a second handle.
asseMBle tHe sHell
4 align the short ends of one handle with a
long edge of a Main fabric Front/back Panel
with the handle ends 2½" (6.5 cm) from the
short outer edges, inset sides up, and pin in
place. Edgestitch the handle’s long edges from
the bottom of the insets for 10" (25.5 cm) us-
ing cotton sewing thread to match the handles
(figure 2). repeat this entire step to join the
remaining handle to the remaining Main fabric
Front/back Panel.
5 Pin one Side Panel to a Front/back Panel
with right sides together and the Side Panel’s
long edge aligned with the Front/back Pan-
el’s short edge. Sew along the aligned edge.
In the same manner, sew the remaining Side
Panel to the opposite edge of the same Front/
back Panel, then sew the free short edges of
the remaining Front/back Panel to the free
raw long edges of the Side Panels. You have

96
stitch

SMSS1109.indb 96 6/6/11 7:43 AM


(25.5 cm)
10"
2½"
(6.5 cm)
(25.5 cm)
10"
figure 2
now created the bag shell (there is no bottom
to the bag yet).
6 Position one Pocket piece right side up on
one side panel of the assembled bag shell,
aligning the bottom edges; the short edges
of the pocket should extend past the side
seams to meet the handles on the front and
back panels. Edgestitch both short pocket
edges and the bottom edge using matching
thread. repeat this entire step to attach the
remaining Pocket to the opposite side of the
bag (refer to the photo at top left).
7 With right sides together, pin the Main
fabric bottom Panel to the assemble bag
shell (created in Steps 5 and 6), aligning the
shell’s side seams with the corners of the
SMSS1109.indb 97
2½"
(6.5 cm)
bottom Panel. Sew together one edge at
a time, starting and stopping ¼" (6 mm) in
from the ends. backtack at both ends of each
seam. because the pockets wrap around the
side seams, you may need to ease the cor-
ners of the shell so the seams are smooth.
8 Fold a fabric d Interior Strap in half
lengthwise with wrong sides together. open
the strip and fold the two long edges toward
the folded line in the middle and press.
refold the strip along the center and press.
Edgestitch both long edges. Cut a 3" (7.5 cm)
length from the sewn strip. Then fold the
3" (7.5 cm) strip in half widthwise and lace
through one d ring. aligning the raw edges,
pin this piece to the center top edge of one
how-to
figure 3
of the shell bag’s side panels and sew very
close to the edge to attach it. repeat this
entire step to attach a d ring strap to the op-
posite side panel. Set aside the longer strap
pieces.
asseMBle tHe lining
9 repeat Steps 5–7 to create the lining bag,
leaving a 5" (12.5 cm) opening in one of the bot-
tom seams. With the shell wrong side out, in-
sert the lining inside with right sides together,
sandwiching the d ring straps inside. Sew the
top edge together and turn the bag right side
out through the opening in the bottom, being
careful not to catch the handles. Handsew the
opening closed with a slip stitch. Topstitch 1⁄8"
(3 mm) from the upper edge of the bag, again
being careful not to catch the handles.
0 on the portions of the handles that extend
beyond the top edge of the bag, bring the
outer edges of the handles together to
meet in the middle; keeping the center of
the strap out of the way, edgestitch the two
outer edges closed, backtacking at both ends
(figure 3).
- lace one of the long strap pieces set aside
in Step 8 through each of the d rings at-
tached at the top of the bag. Turn under each
short end by ¼" (6 mm), then sew the two
ends together on each strap. Position half of
the Velcro on the top of one long strap near
the end opposite the d ring, then topstitch in
place. Sew the remaining half of the Velcro
to the bottom of the remaining long strap so
the straps will attach with an overlap (see the
photo at left).
ayumi Takahashi was born and raised
in Japan but now resides in Northern Califor-
nia. She is passionate about creating things
from scratch and shares her craft projects
and easy sewing tutorials on her blog, Pink
Penguin, at ayumills.blogspot.com.
97
interweavestitch.com
6/6/11 7:43 AM
 how-to
Slouch Bag
by CHERYL KUCZEK {from page 47}
FABRIC
—¾ yd (69 cm) of 54–60" (137–152.5 cm)
wide soft medium-weight upholstery fabric
or wool fabric for bag shell (Main; shown:
burgundy twill)
—7⁄8 yd (80 cm) of 45" (114.5 cm) wide cotton
fabric for lining (Contrast 1; shown: multi
floral)
—1⁄3 yd (30.5 cm) of silk douppioni for trim
(Contrast 2; shown: gold)
—3⁄8 yd (34.5 cm) of 60" (152.5 cm) wide
pleather/vinyl/faux leather (Contrast 3;
shown: burgundy)
—13⁄8 yd (1.3 m) of 45" (114.5 cm) wide cotton
muslin
OTHER SUPPLIES
—5⁄8 yd (57.5 cm) of 58" (147 cm) wide head-
liner (such as Annie Soft and Stable)
—¼ yd (23 cm) of double-sided fusible ultra-
firm interfacing (such as Fast-2-Fuse)
—¼ yd (23 cm) of iron-on clear vinyl
—Matching threads for sewing the shell and
lining
—Variegated thread for topstitching
—Two 1" (2.5 cm) (inside diameter) metal
rings (see Notes)
98
stitch
p088-103 HTBags.indd 98
—One 2" (5 cm) (inside diameter) metal ring
(see Notes)
—Getta Grip Clips
—Rotary cutter, rigid acrylic ruler, and self- main fabric
healing mat shell panel
—Teflon, ultra glide, or glide presser foot for
sewing machine
—Zipper foot for sewing machine
—Size 90/14 or 100/16 denim or topstitch
needle for sewing machine muslin
—Roller chalk marker
—Scotcht ape
—Pinking shears or rotary cutter pinking headliner
blade
—Permanent marker to match pleather
(optional)
figure 1
—Slouch Bag pattern on pattern insert side D
(Editor’s note: Due to printing error, go to
interweavestitch.com for full-size Upper
Lining pattern piece.) —2 Bottom
FINISHED SIZE —2 Pockets
—12"wi de × 8 ½" high at center × 4" deep From Contrast 1, cut:
(30.5 × 21.5 × 10 cm) closed; 12" (30.5 cm) —2 Lining Front/Backs
high flat —2 Lining Sides
NOTES —1 Bottom
—All seam allowances are 5⁄8" (1.6 cm) unless —2 Pockets
otherwise noted. From Contrast 2, cut:
—For explanations of terms and techniques, —Two2 " × 16" (5 × 40.5 cm) strips for Pocket
see Sewing Basics on pages 67–72. Trim
—Do not press pleather/vinyl/faux leather —2 Upper Linings
fabrics with an iron. Where the pleather/ —2 Upper Lining Sides
vinyl is used (alone or combined with cot-
From Contrast 3, cut:
ton or silk fabrics), use only finger pressing
to open the seams. —One 6" (15 cm) wide × wof (width of fabric)
strip (for strap, strap tabs, and tab)
—Clip pieces together instead of pinning
when working with the pleather/faux —One 2" (5 cm) wide × wof (width of fabric)
leather to avoid permanent pin holes. strip (for strap loops and binding)
—Use a rotary cutter to get straight, square From muslin (interlining), cut:
cuts on pleather/faux leather. —4 Shell Panels (cut 2, cut 2 reverse)
—To avoid confusion, label each piece as you —3 Bottoms
cut and check off each piece on the list as —3 Lining Front/Backs
it is cut. —3 Lining Sides
—To make cutting easier, draw the pattern
From the headliner, cut:
pieces onto poster board. This gives you a
more stable pattern piece to trace around —4 Shell Panels (cut 2, cut 2 reverse)
so the cutting goes more quickly. —1 Bottom
—If the pleather has a light or white edge, find From the ultra-firm fusible interfacing, cut:
a matching permanent marker to color the —1 Bottom
edges. Be careful to color only the pleather From the iron-on clear vinyl, cut:
edges to avoid staining the other fabrics.
—OneBot tom
—The metal rings used can be found at most
hardware stores or at paradisiodesigns 2 Layer a Main fabric Shell Panel (wrong
.blogspot.com. side up), a corresponding headliner Panel,
and a corresponding muslin Panel. Pin the
—Steam and press all cut fabric (except
layers together. Baste ¼" (6 mm) from the
pleather/vinyl) pieces before beginning;
raw edges (figure 1). Repeat the entire step
do not press with an iron during or after
to layer and baste the remaining Shell Pan-
construction except as directed by the
els, headliner, and muslin.
instructions.
3 Following the manufacturer’s instructions,
PREPARE THE PIECES iron the clear vinyl Bottom onto the right side
1 Cut the following pieces as directed. of the Main fabric Bottom. Repeat Step 2 to
From Main fabric, cut: layer and baste the clear vinyl/Main fabric
Bottom with its corresponding headliner/bat-
—4 Shell Panels (cut 2, cut 2 reverse)
ting and one muslin piece.
6/7/11 8:35 PM

1½ "
trim (3.8 cm)
(3.8 cm)
1½ "
muslin
interfacing
muslin
bottom
figure 2
upper lining
side
lining
side
muslin
muslin
figure 3
4 Shorten the ultra-firm interfacing piece
by cutting off 1½" (3.8 cm) on one long side
and one short side. Sandwich the interfacing
between the two remaining muslin bottom
pieces, leaving a ¾" (2 cm) margin around the
interfacing. Fuse the muslin to the interfac-
ing following the manufacturer’s instructions
(figure 2).
5 layer the lining Front/back and lining
Sides right side up on top of the corresponding
muslin pieces. Staystitch a scant ¼" (6 mm)
from the bottom edge of each Upper lining
and Upper lining Side piece. Clip the curves
as necessary (to but not through the stitches),
then finger-press ¼" (6 mm) to the wrong
side on the bottom edge of each piece. Pin the
Upper lining pieces in place along the top of
each lining piece (figure 3). Edgestitch the
bottom of each upper piece through all layers.
asseMBle tHe stRaps + taBs
6 The 6" (15 cm) wide Contrast 3 (pleather)
strip is sewn in one length and then cut to
make the strap pieces and the tab. draw
a line 2" (5 cm) from one long edge on the
wrong side of the strip.
7 Fold the long edge farthest from the
guideline to the wrong side so the raw edge
SMSS1109.indb 99
how-to
interfacing
sandwiched
between
upper lining
lining front/back
visible raw edge is the wrong side. With the
strip right side up, topstitch 1⁄8" (3 mm) inside
the rows of edgestitching. add two more
rows of topstitching, each 3⁄8" (1 cm) inside
the previous stitches.
Note: When sewing multiple lines of
topstitching or edgestitching on pleather,
always sew in the same direction.
8 Square one end of the strip if necessary.
Cut a 5½" (14 cm) length for the tab. Cut two
7½" (19 cm) lengths for the strap tabs. The
remainder of the strip (about 36" [91.5 cm])
will be used for the strap; leave it as is to al-
low flexibility when the bag is assembled.
9 Cut 14" (35.5 cm) from the 2" (5 cm)
wide strip to make the strap loops. Set the
remainder of the strip aside to be used
ld
for the trim at the top of the bag. draw a
fofold
guideline on the wrong side of the strip 5⁄8"
(1.5 cm) from one long edge. repeat Step 7
to prepare the strip, but eliminate the last
two rows of topstitching. Square the strip
figure 4
end, if necessary, and cut four 3" (7.5 cm)
meets the guideline. Hold the fold in place long pieces for the strap loops that hold the
with Getta Grip Clips or tape. Edgestitch 1⁄16" straps in place.
(2 mm) from the fold, removing the clips as
you come to them. Fold the remaining long
asseMBle tHe sHell
edge to meet the edgestitching and clip into 0 Sew two layered shell panels, right sides
place. Edgestitch 1⁄16" (2 mm) from the fold together, along the shortest side. Finger-press
(figure 4). The side of the strip with the the seam open, pin in place, and topstitch 1⁄8"
99
interweavestitch.com
6/6/11 7:44 AM
 how-to
(7.5 cm)
3"
(7.5 cm)
figure 6
3"
figure 5
(3 mm) from the seam on both sides, holding
the seam allowances in place. repeat with the
other two layered shell panels.
- Measure 3" (7.5 cm) from the top and bot-
tom of each topstitched seam and mark with a
pin across the seam. Place a strap loop above
each upper pin and below each lower pin. Use
a clear gridded ruler aligned with the seam to
make sure the strap loops are perpendicular
to the seam. Scotch-tape them in place to
hold while stitching, keeping the tape in the
middle of the loop, away from the stitching
area. Topstitch each end of the loop 1⁄8" (3 mm)
from the edge, then again ¼" (6 mm) from the
edge (figure 5). begin and end the lines of
topstitching with the needle just beyond the
folded edge of the strap loop to secure the loop
completely and backtack at the beginning and
end of each row of stitches.
= Thread one strap tab through a 1" (2.5 cm)
ring and fold 1½" (3.8 cm) of the strap tab to
the wrong side. Topstitch 1⁄8" (3 mm) from the
strap tab end. Sew back and forth at least
three times, beginning and ending with the
needle just beyond the edges of the strap tab.
Sew another row of topstitching ¼" (6 mm)
from the end of the strap tab. repeat to as-
semble the second strap tab and ring.
q Tuck the end without the ring of one strap
tab through the lower strap loop on one side
of the bag, right sides up. Match the strap tab
and shell raw edges with the strap tab cen-
tered on the seam and baste ¼" (6 mm) from
the raw edges. repeat to position the second
strap tab on the other shell side seam.
w Pin the assembled shell panels right sides
together and stitch the long seams for the
center front and back. Press the seams open
and topstitch as in Step 10.
e Mark the center of each side of the Main
fabric bottom with chalk or pins; these marks
are the locations for the four topstitched shell
seams. on the bottom edge of the shell, mea-
sure and mark 2" (5 cm) to each side of each
100
stitch
SMSS1109.indb 100
side
seam
side seam (the shorter seams). Make a ½"
(1.3 cm) long clip into the seam allowance at
each mark, cutting through all the layers, to
release the shell seam allowances at the bot-
tom corners. With right sides together, pin
the shell to the bottom, matching the shell
seams to the first marks and the clipped
seam allowances to the bottom corners (fig-
ure 6). The shell’s shorter side seams align
with the centers of the bottom’s short sides.
r beginning near the center of one side,
stitch the bottom to the shell. Stop one or two
stitches before the corner with the needle
down, pivot the work and stitch diagonally
across the corner, just above the clip, for
three or four stitches, then pivot again and
continue along the next side (figure 6).
repeat around the entire bottom, overlapping
the beginning stitches for about 1" (2.5 cm)
at the end.
aDD tHe poCkets
t Pin one Main fabric Pocket to each Con-
trast 1 Pocket, wrong sides together. Pin one
Pocket Trim strip to one pocket’s top edge on
the Contrast 1 side, right sides together, and
sew with a 3⁄8" (1 cm) seam allowance. Press
the trim and seam allowances away from the
pocket. Press the free raw edge of the trim
5
⁄8" (1.5 cm) to the wrong side, then fold the
trim over the top of the pocket to the front
(Main fabric side), enclosing all raw edges;
the fold of the trim will cover the previous
seam. Edgestitch the folded trim edge. Cut
the excess trim flush with the pocket edges.
repeat to construct the second pocket.
y Find the middle of each pocket by folding
it in half and mark the center from top to bot-
tom. Pin one pocket to an assembled lining
front/back, matching the side and bottom raw
edges. Sew along the center line from bottom
to top through all thicknesses. at the top of
the pocket, pivot 180 degrees and change to
a satin zigzag (0.3–0.4 mm long and 5.0 mm
wide). Stitch over the seam from the pocket
top to the bottom of the trim strip, change
back to a regular straight stitch, and continue
sewing over the original seam to the bottom
of the pocket and lining. repeat to attach the
other pocket to the second front/back piece.
asseMBle tHe lining
u Pin a lining side to a lining front/back and
sew, beginning the seam 5⁄8" (1.6 cm) from
the bottom raw edges (at the point where the
seam lines cross). Finger-press the seam
open, pressing the pocket seam allowance
toward the lining side to reduce bulk. Top-
stitch both sides of the seam as in Step 10.
repeat the entire step to join the other lining
pieces to the first pair.
i Sew the lining bottom (Contrast 1) to the
assembled lining as in Step 16, but this time
the seams will be matched to the corners of
the bottom piece. The 5⁄8" (1.5 cm) left open
at the bottom of each seam replaces clips
to release the lining seam allowance at the
bottom corners.
FinisH tHe Bag
o Place the lining (wrong side out) into the
shell (right side out) so the wrong sides are
together. The center of each lining side piece
will match the corresponding side seam of
the shell, and the upper raw edges of the
shell and lining match. Sew the upper edge
with a ¼" (6 mm) seam allowance.
p Use the rest of the 2" (5 cm) wide strip
from Step 9 to bind the top edge as follows.
Trim one long edge of the strip with pinking
shears or a rotary cutter pinking blade, shav-
ing a tiny amount from the strip width. Clip
or tape the straight strip edge to the bag’s
upper edge, right sides together, beginning
at one side seam. When the strip end meets
the beginning, trim the excess length, leaving
a 1" (2.5 cm) overlap. Sew the strip to the bag
with a 3⁄8" (1 cm) seam allowance. Finger-
press the strip and seam allowances away
from the bag, then fold the strip to the lining
side of the bag, enclosing the seam allow-
ances and creating a 3⁄8" (1 cm) wide binding
on the outside. Clip or tape in place on the
lining side. Stitch in the ditch with a zipper
foot along the binding seam, catching the
pinked edge of the strip inside the bag.
6/6/11 7:44 AM

[ Slip one end of the remaining strap
through the upper strap loop on one side
of the bag, with the wrong side of the strap
next to the bag. Slip the strap end through
the metal ring attached to the strap tab and
fold 1½" (3.8 cm) to the wrong side around
the ring. Pull the strap tab and strap outward
to move the ring away from the bag side and
stitch the end of the strap as in Step 12.
] Thread the other end of the strap through
the upper strap loop and ring on the other
side of the bag, making sure the strap is not
twisted. Try on the bag and decide how long
to make the strap by adjusting the amount
of the strap folded around the ring. Trim the
excess strap, leaving 1½" (3.8 cm) for the
hem. Stitch as in Step 12.
\ Fold 1¼" (3.2 cm) of the 5½" (14 cm)
tab to the wrong side, folding it around the
2" (5 cm) ring. Topstitch the strap end as in
Step 12. Center the other end of the tab on
the bag’s center back seam, right sides up,
overlapping the bag’s bound edge by ¾"
(2 cm). Topstitch the tab end to the bag as in
Step 12. To close the bag, flip the back and
tab over the front, allowing the tab’s weight to
hold the edges together in a slouchy profile.
cheryl kucZek is the designer of the
independent sewing pattern line, Paradiso
Designs. She enjoys teaching children and
adults how to sew cool fun things while
thinking outside the box. You can find her at
paradisodesigns.com and see what she’s doing
at paradisodesigns.blogspot.com.
Slouch Bag (variation)
By cheryl kucZek
DOWnlOaD The Full-siZe
PaTTern anD PrOJecT
insTrucTiOns aT
inTerWeavesTiTch.cOm
SMSS1109.indb 101
Russian Doll
Backpack + Wallet
by Theresa gOnZaleZ {from page 48}
FaBRiC
See Notes for more information on the fabrics
used in the sample.
—½ yd (46 cm) each of three different 45"
(114.5 cm) wide cotton prints (a, b, C; shown:
pink large floral print, turquoise small floral
print, and multicolor stripe print)
—½ yd (46 cm) of 45" (114.5 cm) wide cotton
for lining (shown: turquoise polka dot)
—Scrap fabrics for faces and details (shown:
cream cotton for face, brown felt for hair,
red felt for cheeks and mouths)
otHeR sUpplies
—½ yd (46 cm) of medium-weight fusible
interfacing
—¼ yd (23 cm) of low-loft batting
—¼ yd (23 cm) of ultra-firm interfacing
—Embroidery floss (shown: brown)
—Embroidery needle
—¾ yd (69 cm) of 1" (2.5 cm) wide synthetic
webbing (shown: white)
—5 yd (4.6 m) of piping (shown: 2 packages of
Wrights bias Tape Maxi Piping in red)
—one each: 16" (40.5 cm), 7" (18 cm), and
4" (10 cm) all-purpose zippers
—Two 1" (2.5 cm) strap adjusters (shown:
white)
—Fabric glue
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Zipper foot for sewing machine
—russian doll backpack and Wallet patterns
and templates on the pattern insert side b
FinisHeD size
—backpack: 12" high × 9" wide × 4½" deep
(30.5 × 23 × 11.5 cm); Wallet: 7" high × 5"
wide × 1¼" deep (18 × 12.5 × 3.2 cm)
notes
—all seam allowances are ½" (1.3 cm)
unless otherwise noted.
how-to
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—Pink or otherwise finish all raw edges and
press all seams open unless otherwise noted.
—When using a striped fabric as fabric C, cut
all the pieces with the stripes parallel to
the long edges.
—If you prefer a sturdier backpack, try one of
the following:
—Substitute a heavyweight interfacing.
buy enough to fuse interfacing to the
Front, back, Side, and bottom pieces.
—Choose a heavier fabric, such as medium-
weight canvas, duck, or upholstery fabric.
—buy pre-quilted fabric or quilt the cotton
prints to batting backed with muslin
before cutting out the backpack pieces.
—Fabrics shown: a, Kumari Garden dF-
92Pink from Free Spirit; b, Hideaway Folk
art in Sky from Moda; C, Kumari Garden
dF103Tanaya Pink from FreeSpirit
CUt tHe FaBRiC
1 Using the backpack pattern pieces and
templates provided, cut the following pieces
for the backpack:
From fabric a, cut:
—1 Pocket
—1 backpack body for back
From fabric B, cut:
—1 backpack body for front
From fabric C, cut:
—one 10½" × 5½" (26.5 × 14 cm) piece
for bottom
—Two 8" × 5½" (20.5 × 14 cm) pieces
for backpack Sides
—Two 17" × 3¼" (43 × 8.5 cm) pieces for
backpack Zipper Panels
—Four 12" × 2½" (30.5 × 6.5 cm) pieces
for Straps
From lining fabric, cut:
—2 backpack body pieces
—one 10½" × 5½" (26.5 × 14 cm) piece
for backpack bottom
—Two 8" × 5½" (20.5 × 14 cm) pieces
for backpack Sides
From the face fabric, cut two large Faces
(shown: cream cotton).
From the hair fabric, cut one large Hair
(shown: brown felt).
From the mouth/cheek fabric
(shown: red felt), cut:
—1 large Mouth
—2 large Cheeks
From the medium-weight fusible
interfacing, cut two Backpack Bodies.
From the low-loft batting, cut:
—Two 11¼" × 1¾" (28.5 × 4.5 cm) pieces
for Straps
—1 large Face
From the ultra-firm interfacing, cut one
9½" x 4½" (24 x 11.5 cm) rectangle for the
bottom.
101
interweavestitch.com
6/6/11 7:44 AM
 how-to

2 Using the wallet pattern pieces and tem-

plates provided, cut the following pieces for
the Wallet.
From fabric a, cut:
—1 Wallet lower Front
—1 Wallet body for the back
From fabric B, cut one Wallet Body
for the front.
From fabric C, cut:
—one 6" × 2½" (15 × 6.5 cm) rectangle
for Wallet bottom
—Two 5½" × 2½" (39.5 × 6.5 cm) rectangles
for Wallet Sides
—Two 8" × 1¾" (20.5 × 4.5 cm) rectangles
for Wallet Zipper Panels
From the face fabric, cut two small Faces
(shown: cream cotton).
From the hair fabric, cut one small Hair 6 Press ½" (1.3 cm) to the wrong side along
(shown: brown felt). one long edge of each backpack Zipper
Panel. Pin each Panel to one side of the 16"
From the mouth/cheek fabric
(40.5 cm) zipper, with the zipper right side
(shown: red felt), cut:
against the Panel wrong side. The pressed
—1 Small Mouth edges of the Panels should meet at the cen-
—2 Small Cheeks ter of the zipper teeth, and the zipper should
From the low-loft batting, cut one small Face. be centered along the Panels’ length. Using
a zipper foot, topstitch each Panel ¼" (6 mm)
seW tHe zippeRs from the fold to attach the zipper.
3 Following the manufacturer’s instruc-
tions, fuse the medium-weight interfacing to
seW tHe piping
the wrong sides of the fabric a and fabric b 7 Pin piping to the assembled backpack
backpack bodies. front, with the corded edge toward the center
of the backpack and just inside the seam line.
4 Press ½" (1.3 cm) to the wrong side along begin and end the piping along the bottom
the top of the Pocket piece. lay the pressed edge by overlapping the ends (figure 1). With
edge over the 7" (18 cm) zipper, with the fab- a zipper foot, baste the piping to the back-
ric wrong side against the zipper right side, pack, stitching close to the cord. repeat to
centering the zipper between the pocket’s and baste them together ¼" (6 mm) from the
baste piping to the fabric a backpack body.
side edges. With a zipper foot on the sewing raw edge. Tuck ½" (1.3 cm) of the webbing
machine, edgestitch the fold to the zipper, seW tHe stRaps ends into the open end of one strap. Topstitch
1
⁄8" (3 mm) from the zipper teeth. Sew only ¼" (6 mm) from the strap end through all lay-
between the zipper’s top and bottom stops.
8 Stack two fabric C Straps with right sides ers to secure. repeat with the other webbing,
together and center a batting Strap on top. strap adjuster, and strap.
5 Measure 6½" (16.5 cm) from the bottom Stitch the long edges and one short end. Clip
edge of the fabric b backpack body and draw the stitched corners diagonally to reduce - Cut two 10" (25.5 cm) lengths of webbing.
a line across the body, parallel to the bot- bulk and turn right side out. Press. Fold ½" Fold 1¼" (3.2 cm) to the wrong side on one
tom edge. lay the pocket on the body piece, (1.3 cm) to the wrong side on the raw edges end of the webbing and finish the other raw
right sides together, with the zipper’s free and press. repeat the entire step to make the edge by applying fabric glue to the cut fibers
edge along the line. Stitch 1⁄8" (3 mm) from second strap. or with an overcasting stitch. Position the
the zipper teeth to attach the free side of the folded end on the fabric a backpack body
zipper to the body piece, again stitching only
9 Pin the closed end of one completed strap as shown in figure 2. Edgestitch the folded
to the fabric a backpack body, 2" (5 cm) from end of the webbing to the backpack, creating
between the zipper stops. Fold the pocket
the top and side raw edges. Topstitch a rect- a rectangle of stitches for reinforcement.
down, matching its side and bottom edges to
angle with an X inside it ¼" (6 mm) from the Thread the free end of the webbing through
the body and pin. Tuck the ends of the zipper
closed strap end and 1⁄8" (3 mm) from each the bottom of the strap adjuster on the same
tape between the fabric layers. Edgestitch
side of the strap. repeat to attach the second side of the backpack. repeat with the second
the pocket’s folded edge to the body from
strap to the other side of the body piece. piece of webbing, reversing the illustration to
each side edge to the zipper stitches, care-
fully avoiding the zipper stops and pull. It is 0 Cut two 3" (7.6 cm) lengths of webbing. match the other side of the backpack.
acceptable to have a small gap in the line of loop one around the upper bar of a strap
stitches rather than breaking a needle. adjuster. align the raw edges of the webbing

figure 1

102
stitch

SMSS1109.indb 102 6/6/11 7:44 AM


2"
(5 cm)
(3.2 cm)
1¼"
(2.5 cm)
1"
figure 2
seW tHe Bag
= Sew a backpack Side to each end of the
assembled zipper unit. Press the seam al-
lowances toward the sides and edgestitch.
Sew one short end of the backpack bottom
to the free end of each side to complete the
boxing unit for the backpack.
q Pin the boxing unit to the backpack front,
matching the bottom/side seams to the bottom
corners of the backpack, and stitch. Sew with
the backpack on top, use a zipper foot, and
stitch just inside (closer to the cord) the basting
stitches for the piping. repeat to sew the back-
pack back to the other side of the boxing unit.
w Handsew the ultra-firm interfacing to the
seam allowances around the backpack bot-
tom on the inside of the backpack.
seW tHe FaCe
e Stack the two large Face circles from
fabric scrap you’ve chosen for the face with
right sides together and add the corre-
sponding batting on top. Stitch around the
perimeter with a ¼" (6 mm) seam, leaving
a 1" (2.5 cm) opening for turning. Trim the
batting seam allowance to a scant 1⁄8" (3 mm),
clip the curves, and turn the face right side
out. Press, turning the seam allowance to the
wrong side along the gap. Topstitch around
the face 1⁄8" (3 mm) from the edge, closing the
opening as you stitch.
r Edgestitch the large Hair to the face with
matching thread, concealing the opening
used for turning. Glue the two large Cheeks
and the large Mouth in place, using the
photographs as a guide.
t Using embroidery floss, make two French
knots for the eyes.
SMSS1109.indb 103
how-to
y Pin the face to the backpack front 1" p Cut a 5¼" (13.5 cm) length of the
(2.5 cm) below the top seam and centered remaining piping for the hanging loop. Fold
from side to side. Stitch it in place with hidden ½" (1.3 cm) to the wrong side at each end
handstitches or use fabric glue to attach. of the piping. Center the two folds 2" (5 cm)
apart on the zipper panel sewn to the back-
seW tHe lining pack front and edgestitch small squares to
Note: Use a 5⁄8" (1.5 cm) seam allowance secure the ends to the backpack.
when sewing the lining. It will be slightly
smaller than the shell for a better fit. seW tHe Wallet
u Sew one lining Side to each short end of [ Press ½" (1.3 cm) to the wrong side along
the lining bottom, right sides together. Press the upper edge of the Wallet lower Front. Pin
the seam allowances to the wrong side on to the fabric b Wallet body, matching the side
the free short ends of the lining Sides. and lower edges. Edgestitch close to the fold.
i Pin the lining side/bottom unit to one ] baste piping to the assembled front and
lining body, right sides together, matching the fabric a Wallet body as in Step 7.
the bottom corners. The sides will reach only \ repeat Steps 6, 12, and 13, substituting
partway up the body sides. Sew the side/bot- the 4" (10 cm) zipper for the longer one, to
tom to the body. Press the seam allowances assemble the wallet.
toward the lining body and continue pressing
the seam allowance to the wrong side along a repeat Steps 15–18 to assemble the face,
the remaining raw edge of the body piece. using the Small templates. Position the small
repeat the entire step to stitch the second face ¾" (2 cm) below the top of the wallet.
lining body to the other long edge of the side/
bottom unit. Theresa gonZaleZ is the coauthor
of Dorm Décor: Remake Your Space with
o Pin the lining to the inside of the bag,
wrong sides together, matching the seam More Than 35 Projects and has contributed
lines. Slip-stitch the lining to the curved designs to Stitch and Cutting Edge maga-
seams at the top of the backpack and to the zines, design blogs such as Design Sponge
straight seams between the zipper unit and and Apartment Therapy, the San Francisco
the backpack sides.
Chronicle, and more. She lives, writes, and
crafts in San Francisco.
post. watch. discuss.
learn. comment. connect.
Join us at Sew Daily, the new online community for modern
sewists! Discuss sewing techniques and tips, get feedback
and help, chat about Stitch, or start a sew-along. You can
also upload photos of your work, share information about
b
sewdaily
yourself and your projects, and make friendssewing
in the commu-
made
nity. Watch technique videos, see what other users are work-
modern.
ing on, find the best magazines, books, and instructional
DVDs, and more!
all for FREE at sewdaily.com
sewdaily
sewing
made
modern.
103
interweavestitch.com
6/6/11 7:44 AM
 Introducing the third edition of…

vol.3

Take a visual and interactive journey filled with stitching adventures

in our latest in Stitches Volume 3 eMag.

Inside you’ll find:

• Exceptional content in an
exciting digital presentation
• Videos galore: artists in their
studios; conversations with artists;
technique videos, including
quilting fabric portraits with
Maria Elkins
Order your
eMag today at
shop.quiltingdaily.com
• Slideshows with zoom
capabilities
• Scrolling informational
and tip boxes
• Step-by-step instructional
articles, with illustrative figures
• Printable articles and
materials lists
• Bios for all contributing artists
Art by Gwen Hedley, Maria Elkins, Judy Coates Perez, and Natalya Aikens.

inSTITCHESvol3AD.indd
SMSS1109.indb 104 58 4/19/11
6/6/11 7:44
12:08
AMPM

Quilted Text Pillow
by missy shePler {from page 50}
FaBRiC
—2¼ yd (2.1 m) of 45" (114.5 cm) wide
quilting-weight cotton (shown: white)
otHeR sUpplies
—11⁄8 yd (1 m) of 45" (114.5 cm) wide cotton
quilt batting
—2 small spools (about 320 yd [293 m]) each
of 3 different shades of one color of sewing
thread (see notes)
—one 20" (51 cm) square pillow form
—one 12" (30.5 cm) or larger handquilting
hoop (a machine embroidery hoop may
work as well; make sure the hoop is thin
enough to slip below the machine’s presser
foot)
—Quilter’s safety pins (for temporary basting)
—Free-motion quilting foot for sewing
machine
—Walking foot for sewing machine
—removable fabric marking pen
—Quilted Text Pillow template on the
pattern insert side a
FinisHeD size
—21" × 21" (53.5 × 53.5 cm)
notes
—all seam allowances are ¼" (6 mm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—Choose one light, one medium, and one
dark shade of a single thread color to build
visual depth.
—Prewash, dry, and press fabric prior to
cutting.
11 12:08 PM SMSS1109.indb 105
—large letterforms can be found in printed
magazines or newspapers. Scrapbook-
ing and typeface sites often feature free
specialty fonts. Check out the fonts already
on your computer and test several to find
which best fits your message or use the
provided word template to re-create the
pillow as shown. To create large letters in
word-processing software, type a number
such as "200" into the font size box on the
toolbar.
—To practice quilted handwriting, draw
guidelines on paper and "quilt" with a pen-
cil or pen. don’t pick up the pencil or pen
between letters or words. You may need to
adjust the way certain letters are formed.
—repurposing pillows: Heat can cause
polyester fibers to fuse together, creating a
lumpy, uncomfortable pillow. re-fluff that
stuffing by opening the pillow form and re-
moving the fiberfill. Working with a single
handful of fiber at a time, pull the fused
fibers apart. repeat several times until the
fiberfill regains its fluff.
CUt tHe FaBRiC
1 From the cotton fabric, cut:
—Four 2¼" (5.5 cm) × wof (width of fabric)
strips for the binding
—Two 22" × 22" (56 × 56 cm) panels for the
Pillow Front
POem FeaTureD On
The samPle PillOW:
i love to stitch
by hand and machine
straight stitch and zigzag
and quarter-inch seams,
free-motion quilting, cotton,
canvas and voile
garments and housewares and
that is not all.
smocking and couching, pleats,
tucks, and darts
i dream of embroideries that
rival fine art
pretty pearle cottons in soft felted wool,
there seems to be nowhere my needle
won’t go.
crazed lazy daisies, fluent french knots,
slip stitch and whip stitch and darning
worn spots
basting and backstitch, buttonhole, too
gathers and ruffles and shirring, it’s true
i have a passion for patchwork.
i adore appliqué.
i simply must stitch
just a bit every day
—Missy Shepler
how-to
—Four 22" × 14" (56 × 35.5 cm) panels for the
Pillow back
Note: The pillow pieces are cut slightly larger
than final size to allow for possible "shrink-
age" during quilting.
2 From the batting, cut:
—one 22" × 22" (56 × 56 cm) piece for the
Pillow Front
—Two 22" × 14" (56 × 35.5 cm) pieces for the
Pillow back
qUilt tHe FRont
3 Print out or draw the feature word to be
scribble stippled, creating your own tem-
plate, or use the provided "stitch" template.
Keep it simple; elaborate or condensed
typefaces can be difficult to stitch around.
Size the word so the height of the letters is
about 1¾" (4.5 cm).
4 Using a removable fabric marking pen,
lightly draw a horizontal line on the right side
of one fabric Pillow Front panel, 14" (35.5 cm)
below the panel top edge. draw a second line
5
⁄8" (1.5 cm) above and parallel to the first; this
is the letter height for your main phrase (in
the sample, "i love to"). Place the fabric right
side up over the feature word template (the
provided template or the one you created),
aligning the lower guideline with the baseline
of the text and positioning the text to the right
of center, leaving room on the left for the
main phrase. If using a different word and
phrase, you may leave space on the right side
as well. Use a light table or sunny window
to make tracing easier and tape the fabric to
the template to prevent shifting. lightly trace
around each letter using a removable fabric
marking pen; this is the stippling guideline.
remove the template. lightly sketch "i love to"
or another phrase, using the guidelines for the
base and height of the main phrase letters,
leaving at least 1" (2.5 cm) of space around the
feature word. If the phrase doesn’t cover the
entire pillow width, stippling will be added as a
filler when you stitch.
5 Place the remaining (plain) fabric Pillow
Front wrong side up on a flat surface and
layer the batting Pillow Front on top, aligning
the raw edges. Place the marked fabric Pil-
low Front right side up on top of the batting,
again aligning the raw edges.
6 lay the layered pillow front on the outer
quilting hoop, centering the text within the
hoop. Secure the inner hoop in place, pulling
the fabric taut without distorting the fabric
weave. The layered fabric and batting should
lie flat against the work surface beneath the
hoop, the opposite of their position for hand
embroidery.
Refer to the sidebar on the following page for
information on free-motion stippling.
7 Starting with the lightest shade of thread,
free-motion stipple in the spaces between and
around the letters of the feature word (if using
letters with enclosed spaces such as o or P,
105
interweavestitch.com
6/6/11 7:44 AM
 how-to

the fabric pen before stitching, if desired

(the poem featured on the sample pillow is
Free-mOTiOn sTiPPling By machine included on page 105). Travel from one circle
to the next by stippling from the end of one
To get started, lower or cover the sewing machine’s feed dogs (see the owner’s manual circle to the beginning of the next, making
for specifics) and attach a darning or free-motion foot. the stippling curves larger than those used to
—With the fabric under the presser foot, bring the bobbin thread to the surface (right define the main word. When you are finished,
remove any remaining pen marks.
side) of the work. Hold both thread tails as you begin stitching. Tie off the threads by
making a few stitches in place, then cut the thread tails close to the fabric. Repeat the q add more stippling in the pillow corners
or open areas to keep the overall amount of
process to tie off at the end of the stippling. quilting balanced.
—In free-motion work, the stitch length is controlled by a combination of needle
Make tHe pilloW BaCk
speed and hand movement. Begin sewing at a slow to moderate rate, moving the fab-
ric smoothly with your hands, moving it just a small distance to achieve more control. w on the right side of two of the fabric Pillow
back pieces, use the fabric pen to lightly
As you gain confidence, speed up the needle and move your hands more quickly. With draw a series of guidelines 2" (5 cm) apart,
practice, you’ll develop a feel for the balance between needle and hands. parallel to the 22" (56 cm) width.
—Traditionally, machine stippling is a continuous meandering line, usually worked e Place the unmarked fabric Pillow back
with smooth curves as the edges of a puzzle piece. Move the fabric forward and pieces wrong side up on a flat surface. layer
a batting Pillow back on each Pillow back,
backward, side to side, and even diagonally. The process is like drawing by moving the
aligning the raw edges. Place the marked
paper under a stationary pencil. Pillow backs right side up on top of the bat-
—Adjust the size of the stippled curves to fit the project, but remember that very small ting, aligning the raw edges, to create two
stippling over a large area can make the project stiff. separate back panel "sandwiches." Pin baste
the two panels with safety pins.
—Overlap stitches as desired. The goal in this project is to create dense stitching
r Using the lightest shade of thread, free-
around the letters so that the unstitched letters will stand out. motion quilt additional background text on
the back panels, using the guidelines as
baselines for the letters. alternatively, or to
fill extra space on the back panels, stipple
quilt along the guidelines. remove any re-
maining pen marks.

pRepaRe tHe BinDing

you should also stitch inside the enclosed
spaces to define them), being careful to leave
the letters themselves unstitched. Extend the
stitching ½" (1.3 cm) to 1" (2.5 cm) beyond the
letters, creating a cloud of stitching around the
letter shapes. remember that more stitches
will be added with the other thread colors, so
don’t make the stippling too dense.
8 once the letters are well defined, tie off
and switch to the next darkest shade of
thread and stitch over the area again, leav-
ing some of the lighter stippling uncovered
around the outer edges. repeat with the
darkest shade of thread. The letters should
be very well defined and easy to read.
9 remove the pillow front from the hoop. If
necessary, lightly steam any wrinkles away,
holding the iron slightly above the fabric to
avoid crushing the batting. Pin baste the
unstitched area with the safety pins.
0 Using the darkest shade of thread, free-
motion quilt the main phrase along the
horizontal drawn lines, following the lines
marked in Step 4.
- Use the fabric pen to lightly mark a series
of circles on the pillow front, 2" (5 cm) apart,
beginning with a circle about ¾" (2 cm) wider
than the scribble stippled word and radiat-
ing outward. These are the baselines for the
background text. Mark a second set of lines
5
⁄16" (1 cm) above the first to indicate letter
height, if desired.
=Using the lightest shade of thread and
starting at the innermost circle, free-motion
quilt the background text along the circular
baselines. lightly draw in the letters with
t Sew the short ends of the binding pieces
together with diagonal seams to form one long
strip. Trim the seam allowances to ¼" (6 mm)
and press the seams open. With wrong sides
together, fold the strip in half lengthwise to
create a long, narrow strip. Press.
y Unfold the pressed strip and, with the
right side up, fill one long side of the strip
with straight, zigzag, or stippling stitches,
changing shades of thread as desired.
don’t stitch past the crease or within the ¼"
(6 mm) seam allowance along the strip edge,
because those areas will be hidden. The goal
is to "color" the visible binding with thread.
Press the stitched strip flat, then refold the
strip lengthwise, with wrong sides together,
and press again.
ConstRUCt tHe pilloW
u Square the pillow front and trim to 21½"
(54.5 cm) square. Trim each back panel to
a 21½" (54.5 cm) width (parallel to the lines
of free-motion work) and square up the long
edges; the exact length is not critical.
i align the prepared binding with one 21½"
(54.5 cm) edge of the first back panel, right
sides together and raw edges aligned. Sew
the binding to the back panel and trim the
excess binding length. Fold the binding over
the panel’s raw edge and slip stitch the binding
fold to the seam line on the panel’s wrong side.
repeat to bind one edge of the second back

106
stitch

SMSS1109.indb 106 6/6/11 7:44 AM

 how-to

panel. (If you’ve embellished the back panels

with words, keep the word orientation in mind
as you bind the edges so that the words will
all be oriented the same way in the finished
pillow.)
o Position the back panels on the front
panel, wrong sides together, aligning the
raw edges and overlapping the bound edges
of the back panels at the center. The upper
back panel should lie on top of the lower back
panel. Pin the panels together.
p Using a walking foot, stitch around the
outer pillow edge within the ¼" (6 mm) seam
allowance. bind the sewn edges of the pillow,
mitering the corners as you go; see attach
binding with Mitered Corners on page 72.
be sure to attach the binding so that the
thread-colored side of the binding is visible.
Insert the pillow form into the finished cover
through the overlapped back panels.

missy shePler is a designer, an author,

and an illustrator who loves to stitch! When-
ever possible, Missy combines her "day job”
with her love of stitching by creating projects,
patterns, and illustrations for sewing and
quilting clients and publications. See what she’s
stitching up now at missystitches.com.

Paper Shredder Quilt

by kevin kOsBaB {from page 51}

FaBRiC
All fabrics are 45" (114.5 cm) wide cotton.
—21⁄2 yd (2.3 m) of solid cotton fabric for block
backgrounds (Main; shown: orange)
—about 3 yd (2.7 m) total scraps of assorted
print fabrics for strips and block back-
grounds (Contrast group; shown: black,
white, and cream typography prints; refer
to Steps 1 and 2 for necessary sizes)
—3 yd (2.7 m) of backing fabric (shown: black
and gray stripe)
—The sample quilt has an envelope-finished
edge. If you prefer a bias-binding finish on
the outer edge of your quilt, refer to the
notes for yardage requirements.
otHeR sUpplies
—54" × 64" (137 × 162.5 cm) piece of cotton
batting
—Sewing thread
—Quilting thread in a neutral color (shown:
white)
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Fabric marking pen or pencil
—bent-arm (quilting) safety pins
—Walking foot for sewing machine
—Point turner or chopstick
—design wall (optional; see notes for more
information)
—Masking tape (optional)
FinisHeD size
—50" × 60" (127 × 152.5 cm)
notes
—all seam allowances are 1⁄4" (6 mm)
unless otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—Typographical prints are a perennial favor-
ite, but if you don’t have a stash of them,
try a different print and color scheme for a
more abstract interpretation.
—If you want to chain-piece as you sew, work on
no more than two blocks at one time to avoid
mixing up the sections cut from the blocks.
—The marking process may seem tedious
for blocks that only have one strip of print
fabric, but it ensures the strips continue to
line up even when they are intersected by
strips you add later.
—The sample quilt consists of six rows, with
five blocks in each row. When you study the
quilt carefully, you will see that, as a paper
shredder works, strips fall from the top edge
of the quilt to the bottom edge of the quilt,
where the strips accumulate. To achieve that
look, more strips are added to each block
progressively from the top to the bottom of
the quilt. The first row (at the top of the quilt)
contains blocks that include only one print
strip. The blocks in the second row include
two or three print strips. In the third row, the
blocks contain four or five print strips. The
blocks in the fourth row include six to eight
print strips. In the fifth row, the background
in each block is a combination of the solid
and print fabrics, plus six or seven print
strips. The blocks in the sixth row (at the
bottom of the quilt) all have a combination of
solid and print fabric backgrounds and six to
eight print strips.
—Using a design wall will help you arrange
the blocks so that the strips appear to fall
from the top edge of the quilt to the bot-
tom. after arranging the blocks, step back
to view them from a distance. You’ll be
able to spot places where blocks should be
swapped or rotated, or where you should
insert another strip to a block to fill in a

107
interweavestitch.com

SMSS1109.indb 107 6/6/11 7:44 AM

 how-to
B B
A A
B should intersect with two sides of the square,
A ruler’s edge. label the larger portion section
figure 1
A 7 With right sides together, pin section
figure 2
visual gap. a design wall can be as simple
as a flannel sheet tacked to a wall or a
large piece of foamcore board.
—The sample quilt has an envelope-finished
edge with no binding. after you complete
Step 18, sandwich the quilt top, batting, and
backing together and quilt as desired. bind
the edges instead (refer to Create binding
and attach binding with Mitered Corners on
page 72 for assistance). For 3⁄8" (1 cm) wide
finished bias binding, you need 3⁄8 yd (34 cm)
of 45" (114.5 cm) wide cotton fabric.
CUt tHe qUilt-top FaBRiC
1 Using a rotary cutter, rigid acrylic ruler,
and self-healing mat, cut the following:
—25 squares, each 11" × 11" (28 × 28 cm),
from the Main fabric for background blocks
(rows 1–5)
108
stitch
SMSS1109.indb 108
A each other. rotary cut the square along the
B at least ¼" (6 mm) outside the edges of the
B two guidelines from section a onto the strip.
—5 squares, each 11" × 11" (28 × 28 cm),
from the Contrast group fabrics for back-
ground blocks (row 6)
2 reserving at least five scraps, each about
5" × 12" (12.5 × 30.5 cm), cut 1" (2.5 cm)
wide strips from the remaining Contrast
group fabrics. The lengths can vary; strips
cut across the entire width of the fabric can
be trimmed to lengths that you need as you
make the blocks. For a strip that runs across
an entire block, about 15" (38 cm) is required.
Shorter strips can be used in corners. If you
prefer, cut the strips as you need them.
Make tHe BloCks
Note: refer to the photo on page 107 to see the
strip layout (as featured in the sample quilt)
described in the following instructions. as you
complete the blocks for each row, keep them
in separate piles or line them up on a work
surface as they will appear in the finished quilt
to help with organization. You may want to
label each pile or group with a row number to
help you remember which row they belong to.
rows are in order from top to bottom (as they
appear on the sample quilt), with row 1 being
the top and row 6 being the bottom.
3 on the wrong side of a solid background
square, use your acrylic ruler to mark ¼"
(6 mm) inside each of the square’s four raw
edges. This guide line will be used to keep the
print strips aligned when they intersect each
other, no matter at what angle they intersect.
4 With the block right side up, place the
quilter’s ruler on top of the block to divide the
square into two sections (figure 1). The ruler
and the sides can be adjacent to, or opposite,
a and the smaller portion section b (figure 1).
5 With right sides together, pin a 1" (2.5 cm)
wide strip of print fabric to the raw edge of
section a, letting the ends of the strip extend
square. Sew the pieces together, then press
the seam allowances toward the strip (this
helps raise the strips slightly from the back-
ground fabrics).
6 on the wrong side of section a and its ad-
joining strip, with your marking pen, extend the
Place your ruler so that one of its edges aligns
with the long raw edge of the strip, and the
other edge of the ruler is at a 90-degree angle
to the raw edge. Make sure the edge of the
ruler intersects with the extended guideline,
¼" (6 mm) from the raw edge of the strip, and
make a mark on the extended guideline at the
point where they intersect (figure 2).
a’s adjoining strip to section b, aligning the
marks on the strip that you made in Step 6.
Sew the pieces and press the seam allow-
ances toward the strip.
8 repeat Steps 3–7 to make a total of five
blocks, each with one print strip, for row 1.
9 Make five blocks for row 2. repeat Steps
3–7 to insert one strip into each block, then
cut each block into two sections again. be sure
to label the larger portion section a and the
smaller portion section b. Insert another strip
in the same manner. You will now have two
strips in each block. Following the same pro-
cess, you can add another strip to a few of the
blocks. Your cuts can intersect previous strips
or not—a mix of intersecting and nonintersect-
ing strips provides visual interest. Short strips
can stretch across corners of the block and
long strips can extend across the entire block.
0 Make five blocks for row 3. Follow the
same process as before to insert four or five
strips in each of the blocks.
6/6/11 7:44 AM

- Make five blocks for row 4. Follow the
same process as before to insert six to eight
strips in each of the blocks.
= Make five blocks for row 5. This row is the
transition row between rows 4 and 6. In this
row, rather than inserting print fabric strips
between sections of the solid fabric back-
ground squares, the background squares will
be comprised of the solid fabric and the print
fabric. First, cut and mark (on the wrong side)
a solid fabric background square as described
in Steps 3 and 4, then sew a print fabric strip
to the larger portion (section a), as described
in Step 5. Section b of the solid fabric square
will become a template, and that fabric will
not be used in the blocks you make for row 5.
q With the right sides facing up, lay the section
b template on top of one of the reserved scraps
of the print fabric. Trace around the template
and then cut it out along the traced lines. Sec-
tion b of your block will now be a print rather
than a solid fabric. Set aside the solid fabric
(section b) template. on the wrong side of your
new print fabric section b, along the edges that
will comprise the outside edges of the block,
mark ¼" (6 mm) inside the outer edges to mark
the guideline as before. next, as described
in Step 6, mark the guidelines on section a’s
adjoining print fabric strip and on section b.
Proceed to insert another five or six strips as
you did in previous steps.
w Make five blocks for row 6. Using the
background squares of print fabric instead
of solid fabric, insert six to eight print fabric
strips, following the same process as before.
e To square up all of the blocks, trim all of
them to 10½" × 10½" (26.5 × 26.5 cm).
asseMBle tHe qUilt top
r on your design wall or work surface, lay
out the blocks in six rows of five blocks each,
from row 1 at the top to row 6 at the bottom.
rotate and rearrange the blocks as neces-
sary to achieve the appearance of strips of
paper falling from the top of the quilt and
accumulating in a pile at the bottom.
t When you’re satisfied with your arrange-
ment, with right sides together, sew the row
1 blocks together in a strip. Press the seam
allowances to one side. repeat to join each row
of blocks into strips, and on each row, alternate
the direction you press the seam allowances.
y beginning with rows 1 and 2, with right
sides together, pin the rows together, match-
ing the seam allowances between the blocks.
Sew the rows together, taking care that you
don’t accidentally sew the rows together out
of order. Press the seam allowances to one
side. You have completed the quilt top!
BaCking + qUilting
u Cut the backing fabric into two 1½ yd
(1.4 m) pieces and remove the selvedges. Pin
the two pieces, rights sides together, along a
54" (137 cm) edge, sew, and press the seam
allowance open. Trim the rectangle parallel
SMSS1109.indb 109
to the seam to make a 54" × 64" (137 × 162.5
cm) backing.
i Place the batting on a large flat surface,
center the backing right side up on the bat-
ting. Then center the completed quilt top,
wrong side up, on top of the backing (the
right sides of the top and backing will be
together). Using safety pins, pin around the
perimeter of the quilt, about 1½" (3.8 cm)
from the edges of the quilt top, spacing the
pins no more than 6" (15 cm) apart. Trim off
the excess batting and backing.
o Using a walking foot, sew through all the
layers around the perimeter of the quilt ¼"
(6 mm) away from the outside edges or by
guiding the edge of the walking foot along the
sides of the quilt top, leaving an opening of
about 15" (38 cm) at the center of the bottom
edge. backtack at the beginning and end
points. remove the safety pins.
p Trim the excess fabric and batting to a ¼"
(6 mm) seam allowance, trim the corners
diagonally, and turn the quilt right side out
through the opening. The batting will be
sandwiched between the quilt top and the
backing. Use a point turner to gently push out
the corners. Spread the quilt out on a large
flat surface and secure the layers with a few
safety pins in each block (the combination of
clingy cotton batting, a walking foot, and an
already-stitched-together outer edge reduces
the amount of basting required compared
to a quilt that is finished with conventional
binding). Fold the seam allowances at the
opening to the inside of the quilt, trimming the
batting if necessary. Using a walking foot and
quilting thread, topstitch around the perimeter
through all the layers, about 1⁄8" (3 mm) from
the outside edge, closing the opening.
[ Quilt as desired using your quilting thread.
To echo the jumbled crisscrossing of the
piecing, the sample was quilted in straight
lines with a walking foot, extending each line
across the entire quilt at random angles and
pivoting at the edges to continue in a different
direction. on the sample, the quilting was
done without marking first. If you want to
ensure that you sew perfectly straight lines,
sew along the edge of masking tape stuck
how-to
to the quilt top. If you opt to use masking
tape, be sure to remove it within a few days
to avoid having the tape’s adhesive leave a
residue on the fabric.
keVin kosbab is a freelance writer, an
editor, and a pattern designer. He designs
modern quilts and sewing projects for a variety
of magazines, and you can find his Feed Dog
Designs patterns in stores and on the Web at
feeddog.net.
Alphabet Soup Quilt
by rachel hauser {from page 52}
DOWnlOaD The Full-siZe
TemPlaTes FOr This PrOJecT
aT inTerWeavesTiTch.cOm
FaBRiC
Fabrics are 44–45" (112–114.5 cm) wide unless
otherwise noted.
—one fat quarter of colorful cotton print
for feature letter patch (fabric 1; shown:
bermuda Stripe by anne Kelle; if print is
directional, you’ll need ½ yd [46 cm])
—½ yd (46 cm) of another cotton print for
feature letter patch sashing (fabric 2; rec-
ommended: print on white or cream; shown:
bermuda owls by anne Kelle; if print is
directional, you’ll need ¾ yd [68.5 cm])
—1 yd (91.5 cm) of solid cotton for feature
letter and alphabet blocks (fabric 3; rec-
ommended: white or cream; shown: Kona
cotton in bone by robert Kaufman)
—¾ yd (68.5 cm) each of 3 coordinating solid
and/or print cottons for alphabet blocks
(group 4; shown: Kona cotton in bahama
blue and olive, Freebird ovals by Momo)
—½ yd (46 cm) each of 3 coordinating solids
for alphabet blocks (group 5; shown: Kona
cotton in Paprika, Earth, and amber)
—one fat quarter each of 8 different coordi-
nating prints for appliqué letters (group 6;
recommended: small-scale tonal prints)
—2 yd (1.8 m) of 108" (274.5 cm) wide f
abric for quilt backing, such as flannel or
quilter’s cotton, or 5½ yd (5 m) of 45"
(114.5 cm) wide fabric
—1½ yd (1.4 m) of cotton print for border
(shown: Eliza by Jennifer Paganelli)
—2⁄3 yd (61 cm) of solid cotton for binding
(shown: Kona cotton in Paprika)
—Felt scraps in desired colors for letters a,
h, m, and t
otHeR sUpplies
—1 twin-size (72" × 90" [183 × 229 cm]) pack-
aged batting (such as Warm & natural by
The Warm Company)
—Eleven 9" × 12" (23 × 30.5 cm) sheets of
double-sided fusible web (such as lite Steam
a Seam 2 by The Warm Company) or 2½ yd
(2.3 m) of 18" (45.5 cm) wide fusible web
—White or cream cotton sewing thread for
piecing and quilting
109
interweavestitch.com
6/6/11 7:44 AM
 how-to

—Sewing thread to match binding

—Small spools of matching thread for each
print to be used for appliqué letters
—Size 8 pearl cotton thread to match each row 1
color of felt
—Embroideryn eedle
—7–8" (18–20.5 cm) embroidery hoop
—Pinking shears (optional: pinking blade for
rotary cutter)
—bent-arm (quilting) safety pins or basting
spray row 2
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Water-soluble pencil or chalk
—Clear or open-toe sewing machine foot for
satin stitch
—Walking foot attachment for quilting
row 3
—Quilting gloves (optional)
—Full-size letter templates at interweave
stitch.com (optional)

FinisHeD size
—65" × 88" (165.5 × 223.5 cm) to fit a twin bed
row 4
notes
—all seam allowances are ¼" (6 mm) unless
otherwise noted. Press all seam allow-
ances open.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—Fat quarters are fabric cuts often sold row 5
(alone or in color-coordinated sets) at
fabric and quilt stores. Fat quarters are
generally 18" × 22" (45.5 × 56 cm).
—Prewash and machine dry all fabrics, in the
same manner that you wish to care for the
finished quilt.
—Handwash felt scraps in warm water to row 6
release excess dye. Machine dry or lay flat
to dry.

CUt tHe FaBRiC

1 Cut the following pieces as directed. construction diagram
From fabric 1:
—14½" × 18½" (37 × 47 cm) piece for feature
letter patch
CReate tHe letteRs all fonts are Tahoma unless otherwise
From fabric 2: 3 a full set of regular and feature (l is the noted. note the use of uppercase and
feature letter on the sample quilt) alphabet lowercase letters. once printed, cut out
Note: If using a nondirectional print, cut templates have been included in the PdF each letter template.
Sashing Strips C and d first. If using a download. If you would prefer to create your
directional print, cut Sashing Strips a and C own templates, use the information given a - 235 n - 330 (in arial)
on the lengthwise grain and b and d on the in the sidebar at right to match the letters
crossgrain. b - 370 o - 425 (in arial)
seen in the sample, or use your desired fonts
—18½" × 3" (47 × 7.5 cm) Sashing Strip a and sizes to create personalized templates C - 775 P - 855 (in arial)
—17" × 3" (43 × 7.5 cm) Sashing Strip b for your quilt. If you choose to print your d - 422 Q - 302 (in arial)
—6" × 21" (15 × 53.5 cm) Sashing Strip C own to match those seen on the sample, the E - 455 r - 775
alphabet templates should be printed using F - 887 s - 422
—6" × 22½" (15 × 57 cm) Sashing Strip d
the fonts and point sizes referenced in the
From fabric 3 and groups 4 and 5: G - 330 t - 532
sidebar on standard 8½" × 11" (21.5 × 28 cm)
—Twenty-six 11½" × 13½" (29 × 34.5 cm) block paper. be sure to print at 100% or "actual h - 330 u - 595
backgrounds. From each 11½" (29 cm) strip size," with no scaling. an image-editing i - 330 V - 783
cut from selvedge to selvedge on the cross- program such as adobe Photoshop or Gimp J - 536 (in arial) W - 145
grain, you will be able to cut 3 blocks. (available free online at www.gimp.org) will K- 438 x - 422
allow you to print very large text sizes with
2 remove the selvedges from the border l - 500 Y - 898
ease and eliminate paper waste by arranging
fabric. Cut nine 5½" (14 cm) × wof (width of m - 235 z - 328
more than one letter on the page.
fabric) strips.

110
stitch

SMSS1109.indb 110 6/6/11 7:44 AM


4 letters a, h, m, and t are made in felt; note
that the provided letter templates are reversed
for tracing, so trace the templates onto the
wrong side of the felt (if visibly obvious on your
felt) or reverse the templates before tracing.
Holding the paper letter template firmly on
the felt, trace around each of the mentioned
templates with a water-soluble pencil or chalk
onto the felt scraps—one letter per scrap. Cut
out each letter along the lines. Set aside.
The provided letter templates are already
reversed for tracing. If you are not using the
templates, remember that the letters must
be reversed for tracing onto the fusible web.
5 letters b, E, F, G, K, l, n, s, V, Y, and z
are cut from the group 6 fabrics with pink-
ing shears. begin by tracing each letter with
regular pencil onto the paper of your double-
sided fusible web, leaving at least ½" (1.3 cm)
of space between each shape. once traced,
roughly cut out each letter, leaving a small
margin of fusible web around each. do not cut
SMSS1109.indb 111
along the drawn lines at this point. Fuse each
letter onto the wrong side of your chosen fabric,
following the manufacturer’s instructions.
Then, cut along the traced lines with pinking
shears. For long, straight passes you may also
use a pinking rotary blade if you have one. To
cut out inner shapes (as in b), cut a slit in the
interior shape using straight-edged scissors,
then cut out from that slit carefully with pinking
shears to trim the edges.
6 letters C, d, i, J, o, P, Q, r, u, W, and x will
be cut from the group 6 fabrics with straight
edges. Follow the directions in Step 5, cutting
out the final shapes with straight-edged scis-
sors instead of the pinking shears/blade.
7 The design font, dauphin (available for
download at fontstock.net/9005/dauphin.
html), in point size 1540 was used for the
feature letter on the sample quilt. a full
alphabet of feature letters is included in the
PdF download at interweavestitch.com, but
you may choose to use a different favorite
how-to
font or to hand-draw your extra-large feature
letter. The finished height should be 13" tall
and no more than 11" wide (33 × 28 cm). once
you have created (or printed and assembled)
a template letter, trace it onto the paper side
of the fusible web. If using sheets of fusible
web, you will need two sheets to accom-
modate a letter of this size. Fuse the traced
letter to fabric 3 as described in Step 5, then
cut out with straight-edged scissors.
asseMBle tHe BloCks
8 Using the construction diagram on page
110 for reference, place each fabric letter
onto a background block (cut in Step 1). When
each letter is exactly where desired, follow the
manufacturer’s instructions to permanently
fuse the letters to the blocks. a random letter
placement, as shown in the diagram, gives
this quilt great character. Follow the place-
ment for the letters shown in the diagram
or play around with the placement as desired
before fusing the letters in place.
9 To attach your felt letters, pin each one in
place on the chosen solid color block. Thread
an embroidery needle with matching pearl
thread and knot one end. Place one block in
your embroidery hoop, with the felt letter at
the center. Entering the work from the back,
attach the letter with a running stitch around
the perimeter. Knot off at the back to finish.
0 Fabric letters with pinked edges will be
embellished and secured with a straight
machine stitch. With thread to match each
letter, use the edge of the letter as a guide
to stitch about ¼" (6 mm) from the edge. The
pinked letters (b, G, and s) have room for just
one line of stitching, through the center of
the letter shape. all other pinked letters are
large enough to stitch ¼" (6 mm) from the
inner and outer edges of the letter shape.
- Fabric letters with straight edges will be
embellished and secured with a satin ma-
chine stitch. With thread to match each letter
and using a clear or open-toe presser foot to
aid visibility, sew a satin stitch about 3 mm
wide and 0.5 mm long along all edges of each
letter except W. The zigzag (satin) stitches
should lie on top of the appliqué letters with
the right swing of the needle falling just
past the edge of the appliqué. When turning
corners on the letters, raise the presser foot
and pivot with the needle in the down posi-
tion (pivot with the needle in the background
fabric on outside corners and in the appliqué
for inside corners). Since the W is too small
to allow for a satin stitch, secure it with a
simple machine straight stitch through the
center of the letter’s shape.
asseMBle tHe FeatURe BloCk
= Gather the fabric 1 feature letter patch and
the fabric 2 Sashing Strips for the feature letter
block. With right sides together, sew Sashing
Strip a to the left edge of the feature letter
patch, press the seam allowances open, then
sew and press Sashing Strip b to the top edge
of the feature letter patch, Sashing Strip C to
111
interweavestitch.com
6/6/11 7:44 AM
 how-to
the right-hand edge, and Sashing Strip d to
the bottom. The finished block should measure
22½" × 26½" (57 × 67.5 cm). Trim the edges
flush if they aren’t already.
q Using the construction diagram for refer-
ence, place the feature letter on the fabric
1 feature letter patch and fuse the letter in
place. Secure the feature letter with a satin
machine stitch along all edges as in Step 11.
CoMplete tHe qUilt top
Refer to the construction diagram on page 110
for assistance with the following steps.
w With right sides together, sew the long
sides of blocks a–E (or chosen blocks for row
1) together to make a row of five blocks. In
the same way, sew blocks l–P (row 4), Q–u
(row 5), and V–z (row 6), making three more
five-block rows. next, sew blocks F and G
(row 2 left side) together to make a short row
of two blocks. Sew blocks i and J (row 3 left
side) together in the same way. Sew blocks
h and K (rows 2 and 3 right side) together
along the common short side to make a short
column of two blocks.
e Taking care to match seams, sew together
the two short rows (rows 2 and 3 left side) to
make a four-block cluster (two blocks wide
and two blocks tall). With right sides together,
sew this four-block cluster to the left edge
of the feature letter block. Sew the short
h–K column (rows 2 and 3 right side) to the
opposite edge of the feature letter block to
complete your extra-large feature letter row.
r Taking care to match seams, pin and sew all
rows in order, according to the construction dia-
gram (or as desired). at this point, your quilt top
measures about 55½" × 78½" (141 × 199.5 cm).
t Cut one border strip in half crosswise,
making it about 20" × 5½" (51 × 14 cm). You
now have eight full-length border strips and
two half strips.
y With right sides together, join each of
the full strips to another end to end, making
four pairs, each about 80" (203.5 cm) long.
Set aside two of these sewn pairs, then sew
a half strip to one end of one remaining pair
and the remaining half strip to the final pair.
You should now have two strips at 80" (203.5
cm) long and two strips at 100" (254 cm) long.
u Center each long border strip with right
sides together on one long side of the quilt
top and pin in place. beginning and ending
¼" (6 mm) in from the quilt top’s edges and
backtacking at the ends, sew the long border
strips to the quilt and press the seam allow-
ances open. The ends of the border strips will
extend beyond the quilt top. do not trim!
i Center each short border strip with right
sides together on one short side of the quilt and
pin. Stitch the shorter strips to the quilt top,
sewing the strips to the quilt top only (i.e., start
and end the seam where these borders meet
the long strips), again leaving the extra border
length at each side. Press the seam allowances
112
stitch
SMSS1109.indb 112
figure 1
figure 2
open. Each corner of the quilt will have excess
border fabric overlapping (figure 1).
o at the overlapping corners, fold one of
the border extensions under at a 45-degree
angle, aligning the folded extension exactly
with the intersecting extension, with right
sides together (figure 1). Finger-press the
diagonal fold to mark the seam line. Fold
the quilt top in half diagonally at the same
corner, right sides together, so border strips
lie flush on top of each other with your
finger-pressed seam line up. Pin along the
seam line and darken with a marking tool
if desired. Stitch the border strips together
along the seam line, starting with a backtack
at the quilt top and sewing toward the outer
edge of the border (figure 2). Check that the
seam opens flat, trim excess fabric to a ¼" (6
mm) seam allowance, and press. repeat this
step to miter the remaining corners.
FinisHing
p Measure your quilt top to check the
dimensions, then cut the quilt backing fabric
to 2" (5 cm) larger than the quilt top on all
sides. (If using 45" [114.5 cm] wide fabric for
backing, remove the selvedges, cut the fabric
in half widthwise, and sew long sides togeth-
er to make a piece large enough for backing.)
Tape the ironed quilt back wrong side up to
your (clean) floor or large work surface with
masking tape. Spread the quilt back taut
without stretching the fabric. lay out the quilt
batting, centering it on the quilt backing. lay
out the ironed quilt top, centering it on the
batting with the right side up. Take time to
make sure everything is lying smooth and
flat. baste your quilt sandwich with quilting
pins in rows, with pins no more than 5–6"
(12.5–15 cm) apart or use basting spray, fol-
lowing the manufacturer’s instructions.
[ Install your walking foot attachment on
your sewing machine. This quilting design
consists of straight lines in a cream or white
thread to match the feature block solid. be-
fore stitching any given line, roll both sides of
the quilt so that only the line is exposed. This
allows you to comfortably maneuver the quilt.
Use quilting gloves to improve your grip.
Refer to the construction diagram for the quilt-
ing design featured on the sample quilt. Quilt
3
⁄8" (1 cm) from the alphabet block seams
with about a 2.5 mm stitch length, beginning
and ending each line by stitching in one place
(stitch length a hair above zero) for several
stitches to secure the thread. Quilting lines
should begin and end at the border of feature
letter block seams.
] Quilt another set of lines 3⁄8" (1 cm) out
from your first quilt lines along all seams
(but do not quilt inside the border). This cre-
ates a double row of quilt lines to frame each
alphabet block, with small squares where the
lines intersect at block corners.
\ Quilt a similar "frame" around the fabric
1 patch at 3⁄8" (1 cm) to each side of the seam
with the secondary fabric sashing.
Trim off excess batting and backing fabric so
the edges of the quilt are square.
a refer to Create binding on page 72 to
prepare your binding strips for use as
double-layer binding. Cut 2½" (6.5 cm) wide
straight-grain strips from the binding fabric,
cutting from selvedge to selvedge. You will
need eight strips or a total of 320" (813 cm) of
continuous binding (after seaming).
s Match the raw edges of your binding to
the raw edges of the quilt, then follow the
instructions under binding with Mitered
Corners (option b) on page 72 to attach the
binding, sewing the first edge of the binding
with a generous ¼" (6 mm) seam allowance.
rachel hauser is a self-taught stitcher
with a passion for color and modern design.
She organizes a virtual charity quilting bee
(flickr.com/groups/dogoodstitches) and blogs
at stitchedincolor.com, where you can join in
her original quilt-alongs and social events for
bloggers.
6/6/11 7:44 AM

Poetry Skirt —Invisible zipper foot for sewing machine
—Serger or pinking shears (optional)
by Katrin VorbecK {from page 53}
—Full-size pattern PDF at interweavestitch.com
NOTES
—All seam allowances are ⁄8" (1.5 cm) unless
5
otherwise noted.
—For explanations of terms and techniques,
see Sewing Basics on pages 67–72. See also
page 114 for French tack instructions.
—Pretreat the fabrics because the finished
garment will be cleaned (wash, dry, and
iron or dry clean) to avoid shrinkage after
the garment is sewn.
—Test your interfacing by fusing a piece of
it on a fabric scrap to ensure acceptable
drape and feel after fusing.
—Be sure to test your marking tool on a
scrap of the skirt fabric to ensure its re-
movability, even after pressing.
—If you don’t have the time, or don’t like to
download the full-size
pattern for this project embroider, you can rubber stamp (use
at interweaVestitch.com a permanent ink pad meant for fabric),
stencil, or simply use a permanent fabric
marker or fabric paint to write on the skirt
FABRIC panel. Remember to check the manufac-
—2½ (25⁄8, 25⁄8, 2¾, 2¾) yd (2.3 [2.4, 2.4, 2.5, turer’s suggestions for care and washabil-
2.5] m) of 45" (114.5 cm) wide OR 21⁄3 (21⁄3, ity of your chosen writing/stamping tool(s).
23⁄8, 23⁄8, 23⁄8) yd (2.1 [2.1, 2.2, 2.2, 2.2] m) of —When pressing the skirt’s finished embroi-
60" (152.5 cm) wide linen or linen blend dered panel, lay a terry-cloth towel on your
with a visible weave (Main; shown: beetroot ironing surface, then place the skirt panel
[deep red] linen/cotton blend) right side down on top of the towel. That
—11⁄8 (11⁄8, 11⁄4, 1½, 1½) yd (1 [1, 1.1, 1.1, 1.1] will help keep the embroidered stitches
m) of 45" (114.5 cm) wide OR ¾ (¾, 7⁄8, 7⁄8, 7⁄8) from flattening into the skirt fabric. If you
yd (68.5 [68.5, 80, 80, 80] m) of 60" (152.5 rubber stamp, stencil, or paint the panel,
cm) wide lining fabric (Lining) be sure to use a press cloth and follow the
manufacturer’s instructions.
OTHER SUPPLIES —The instructions will direct you to finish
—¼ yd (23 cm; all sizes) of 22" (56 cm) wide the seam allowances with one of several
medium-weight fusible interfacing options. If you choose to serge the seam
—Press cloth allowances, make sure the double layers
of serging (when the lining and shell are
—Sewing thread to match fabric
—Basting thread (optional) together) at the seams won’t cause too
much bulk in your chosen fabric.
—Twin sewing machine needle (optional)
—Handsewing needle CUT THE FABRIC
—Embroidery thread (shown: white) and 1 Download, print, and assemble the full-
embroidery needle size pattern PDF from interweavestitch.com.
—Matching 7" (18 cm) invisible zipper Pin or weight the pattern pieces to the fabrics
—One hook-and-eye closure as shown in the cutting layout, transferring
—Text from a favorite poem, lyrics from a all pattern markings to the wrong side of the
song, etc. (words from sample skirt are fabric. Cut the following pieces.
provided if you prefer) From the Main fabric, cut:
—Long ruler or yardstick —4 Skirt Panels
—Tailor’s chalk or removable fabric marker —2 Zipper Panels (cut 1, cut 1 reverse)
—2 Facings on the fold
From the Lining fabric, cut:
Waist LENGtH —4 Lining pieces (cut 2, cut 2 reverse)
Xs 23–241⁄2" (59.5–62 cm) 25" (65.5 cm) From the interfacing, cut:
s 251⁄2–261⁄2" (65–67.5 cm) 251⁄2" (65 cm) —2 Interfacings on the fold
M 271⁄2–281⁄2" (70-72.5 cm) 26" (66 cm)
L 301⁄2–311⁄2" (77.5–80 cm) 261⁄2" (67.5 cm) PREPARE THE EMBROIDERED
XL 34–35" (86.5–89 cm) 27" (68.5 cm) SKIRT PANEL
shown in size Small. 2 Finish the edges of the side seams of each
Skirt Panel and Zipper Panels by serging,
p104-115 HTType.indd 113
how-to
zigzag stitching, or pinking them. Begin or
end 5⁄8" (1.5 cm) above the hemline. Do not
finish the hemline edge.
3 Using a long ruler or yardstick and tailor’s
chalk, mark wonky lines on the left Zipper
Panel for the embroidery, marking from side
to side in an uneven and angled fashion
(figure 1). With tailor’s chalk, write your
poem or words on the Zipper Panel, using the
drawn lines as guides for placing the bottom
of the letters. The sample skirt features
words, written with no spaces between them,
and no punctuation.
4 Using your embroidery thread and needle,
hand-embroider the letters on the Zipper
Panel, with your preferred stitch. A stem
stitch with three strands of contrasting em-
broidery floss was used on the sample skirt.
Set this panel aside.
SEW THE SKIRT SHELL
5 With right sides together, sew the four
Skirt Panels together to create a four-panel
skirt, stopping each seam 5⁄8" (1.5 cm) above
the hemline. Then, lay the skirt right side up
on a flat surface, with the waist edge facing
away from you. Place the unembellished
Zipper Panel, right side down, on top of the
skirt, aligning the left-hand edges and pin;
make sure the edge with the zipper notch is
the free edge. Sew the seam as before. Press
the seam allowances open (figure 2, viewed
from right side). Finish the raw edges of the
seam allowances by serging or using zigzag
stitches. You now have a five-panel skirt.
6 Beginning with the embellished zipper
panel facing right side up, sew in the zipper,
referring to the Invisible Zipper Application
sidebar on page 76. Repeat the process to
(2 cm
¾ )
"
(2.5
1 )
"
cm
figure 1
113
interweavestitch.com
6/7/11 8:36 PM
 how-to
zipper
notch
figure 2
sew the opposite side of the zipper to the
unembellished zipper panel (part of the
five-panel skirt). after you have completed
the zipper application and stitched the rest of
the seam (below the zipper), press the seam
allowances open, using a press cloth over the
zipper. Finish the seam allowances as before.
You have completed the six-panel skirt shell.
seW tHe skiRt lining
7 Serge, pink, or zigzag-stitch both side
edges of each of the lining pieces. With
right sides together, sew two lining pieces
together, to create the assembled lining for
the front of the skirt. repeat with the two
remaining lining pieces, to create the as-
sembled lining for the back of the skirt.
8 Following the manufacturer’s instructions,
fuse the Interfacing pieces to the wrong
sides of the two fabric Facing pieces. With
right sides together, align the bottom edge
of one Facing piece with the top edge of one
assembled lining piece. Pin in place and then
sew the two pieces together. repeat with the
remaining Facing and lining pieces. Press
the seam allowances toward the lining, then
trim the seam allowances to ¼" (6 mm).
Finish the raw edges of the seam allowances
by serging or zigzag stitching them together.
The assembled pieces will now be referred to
as the linings.
9 With right sides together and matching
the notches, pin the two assembled linings
together at the side seams, then sew the right
side seam (the left-hand side). Press the seam
allowances toward one side and then trim the
seam allowances to ¼" (6 mm) wide. Finish the
raw edges of the seam allowances by serging
or zigzag-stitching them together.
0 With right sides together and matching
the notches, pin and then sew the left side
seam (the right-hand side), beginning at the
notch that indicates the bottom of the zipper
placement and ending at the bottom edge of
the lining. Press the seam allowances open
(including the unstitched portion from the
zipper notch to the waistline) and then finish
the raw edges of the seam allowances by
serging or zigzag-stitching them.
- because of the fullness of the lining and
its curved bottom edge, you will need to ease
114
stitch
SMSS1109.indb 114
WOrDs FeaTureD On
The samPle skirT:
AuTuMN lEAVES DANCING
FAllING SWIrlING NATurES French Tack
BrEATHING ColourS Take a small stitch in the garment
EXPloDE WHIlE IM WAlKING and then take a small stitch in the
I WoNDEr WHErE THE FrESH BrEEZE
lining or facing, directly across from
the first stitch, leaving 1" to 2" (2.5 to
5 cm) of thread between the two. Take
the hem allowance. Set your machine’s stitch
length to 4 mm, and then machine baste the
a few more small stitches in each
bottom edge of the skirt, ¼" (6 mm) from spot to build up a thread spacer that
the raw edge, starting and ending just to the is several threads thick. Work a tight
outside of a side seam allowance. Fold the blanket stitch over the thread spacer.
lining hem ½" (1.3 cm) toward the wrong side
and press. Fold the hem over another 1"
(2.5 cm). Pin the hem in place, matching the
side seams (make sure the side seam on the
fold of the hem meets the side seam above
the fold for a continuous, even line). Gently
pull the basting stitches to ease in the
excess fabric. Edgestitch the hem in place,
1
⁄8" (3 mm) from the folded edge, and press. 2
now you have completed the lining.
1 3
asseMBle tHe skiRt
= Unzip the zipper. With the shell inside out BlankeT sTiTch
and the lining right side out, insert the lin-
ing into the shell; align the raw edges of the Working from left to right, bring the
waistline and the side seams; pin and then sew needle up at 1 and insert at 2. bring
together around the waist edge. Turn the skirt the needle back up at 3 and over the
right side out and grade the seam allowances, working thread. repeat by making
then push the lining down into the skirt.
the next stitch in the same manner,
q Use an uneven slip stitch to attach the
keeping the spacing even.
lining to the zipper tapes, being careful not
to allow the fabric to impede the movement
of the zipper. Using a press cloth, press the
waist edge of the skirt, then topstitch around gently pull the thread away from the skirt.
the waist, 1⁄8" (3 mm) from the edge. Sew a Continue removing threads until the fringe is
hook and eye in place on the inside of the the length that you like. repeat the process
skirt, just above the zipper and below the to fringe the bottom edges of all the panels.
edge of the waistline. depending on the looseness of the fabric’s
w Using a twin needle (refer to your manual weave, you may be able to remove two or
for assistance), topstitch the skirt shell only, three rows of thread at a time. If the fringed
5
⁄8" (1.5 cm) from the bottom edge. If you don’t edge is a bit uneven, you can carefully trim it
have a twin needle, topstitch two parallel lines to your preferred look.
around the hemline. The bottom row of stitch- Optional: To secure the lining to the bottom of
ing should be 5⁄8" (1.5 cm) away from the bottom the skirt, handsew it with French tacks to the
edge and the top row should be 1⁄8" (3 mm) shell at the side seam allowances.
above the first row.
kaTrin Vorbeck has been happily sew-
e Fringe or fray the bottom edge of the
ing since she was nine. When she isn’t sewing
shell by picking out and removing threads
or knitting, she spends her time working on
that run horizontally around the bottom edge
as follows (or use your desired method for photography, reading, or simply trying to
fraying the fabric). Using a straight pin, and ignore housework. She is a fiberholic, and she
beginning at one of the slits at the bottom admits that fabrics and yarn threaten to take
edge of the seams, separate the bottom row over her house. Visit her blog at sew-mad
of thread from the threads above it. Then, .blogspot.com.
IACD_FP_
6/6/11 7:44 AM
 I Am Jumper for Joy
I Am Hello Halter
I Am Barely Ruffled
I Am Sassy Sundress
I Am Twice As Nice
I Am Dainty Drops
I Am Magical Insets

How cute
can you be?
I Am Shift Into Tunic
I Am Cute Contrast
I Am Very V-Neck
I Am Pleats & Petals
I Am Mandarin Empire
I Am Baby Bateau
I Am Simply Standup
I Am Sweetly Gored
I Am Tiny Tucks
I Am All the Trimmings
I Am Raglan to Riches
I Am All Wrapped Up
I Am Sweet Sweet Ties
I Am Tripled Tier
I Am Sew Buttoned Down
I Am Kimono Cut
I Am Box-Pleated Wonder
I Am Satin Doll

Sew 25 adorable dress designs

that will maximize your closet’s
simplicity and style. No complicated
pattern pieces and cutting instructions
necessary—just create them with the
layout and measurements included.

I Am Cute Dresses: 25 Simple Designs to Sew

Sato Watanabe | 120 pages | 7 ¼ x 10 | $22.95
Paperback with pattern insert ISBN: 978-1-59668-351-8

IACD_FP_NEW1.indd 1 5/24/11 11:26 am

SMSS1109.indb 115 6/6/11 7:44 AM
 how-to

the notes ing foot or other specialty foot can be used to

men's —all seam allowances are ¼" (6 mm) unless guide the yarn; sew slowly to make sure the
otherwise noted. needle falls just to either side of the yarn. low-

room —For explanations of terms and techniques,

Circuit Scarf
by kevin kOsBaB {from page 54}
FaBRiC
— ⁄8 yd (80 cm) of 58" (147.5 cm) wide woven
7
wool fabric (shown: gray)
—1⁄4 yd (23 cm) of 36" (91.5 cm) wide wool felt
(shown: green)
otHeR sUpplies
—15 yd (13.7 m) of worsted-weight wool
yarn (shown: green)
—Sewing thread to match yarn and wool
fabric
—Clear monofilament thread
—Quilting thread (shown: light gray
wool-acrylic blend)
—rotary cutter, rigid acrylic ruler,
and self-healing mat
—Chalk or other marking tool appropriate
for wool
—Quilting guide for sewing machine
(optional)
—darning or free-motion foot for sewing
machine
—Cording foot (or narrow-hem foot)
for sewing machine (see notes)
FinisHeD size
—96" × 8½" (244 × 21.5 cm), or customize
length as desired; see notes
see Sewing basics on pages 67–72.
—a narrow-hem foot can be used to couch
the yarn, running the yarn through the curl
of the foot, if no cording foot is available.
refer to your sewing machine manual or
check with your local dealer.
—Test the couching process and satin
stitching with scraps of fabric and yarn to
determine the correct tension and other
machine settings before starting on the
scarf itself.
—To make a shorter scarf, insert more than ½"
(1.3 cm) of the woven wool pieces into the felt
in Step 11 or trim the open ends of the woven
wool pieces to alter the proportions.
CUt tHe FaBRiC
1 From the woven wool fabric, cut the
following pieces:
—Two 9" × 57" (23 × 145 cm) strips
for Scarf body
—Two 9" × 28" (23 × 71 cm) strips
for Scarf Ends
2 From the wool felt, cut two 8" × 18"
(20.5 × 45.5 cm) rectangles for the Embel-
lishment Pieces.
ConstRUCt tHe sCaRF pieCes
3 With right sides together, sew the Scarf
body strips together along both long sides.
Turn right side out and press flat. This will
now be referred to as the scarf body.
4 Fold each Scarf End strip in half crosswise
with right sides together. Sew each folded
strip along both long sides, backtacking at
the folded end. Clip the corners of the seam
allowances, turn right side out, and press
flat. These will now be referred to as scarf
ends.
5 Edgestitch 1⁄8" (3 mm) from the sewn sides
of all the woven wool pieces, backtacking at
the fold on each scarf end.
6 With right sides together, fold each Embel-
lishment Piece in half crosswise and sew the
short ends with a 1⁄2" (1.3 cm) seam allowance,
creating two tubes. Insert a woven wool piece
into each felt tube to make sure they fit; resew
with a smaller seam allowance if necessary to
accommodate the thickness of the wool. Press
the seam allowances open. Turn the tubes right
side out and press each tube flat with the seam
centered on the back side.
eMBellisH tHe sCaRF
7 draw a line along the lengthwise cen-
ter of the scarf body. Set the machine for a
zigzag stitch 3 mm long and slightly wider
than the yarn. Thread the needle with clear
monofilament and fill the bobbin with thread
that matches the woven wool. Couch the yarn
to the woven wool along the guideline. a cord-
er the needle thread tension if loops of bobbin
thread appear on the front of the scarf or if the
yarn is flattened by the top thread. Cut the yarn
when you reach the end of the scarf body.
8 draw two lines 11⁄4" (3.2 cm) apart on each
side of the couched line, or, to avoid marking,
set a quilting guide at 11⁄4" (3.2 cm) from the
needle. Couch yarn along each line or let the
quilting guide run along the previous line of
yarn to gauge the distance (you will have five
lines of couched yarn).
9 draw a line across each scarf end piece,
4" (10 cm) from (and parallel to) the folded
edge. Following Steps 7 and 8 above, couch
five lines of yarn on each scarf end, starting
at the open end and stopping at the marked
line; but, if marking the lines on the fabric,
extend the marks (but not the couched yarn)
all the way to the fold.
0 Working with one section at a time to
prevent fraying, cut the fabric of each scarf
end from the folded edge to the couched yarn,
extending the couching line and creating
fringe. Set the machine for a satin-length
(0.3–0.4 mm) zigzag about half the width of the
yarn-couching zigzag. Thread both needle and
bobbin with thread that matches the yarn color
and satin-stitch over each side of the cut, sew-
ing the layers together from fold to couching.
The needle should fall just off the cut edge on
its outer swing so the raw edges are overcast.
backtack or sew several stitches in place at the
ends to secure the overcast zigzag stitches and
the ends of the couched yarn.
FinisH + qUilt
- Insert 1⁄2" (1.3 cm) of each scarf body raw
edge into the open side of one Embellish-
ment Piece. Edgestitch on the felt, 1⁄8" (3 mm)
from the crosswise edge, with thread that
matches the felt to join the pieces. Insert the
raw edges of the scarf ends into the open
sides of the Embellishment Pieces and join in
the same way.
= refer to your sewing machine manual to set
the machine for free-motion quilting using a
darning or free-motion foot (see the sidebar on
page 108). With contrasting quilting thread in
the needle and thread matching the felt in the
bobbin, quilt each felt embellishment section
in a squared loop pattern, letting the quilting
spill over onto the woven wool sections to give
further depth to the design (refer to the photo
at top left to see the quilting featured on the
sample scarf).
keVin kosbab is a freelance writer, an
editor, and a pattern designer. He designs
modern quilts and sewing projects for a variety
of magazines, and you can find his Feed Dog
Designs patterns in stores and on the Web at
feeddog.net.

116
stitch

SMSS1109.indb 116 6/6/11 7:44 AM


Roll-up
Stadium Blanket
by carOl ZenTgraF {from page 55}
FaBRiC
—1 ⁄8 yd (1.5 m) of 45" (114.5 cm) wide flannel
5
fabric (Main; shown: green/brown plaid)
—2 yd (1.8 m) of 60" (152.5 cm) wide water-
resistant fabric, such as Supplex (Contrast;
shown: brown)
otHeR sUpplies
—44" × 54" (112 × 137 cm) rectangle of cotton
batting
—Coordinating sewing thread
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Size 80/12 or 90/14 Microtex/sharp sewing
machine needle
—1¾ yd (1.6 m) of 1" (2.5 cm) wide nylon
webbing
—Two 1" (2.5 cm) side-release buckles
FinisHeD size
—44" × 54" (112 × 137 cm) flat (see notes)
notes
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—If the flannel fabric is narrower than 44"
(112 cm) after the selvedges are removed,
alter the size of the other pieces to match
the flannel.
CUt tHe FaBRiC
1 From the Main fabric, cut one 44" × 54"
(112 × 137 cm) rectangle for the top of the
blanket.
2 From the Contrast fabric, cut one 44" × 54"
(112 × 137 cm) rectangle for the reverse side
of the blanket. From the remaining fabric,
cut 2¼" (5.5 cm) wide bias strips to total 210"
(533 cm) for the binding.
asseMBle tHe Blanket
3 layer the Contrast piece (right side down),
the batting, and the Main fabric piece (right
SMSS1109.indb 117
side up), with the raw edges even. Make
sure all layers are smooth, without tucks
or stretched areas. Pin and then baste the
edges of all layers together.
4 Sew the short edges of the binding strips
together, using a ¼" (6 mm) seam allowance,
and press the seams open. Press the strip in
half lengthwise with wrong sides together.
5 beginning near the center of one short
edge, bind the quilt, referring to binding with
Mitered Corners, option b, on page 72 and
sewing the binding first to the Main fabric side
of the blanket. When folding the binding to the
reverse side of the blanket, bring the fold a
scant 1⁄8" (3 mm) beyond the seam line. From
the Main fabric side, stitch in the ditch, catch-
ing the binding fold in the stitching on the
reverse side (rather than slip stitching).
6 Fold the blanket in half lengthwise (with
Contrast fabric sides together) and roll into a
compact bundle.
Make tHe stRaps + HanDle
7 From the nylon webbing, cut two 20"
(51 cm) lengths for the straps and one 24"
(61 cm) length for the handle.
8 Fold 2¼" (5.5 cm) to the wrong side on
each end of the handle webbing and stitch
the ends, sewing back and forth across the
webbing and covering a 1" (2.5 cm) space
below each raw end to secure.
9 Insert the 20" (51 cm) webbing lengths
through the handle loops made in the previ-
ous step. open the buckles and insert the
webbing ends through the buckle openings,
folding 1½" (3.8 cm) to the wrong side. Wrap
the straps around the rolled-up blanket and
adjust the strap lengths as desired, pinning
the webbing ends in place.
0 Sew the strap ends as directed in Step 8.
- Wrap the straps around the blanket and
close the buckles. Slide the handle to the
center of the straps to carry.
CReDits
—Fairfield Processing Corp., poly-fil.com,
cotton batting.
—robert Kaufman, robertkaufman.com,
flannel fabric.
—Seattle Fabrics, seattlefabrics.com.
Supplex fabric, nylon webbing, and side-
release buckles.
carol ZenTgraF is a writer, a designer,
and an editor, who specializes in sewing,
textiles, painting, and decorating. Her work
has been published in several magazines and
she is the author of several sewing books, most
recently, Sewing Season’s greetings.
how-to
Zip-Front Pullover
by Jil caPPucciO {from page 58}
DOWnlOaD The Full-siZe
PaTTern FOr This PrOJecT
aT inTerWeavesTiTch.cOm
FaBRiC
—1¾ yd (1¾, 17⁄8, 17⁄8) yd (1.6 [1.6, 1.7, 1.7] m)
of 60" (152.5 cm) wide fleece (shown: gray)
otHeR sUpplies
—½ yd (46 cm; all sizes) of 22" (56 cm) wide
knit tricot fusible interfacing (see notes)
—Press cloth
—100% polyester sewing thread to match
fleece
—Contrasting topstitch thread for topstitch-
ing around zipper (shown: red, to match
zipper tape)
—Universal sewing machine needle; the size
depends on the weight of the fleece you
select
—Topstitch sewing machine needle
—Handsewing needle
—9" (23 cm) zipper in a contrasting color
(shown: metal zipper with red zipper tape)
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Tailor’s chalk, to mark the fleece
—Fabric marking pen, to mark the interfacing
—Point turner or chopstick
—Zipper foot for sewing machine
—Walking foot for sewing machine (optional,
but good to have; see notes)
—Serger (optional)
—Full-size pattern PdF at interweavestitch.com
notes
—all seam allowances are ½" (1.3 cm) unless
otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—Knit tricot fusible interfacing is essential
for applying to fleece. other types of fusible
interfacing will not adhere to fleece.
117
interweavestitch.com
6/6/11 7:44 AM
 how-to
—a Stay piece, cut from the interfacing, is
intended to stabilize the fleece while you
install the zipper. a pattern piece for the
Stay is included.
—be sure to use a press cloth and a low
temperature setting on your iron when
pressing fleece.
—Medium to long stitch lengths (2.5–4 mm)
and a loose balance tension work best
when sewing fleece. Sew slowly, because
stitches can be difficult to remove from
fleece. If your seams and hems are wavy,
your stitch length may be too short. If you
have a walking foot attachment for your
sewing machine, use it in place of a stan-
dard foot because it is especially useful
when stitching through two or three layers
of fleece at a time. also, do not stretch the
fleece as you guide it through the sew-
ing machine. It’s a good idea to test your
stitches on a scrap of the fleece, before
sewing your garment.
—Fleece doesn’t ravel; however, for a more
professional look, serge or use zigzag
stitches to finish the raw edges of the seam
allowances.
—The zipper and facing applications require
some concentration. read through the
instructions to familiarize yourself with the
process.
CUt tHe FaBRiC
1 download, print out, and assemble the
full-size pattern PdF from interweavestitch
.com. Cut the pieces as directed, transferring
pattern markings to the fleece with tailor’s
chalk. Use a fabric marking pen to transfer
pattern markings to the nonfusible side of
the interfacing. If it is hard to distinguish the
right side from the wrong side of your fleece,
use tailor’s chalk to mark the wrong side as
you cut out the pieces. refer to the cutting
layout for assistance.
From the fleece, cut:
—1 Front on the fold
Note: There are marks that indicate where to
place the Stay piece (cut from the interfacing)
on the wrong side of the Front.
—1 back on the fold
shOuLDers
small 171⁄2" (44.5 cm)
Medium 18" (45.5 cm)
Large 181⁄2" (47 cm)
X-Large 19" (48.5 cm)
CB sLeeVe Length
small 33" (84 cm)
Medium 34" (86.5 cm)
Large 35" (89 cm)
X-Large 36" (91.5 cm)
Shown in size Medium.
118
stitch
SMSS1109.indb 118
—2 Sleeves (cut 1, cut 1 reverse)
—1 Collar on the fold
—1 Facing on the fold
From the interfacing, cut:
—1 Facing Interfacing on the fold
—1 Collar Interfacing on the fold
—1St ay
asseMBle tHe pUlloveR
2 lay the Front piece wrong side up on your
ironing surface. lay the Stay piece (cut from
the fusible interfacing) on top of the Front,
with the fusible side facing the wrong side of figure 1
the Front. Carefully align the pattern dots of
the Stay with the pattern dots of the Front,
and the top edge of the Stay with the neckline
of the Front. The pattern dots on the Stay
indicate the slash you will cut to install the
zipper (in Step 3). Using a press cloth, fuse
the Stay in place, following the manufac-
turer’s instructions. allow the piece to cool
before you sew, otherwise the adhesive could
gum your needle.
3 To prepare the opening slash for the zip-
per, with the Front wrong side up, you will
see the markings you made on the nonfusible
side of the Stay. Sew along the stitch lines
marked on each side of the center line and
across the bottom on the marked lines. Using
your rotary cutter and acrylic ruler, cut on
the marked center line from the neckline
down to the bottom end of the center line.
With small sharp scissors, clip into the cor-
ners on the marked lines. do not clip beyond
the end of the marked lines (figure 1).
4 Turn the Front right side up on your work
surface. Turn the two sides and bottom
triangle of the opening (cut in Step 3) to the
wrong side and use a press cloth to press
figure 2
the folds lightly. Center the zipper under the
opening with the bottom stop of the zipper
at the bottom end of the opening. on the
sample, about ¼" (6 mm) of the red zipper neckline. The top edges of the zipper tape
tape is revealed between the teeth of the will extend beyond the neckline (figure 2). In
zipper and the folded edges of fabric. With Step 9, they will be sandwiched between the
long stitches, by hand, slip baste the zipper to Front and the Facing.
the Front along the folds on each side and at
the bottom. The top stop of the zipper should 5 Fold the bottom portion of the Front over
the top portion to expose the bottom end of
be about 3⁄8" (1 cm) below the raw edge of the
the zipper tapes and the triangle (with the
interfacing fused on top of the fabric) at the
bottom of the opening. Install the zipper foot
Chest on your sewing machine (see your machine’s
36–38" (91.5–96.5 cm) manual for assistance). To secure the zipper
39"–41" (99–104 cm) tapes to the triangle, use matching thread to
stitch across the base of the triangle, just be-
42"–43" (106.5–109 cm) low the bottom stop of the zipper (figure 3).
45"–47" (114.5–119.5 cm)
6 Fold back one side of the Front so that you
CB Length just have the zipper tape and one side of the
263⁄4" (68 cm) slash edge lying to one side (the Front will be
folded in half with right sides together). Work-
273⁄4" (70.5 cm) ing from the bottom edge of the zipper to the
283⁄4" (73 cm) top, stitch the Front to the zipper tape along the
293⁄4" (75.5 cm) zipper guideline or ¼" (6 mm) from the zipper
teeth (figure 4). Note: If you want a greater
reveal of the contrasting zipper tape, edgestitch
the zipper in place, 1⁄16" (2 mm) from the layered
6/6/11 7:44 AM

basting
figure 3
edges of the Front/zipper tape, rather than
sewing along the stitched lines made in Step 3.
repeat for the other side of the zipper. Unfold
the Front and check the installed zipper from
the right side. remove the slip basting that
held the zipper in place.
7 Following the manufacturer’s instructions,
fuse the corresponding interfacing to the
wrong side of the fleece Facing. allow the
piece to cool. Finish the outside raw edge
of the Facing piece (including the shoulder
edges) by serging or using zigzag stitches. do
not finish the neckline edge.
8 Place the Facing right side up on your cut-
ting mat. You will see the markings you made
on the interfacing piece. Use your rotary
cutter and acrylic ruler to cut on the center
line, as you did to cut the Front opening slash
in Step 3. Clip into the corners on the marked
lines with small sharp scissors. You have
prepared the slash in the Facing.
9 Place the Front on your work surface,
wrong side up (the installed zipper will also
be wrong side up). Place the Facing right side
up on the Front, aligning the neckline edges
of the Facing and the Front, and centering the
slash on the zipper. To hold it in place, pin the
Facing at the neckline and place four or five
pins around the zipper area, about 2" (5 cm)
away from the slash. Turn the two long sides
and the bottom triangle of the Facing slash
to the wrong side. be sure to tuck the top
ends of the zipper tapes neatly in between
the Facing and the Front. Use a press cloth to
press the folds lightly. Pin the folds in place.
beginning at the top stop of the zipper, using
slip stitches, handsew the first long side
of the Facing to the zipper along the folds.
Turn the corner and slip stitch the bottom
edge in place, about ¼" (6 mm) below the
bottom stop of the zipper, and then stitch up
the other long side. Stop sewing when you
reach the zipper’s top stop again. The Facing
is now essentially attached to the Front of
the pullover, around the zipper, but will be
completely attached in a later step.
0 Pin the shoulder and neckline edges of
the Facing out of the way so that they don’t
get caught accidentally in the shoulder seam
stitches. With right sides together, pin and
then sew the Front and back together at the
SMSS1109.indb 119
slip
figure 4
shoulder seams. Finish the raw edges of the
seam allowances by serging or zigzag stitch-
ing them together.
- With right sides together, pin the Sleeves
to the assembled pullover body, matching
up the single and double notches at the
sleeve cap/armhole. again, to ensure that the
Facing doesn’t get caught in your stitches,
pin it out of the way. Sew the Sleeves in place.
Finish the raw edges of the seam allowances
by serging or zigzag stitching them together.
Finish the bottom edges of the sleeves by
serging of zigzag stitching them.
= With right sides together, pin the front
to the back, aligning the raw edges of the
side seams. Fold the sleeves so that the raw
edges of the underarm seams match; pin in
place. Sew the pieces together on each side
with one continuous line of stitches, begin-
ning at the pattern dot located a few inches
above the bottom edge of the side seam and
ending at the bottom edge of the sleeve. Fin-
ish the raw edges of the seam allowances by
serging or zigzag stitching them together.
q Fuse the corresponding interfacing piece
to the wrong side of half of the Collar, fol-
lowing the manufacturer’s instructions.
With right sides together, fold the Collar in
half and stitch closed at both short sides.
leave the neckline edges (the ones with the
notches) open. Trim the corners carefully to
reduce bulk and then turn the collar right
side out. Use a point turner or chopstick to
gently work the corners into well-defined
points. Press flat, using a press cloth.
w Unzip the zipper. With the right side of
the back of the pullover body facing up and
how-to
matching the notches, pin the collar to the
neckline, between the center back and the
shoulder seams. Flip the facing to the out-
side of the pullover body so that you see the
wrong side of the facing. align the neckline
edge of the facing on top of the collar. The
collar will be sandwiched between the right
side of the pullover body and the right side
of the facing. Pin all layers together around
the neckline from the center back, all the
way around to the front slash. Stitch all of
the layers together using a ¼" (6 mm) seam
allowance, using a walking foot if you have
one. Clip around the curved edge of the
neckline. Finish the raw edges of the seam
allowances by serging or zigzag stitching
them together. Flip the collar away from the
pullover body. Using a press cloth, press the
seam allowances toward the pullover body.
With matching thread, topstitch on the back
of the pullover body, from shoulder seam to
shoulder seam, stitching ¼" (6 mm) from the
collar seam and catching the seam allow-
ances in the stitching.
e Turn the facing to the inside of the pullover,
and zip the zipper. Handstitch the finished
shoulder edge of the facing to the shoulder
seam using loose slip stitches. Using a press
cloth, give the zipper opening a light press.
FinisHing
r To finish the front of the pullover, add the
topstitch detail around the zipper as follows.
With the front’s right side facing up, use
contrasting topstitch thread, a topstitching
needle, and a walking foot if you have one.
Making sure you are not stitching through the
back layer as well, begin topstitching at one
shoulder seam. Follow the marked stitching
lines to sew to the opposite shoulder seam.
For neat corners, be sure to leave the needle
in the down position when you pivot to sew
toward the next corner.
t Finish the bottom edge of the pullover and
the edges of the side vents by serging or use
zigzag stitches.
y To complete the side vents, place the
pullover right side up on your work surface.
119
interweavestitch.com
6/6/11 7:44 AM
 how-to
B
A Road Warrior
figure 5
B
A —Thirteen ½" (1.3 cm) plastic washers
figure 6
To make a mitered corner in one half of a side
vent, fold the bottom edge of the pullover (point
a in figure 5) up toward the opposite corner
(point b in figure 5). The right sides will be
together. Using a ¼" (6 mm) seam allowance,
stitch from the fold line to the raw edges where
Points a and b are matched (figure 6). Turn
the corner right side out and use a point turner
to define the point. Follow the same process to
complete the mitered corners of the other half
of the side vent and the vent on the other side
of the pullover. In this step, you have also es-
tablished the 1" (2.5 cm) depth of the pullover’s
hem. a walking foot is useful for this step and
the next two because you are sewing through
multiple layers of fleece.
u Hem the bottom edge of the pullover by
folding 1" (2.5 cm) to the wrong side. Pin
in place. at the side vents, the depth of the
hem is established. Use matching thread to
topstitch the hem in place, 7⁄8" (2.2 cm) from
the folded edge. begin in the mitered corner
located at one of the vents, and sew toward
the next vent, stopping at the miter, with
the needle in the down position. Turn the
90-degree corner and stitch 7⁄8" (2.2 cm) from
the folded edge of the vent. When you reach
the next angle (about 45 degrees), leave the
needle in the down position, turn the pull-
over, and stitch toward the top corner (above
the vent). leave the needle in the down
position and stitch back toward the bottom
of the vent, repeating the process of turning
corners with the needle in the down position.
Continue sewing the hem until you reach the
place where you started. Press the hemmed
edge lightly using a press cloth.
120
stitch
SMSS1109.indb 120
i Hem the sleeves by folding 1" (2.5 cm) to
the wrong side and press lightly using a press
cloth. With matching thread, topstitch the
hems in place, 7⁄8" (2.2 cm) from the folded
edges.
Jil caPPuccio has been a designer, seam-
stress, and shop owner for more than twenty
years. For more information, visit her website
jilcappuccio.com or her online store at etsy.com/
shop/jilcappuccio.
Organizer
By kevin kOsBaB {from page 57}
DOWnlOaD The Full-siZe
PaTTern anD PrOJecT
insTrucTiOns aT
inTerWeavesTiTch.cOm
Hardware Toiletry Kit
by caThy BullingTOn {from page 57}
FaBRiC
—3⁄8 yd (34.5 cm) of 57" (145 cm) wide faux
leather or canvas (Main)
—1 yd (91.5 cm) of 60" (152.5 cm) wide
rip-stop nylon for lining (lining)
—4½" × 12½" (11.5 × 31.5 cm) piece of heavy
mesh fabric (shown: black)
otHeR sUpplies
—½ yd (46 cm) of heavyweight sew-in
interfacing
—Matching all-purpose sewing thread for
sewing seams
—button and carpet thread (for sewing on
washers; shown: black)
—Size 100/16 sharps sewing machine needle
—11½" (29 cm) of 1" (2.5 cm) wide elastic
(shown: black)
—one ¾" (2 cm) piece of ¾" (2 cm) wide
Velcro
—Two 12" (30.5 cm) metal zippers
—one 9" (23 cm) zipper
—Two 30" (76 cm) lengths of plastic clothes-
line for making piping
—Ten 5⁄8" (1.5 cm) plastic washers
—Eleven 9⁄16" (1.4 cm) plastic washers
—Chalk fabric marking pencil
—Zipper foot for sewing machine
—roller or Teflon foot for sewing machine
(optional)
—Small binder clips or clothespins (optional for
holding pieces instead of pins; see notes)
—Men’s Toiletry Kit pattern on pattern
insert side a
FinisHeD size
—11" wide × 6" high × 5" deep
(28 × 15 × 12.5 cm)
notes
—all seam allowances are ½" (1.3 cm) unless
otherwise noted.
—Topstitching is 5⁄16" (8 mm) from the speci-
fied edge unless otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—Sewing faux leather requires testing stitch
length, foot choice, foot pressure, needle
size, thread tension, and thread weight.
Test by sewing through several layers of
scrap fabric and adjust as necessary. You
may need to switch to a roller or Teflon
presser foot and a larger needle size de-
pending on the thickness of the fabric. Use
a longer stitch length when sewing faux
leather; usually 3–4 mm is ideal.
—Feed dogs may mar faux leather. remember
to keep the right side of the fabric away from
the feed dogs when sewing so the surface
remains intact. also remember that any holes
will remain in the fabric. Pinning should only
be done inside the seam allowance, or pieces
can be held together with small binder clips
or clothespins.
—Thinner faux leather may require all pieces to
be interfaced with a stitch-in interfacing. The
heat needed to bond fusible interfacing may
6/6/11 7:44 AM
 how-to
1
melt some faux leathers. If using a heavier
fabric, interfacing will not be needed.
—Faux leathers often have a knit backing and
will have the most stretch from selvedge to
selvedge (on the crosswise grain) instead of
on the lengthwise grain. Check for this and
cut the piece for the piping trim using the
direction with the most stretch. Following
this tip will make it easier to manipulate
the piping and help keep the finish of the
faux leather or vinyl from cracking.
—The plastic washers shown were found in
the plumbing aisle of the hardware store,
sold in a pack of assorted sizes. Some
stores may also stock similar washers
in the small parts bins of the hardware
department.
—When sewn, the exposed portion of all
zippers should measure ½" (1.3 cm) wide
between the Main fabric edges. adjust the
placement of the zipper tape between the
layers of fabric before sewing to make sure
it will allow for the ½" (1.3 cm) space; this
may mean the zipper tape will be wider or
narrower than the fabric seam allowances.
It may help to measure ¼" (6 mm) to each
side of the zipper teeth and temporarily
mark along the zipper tape. This will help
you check the placement of your Main fabric figure 1
edges, ensuring that the appropriate amount
of zipper tape remains visible after assembly. you sew. Fold over the elastic, encasing the
—Wide single-fold bias tape in a color to top edge of the mesh, and sew through all
match the lining fabric may be used in layers with a zigzag stitch about 1⁄8" (3 mm)
from the edge, again stretching as you sew.
place of cutting bias from the lining fabric.
3 6 Using the lower Front pattern as a guide,
CUt + pRepaRe tHe FaBRiC mark the placement for the washers on the
1 Cut the following pieces from a single wrong side of the Main fabric lower Front
layer of the Main fabric (where dimensions —Two 3½" × 22" (9 × 56 cm) bottom/Side piece. Handsew the washers in place using
are given, no pattern piece is provided): Panels heavyweight thread. You may buttonhole-
—1 Upper Front —Two 2" × 36" (5 × 91.5 cm) bias strips for stitch around the washers or simply stitch
Inner Seam binding around them from inside the center of the
—1 lower Front
ring to the outside several times to hold them
—1 back 3 If using lightweight faux leather, cut from a
single layer of heavyweight sew-in interfacing: in place. Knot the thread behind each washer
—Two 2" × 13½" (5 × 34.5 cm) Top Zipper to keep it secure. For extra security, glue the
Panel Sides —1 Upper Front washers to the fabric before sewing (be sure
—one 3" × 13½" (7.5 × 34.5 cm) Top Zipper —1 lower Front to test the glue on a scrap of the Main fabric).
Panel Center —1 back You can also use more stitches, spaced a
—one 10½" × 6" (26.5 × 15 cm) bottom Panel —Two 2" × 13½" (5 × 34.5 cm) Top Zipper little closer together, than those seen on the
Panel Sides sample and knot on the wrong side after each
—Two 6½" × 6" (16.5 × 15 cm) Side Panels
stitch to ensure that the washer won’t pop off
—Two 2½" × 8" (6.5 × 20.5 cm) Handles —one 3" × 13½" (7.5 × 34.5 cm) Top Zipper
if one stitch were to somehow be broken.
Panel Center
—Two 2½" × 1¼" (6.5 × 3.2 cm) Zipper Stops
—one 10½" × 6" (26.5 × 15 cm) bottom Panel 7 Fold the Zipper Stops in half widthwise so
—one 3" × 4" (7.5 × 10 cm) Velcro Tab they measure 1¼" × 1¼" (3.2 × 3.2 cm). line
—Two 6½" × 6" (16.5 × 15 cm) Side Panels
—Two 1½" × 32" (3.8 × 81.5 cm) piping strips them up across the ends of the 9" (23 cm)
(cut the direction with the most stretch) —Two 2½" × 8" (6.5 × 20.5 cm) Handles zipper tape with the folded edge toward the
—one 3" × 4" (7.5 × 10 cm) Velcro Tab zipper. The zipper plus zipper stops should
2 Cut the following pieces from a single
measure 11½" (29 cm) from end to end. Top-
layer of the lining fabric (where dimensions 4 If using interfacing, baste the interfacing
are given, no pattern piece is provided): pieces to the wrong side of the corresponding stitch ¼" (6 mm) from the folded edge of each
Main fabric pieces by sewing 3⁄8" (1 cm) from Zipper Stop, catching the ends of the zipper
—1 lower Front tape. Sew the zipper to the Main fabric lower
the outer edges.
—2 backs Front piece with right sides together and one
—3 Front Pocket lining/Inner divider pieces seW poCket + zippeR panels long side of the zipper piece aligned with the
—Two 2" × 13½" (5 × 34.5 cm) Top Zipper top edge of the lower Front. Sew the remain-
5 Prepare the Mesh Pocket by pinning the ing long edge of the zipper piece to the bottom
Panel Sides top edge of the 4½" × 12½" (11.5 × 31.5 cm) edge of the Main fabric Upper Front piece.
—one 3" × 13½" (7.5 × 34.5 cm) Top Zipper mesh piece along the center line of the Flip the Main fabric lower Front section out of
Panel Center elastic, stretching the elastic across the top. the way and sew the lower Front lining piece
baste the elastic to the mesh, stretching as wrong side up to the lower zipper tape. Fold

121
interweavestitch.com

SMSS1109.indb 121 6/6/11 7:44 AM

 how-to
2
1
2 ing and Main fabrics together, as described
(2.5 cm)
1"
inner divider
figure 2
3 - Place the Inner divider pieces right sides
figure 3
open with the Main and lining panels wrong
sides together and topstitch the zipper seam
on the lower front panel through all layers.
Flip the Upper Front piece down to expose the
upper zipper tape, then place the Front Pocket
lining wrong sides together on the Upper
Front piece, sandwiching the zipper tape in
between, and sew along the zipper edge. Flip
the Upper Front back up and sandwich the
seam allowance between the Upper Front and
the Front Pocket lining. Topstitch the top edge
of the zipper seam on the Upper Front piece
through all layers. This assembled piece will
now be referred to as the front panel.
8 open up the two 12" (30.5 cm) zippers
and center them along the long edges of the
Main fabric Top Zipper Panel Center, with
right sides together. Place the Top Zipper
Panel Center lining on top with right sides
together, sandwiching the zippers between
the Main fabric and the lining. Clip all layers
together. Fold out the ends of the zipper
tape at the top so they will be caught in the
seam (figure 1 on page 121). Sew the layers
together with a zipper foot along both long
edges of the center panel, securing the zip-
pers. Turn right side out slowly and carefully.
Fold the lining and Main fabric in at the short
end at the top of the zippers and handstitch
them together with a slip stitch, trimming
corners as needed. Topstitch the panel on
the long zipper edges and the short finished
end. Center one half of the Velcro piece side
to side on the lining side of the assembled
center panel with the long side of the Velcro
about ¼" (6 mm) from the finished end of the
panel, and edgestitch the long Velcro edges
in place, backtacking at the ends.
9 Sandwich one loose zipper tape between a
Top Zipper Panel Side with right sides of lin-
122
stitch
SMSS1109.indb 122
in the previous step. Sew with the zipper foot
along the long sides, again folding in and
trapping the top end of the zipper tape in the
seam. Fold so the wrong sides are together
and topstitch along the edge of the zipper
opening. repeat this entire step to sew the
remaining loose zipper tape to the remaining
lining and Main fabric Top Zipper Panel Side.
seW CenteR seCtion
0 Sew a Side Panel to each short end of the
bottom Panel, right sides together. Fold seam
allowances toward the bottom panel and top-
stitch along the seams on the bottom piece.
together and sew the edge with square cor-
ners. Turn right side out and topstitch along
the seamed edge. Pin one lining bottom/Side
Panel to each side of the inner divider with
1" (2.5 cm) extending beyond the seamed
top edge of the inner divider. Sew all around
the side panels, catching the inner divider
between the two (figure 2). Clip the corners
and open seam allowances out.
= Fold the Velcro Tab piece in half lengthwise
with right sides together so it measures 4" ×
1½" (10 × 3.8 cm). Sew the short sides. Clip
the corners and turn right side out. Center
the remaining half of the Velcro between the
short ends on the seamed tab piece, with the
long side of the Velcro almost against the
folded edge, and topstitch around the edges.
q Sew the raw end of the assembled zipper
panel to one Side Panel (opposite the edge
already sewn) with right sides together. open
the zippers partway and clip the Top Zipper
Panel Sides pieces to the remaining Side
Panel (opposite the edge already sewn) with
right sides together. Clip the completed tab
piece between the Top Zipper Panel Sides,
Velcro side to the right side of the Side Panel.
Make sure all raw edges match and sew.
w With the right side of the bottom/Side
Panel lining (with divider) against the wrong
side of the top zipper panel, sew the bottom/
Side Panel lining to the seam allowances,
joining the Zipper Panel and Side Panels,
following the existing stitching (figure 3).
Turn pieces so they are right side out and
the seam allowances inside are folded down
toward the Side Panels between the Side
Panels and the Side/bottom Panel lining.
Topstitch the seams flat.
FinisHing
e Trim the ends of the clothesline at an angle.
Prepare the piping by folding one piping piece
over one clothesline piece, with wrong sides
together. Using a zipper foot, stitch with a 3⁄8"
(1 cm) seam allowance. The ½" (1.3 cm) seam
allowance used to insert the piping later will
tighten the piping around the clothesline. The
fabric will extend beyond the clothesline.
r Place the back lining wrong sides together
with the Main fabric back piece and baste
around the outside edges. Position the mesh
pocket right side up on the lining piece,
aligning short edges and matching the long
raw edge of the mesh pocket with the bot-
tom edge of the back lining, and baste the
three raw edges of the mesh pocket in place.
Place the remaining back lining wrong sides
together with the assembled front panel and
baste around the outside edges.
t Using the zipper foot, baste the piping to
the completed front panel and the basted back
pieces, overlapping the piping at the bottom.
before sewing the overlap, trim the ends of
the clothesline at an angle so they meet each
other, then sew the empty ends of piping fabric
up into the seam. Clip the corners.
y Place the two Handle pieces right sides
together and sew both long sides. Turn right
side out. Topstitch both sewn edges, then sew
another line of topstitching centered between
the first two. Center the Handle top to bottom
on the Side Panel adjacent to the Velcro tab,
right sides up. The Handle will be wider than
the Side Panel; baste each Handle end to the
Side Panel with raw edges matching.
u Clip the front panel to the assembled
center section (top, sides, and bottom) with
right sides together, using the bottom seams
to align the center section with the bottom
edge of the front panel (the seams should
be just inside the curved corners of the front
panel). Sew together, using a zipper foot to
sew close to the piping. You may need to slow
down or walk the machine by hand over thick
areas. open the zippers and repeat this entire
step to sew the back panel to the opposite
side of the center section (you’ll need to turn
the inner divider around the bottom of the
bag to get to the opposite side).
i Trim the seam allowances sewn in the
previous step to neaten if necessary. Press
under ¼" (6 mm) at one short end of each
bias strip, then press under ¼" (6 mm) along
one long side of each. Using a ¼" (6 mm)
seam allowance, sew one of the bias strips to
the exposed seam allowance, with right sides
together and raw edges matched. begin a
few inches from the pressed-under end of
the bias strip, placing it near the center of
the bottom edge; when you have sewn around
and reach the beginning, overlap the ends
of the binding and trim the excess. Fold the
pressed-under edge over the seam allow-
ance and edgestitch on the other side of the
seam allowance to encase the raw edges.
Turn the divider around the bottom of the bag
and bind the seam allowance on this side of
the bag in the same way with the remaining
bias strip. Turn the bag right side out.
caThy bullingTon is an art teacher
during the day and a textile artist with a focus
on wearable art at night and on the weekends.
Cathy records her textile explorations on her
blog elephantbooty.blogspot.com.
6/6/11 7:44 AM

Gadget Messenger Bag
by kevin kOsBaB {from page 56}
FaBRiC
—1¾ yd (1.6 m) of 45" (114.5 cm) wide cotton
duck canvas for shell and strap (shown:
light gray)
—¼ yd (23 cm) of 45" (114.5 cm) wide con-
trasting solid cotton for details (shown:
orange)
—1 yd (91.5 cm) of 45" (114.5 cm) wide rip-
stop nylon for lining (shown: gray)
otHeR sUpplies
—3 yd (2.7 m) of 20" (51 cm) wide medium-
weight fusible interfacing
—9" × 15" (23 × 38 cm) piece of fusible web
—Sewing thread to match shell and contrast
fabrics
—6½" (16.5 cm) of ¾" (2 cm) wide sew-in
hook-and-loop tape (such as Velcro)
—Three 2" × ¾" (5 × 2 cm) rectangular rings
(see notes)
—3½ yd (3.2 m) of corded piping to match
contrast fabric (2 packages of purchased
piping, or use filler cord and additional
contrast fabric to make your own)
—USb hub with cable (shown: 3¾" × 1¼" ×
½" [9.5 × 3.2 × 1.3 cm] hub with retractable
cable)
SMSS1109.indb 123
how-to
—rotary cutter, rigid acrylic ruler,
and self-healing mat
—Fabric marking tool
—Zipper foot for sewing machine
—Gadget Messenger bag templates from
pattern insert side a
FinisHeD size
—14" × 12" × 4" (35.5 × 30.5 × 10 cm),
excluding strap
notes
—all seam allowances are ½" (1.3 cm) unless
otherwise noted.
—Edgestitch 1⁄8" (3 mm) from the edge unless figure 1
otherwise noted.
—For explanations of terms and techniques,
see Sewing basics on pages 67–72.
—leave small peripherals like flash drives
and wireless receivers plugged into the hub
in the patch pocket and plug them all into
the computer at once by connecting the
hub cable from where it exits the bag at the
side. To charge a laptop or other device in
the main compartment of the bag, run its
power cord through the pass-through cable
outlet in the side.
—The bellows pocket was sized to fit a
particular USb hub; adjust the dimensions
and depth of this pocket to fit the hub you
intend to use. You may also want to alter
the placement of the bellows pocket’s
cable outlet depending on where the cord
connects to your hub. figure 2
—The bag is sized to fit a laptop with a 13"
(33 cm) screen (measured diagonally), with
2 Cut a piece of interfacing for each canvas
generous space for files, books, etc. For
piece, subtracting ¾" (2 cm) from each
further protection of the computer, use a
dimension to reduce bulk in the seam al-
padded laptop sleeve as well.
lowances. Fuse each interfacing piece to
—Instead of a typical bag glide with a center the wrong side of the corresponding canvas
bar, two rectangular key rings from the
piece, following the manufacturer’s instruc-
hardware store are used for the adjustable tions.
strap. Since the two rings are separate
and not fixed flat like a bag glide, the strap 3 From the ripstop nylon, cut the following
is woven through them several times to pieces:
produce the tension necessary to hold the —15" × 15" (38 × 38 cm) Flap lining
strap at the desired length. —29" × 15" (73.5 × 38 cm) Main lining
—For a stiffer bag bottom, insert a piece of —Two 13" × 5" (33 × 12.5 cm) lining Sides
cardboard or ultra-firm interfacing inside
the bag before lining the bag, gluing the 4 From the contrast cotton fabric, cut four
cardboard or sewing the interfacing to the 2¾" × 1" (7 × 2.5 cm) Strap End pieces.
bottom side seam allowances. 5 Trace the USb Motif template onto the
paper side of the fusible web. Cut the shape
CUt tHe FaBRiC out roughly, leaving a ¼" (6 mm) margin on
It may be helpful to label cut pieces with a all sides. Fuse the shape to the wrong side of
removable fabric pen or pieces of tape. the remaining contrast cotton fabric following
1 From the duck canvas, cut the following the manufacturer’s instructions, then cut the
pieces: shape out along the lines.
—43" × 15" (109 × 38 cm) Main Shell
appliqUé tHe UsB MotiF
—Two 13" × 5" (33 × 12.5 cm) Shell Sides
6 remove the paper backing and fuse the
—Two 7½" × 15" (19 × 38 cm) Pocket Panels contrast fabric USb Motif to the right side
—Two 4½" × 6½" (11.5 × 16.5 cm) bellows of one end of the canvas Main Shell piece,
Pocket Pieces referring to the photo above for guidance.
—Two 2¾" × 12" (7 × 30.5 cm) Short Straps The slanted base of the appliqué will lie
—Two 2¾" × 60" (7 × 152.5 cm) long Straps along one 15" (38 cm) edge of the canvas
—2" × 5" (5 × 12.5 cm) Channel Facing piece, beginning about 2" (5 cm) from the
123
interweavestitch.com
6/6/11 7:44 AM
 how-to
long left edge. adjust the placement slightly,
if desired, but keep the seam allowances in
mind. Using thread matching the motif, sew
around the edges with a zigzag stitch 1 mm
long and 1.5–2 mm wide. The outer swing
of the needle should fall just outside the
contrast motif in the canvas background, with
the bulk of the stitch on the motif itself. Pivot
with the needle in the fabric outside the motif
on outside curves and corners, or inside the
motif on inside curves and corners.
ConstRUCt tHe poCkets
+ CoRD CHannel
7 Using a ¼" (6 mm) seam allowance,
sew the bellows Pocket pieces right sides
together, leaving an opening in the center of
one long side. Trim the corners diagonally
to reduce bulk and turn the pocket right
side out, folding the seam allowances to the
wrong side at the opening. Edgestitch both
long sides, closing the gap as you stitch.
Press 7⁄8" (2.2 cm) to the wrong side along
both short pocket edges, then press ½" (1.3
cm) back to the right side, accordion style
(figure 1 on page 123).
8 Pin the assembled bellows pocket right
side up on the right side of one of the canvas
Pocket Panel pieces, placing the bellows
pocket 1½" (3.8 cm) from the left and top edg-
es of the Pocket Panel. Edgestitch the sides
and bottom of the bellows pocket to secure it
to the Pocket Panel. backtack at the beginning
and end of the edgestitches, and leave a 1"
(2.5 cm) opening at the center of the bottom
edge for the hub cable to exit. Catch the pleats
on the bellows pocket (made in previous step)
in the stitching along the pocket bottom, but
not along the sides (figure 2 on page 123).
9 Sew a 1" (2.5 cm) long buttonhole parallel
to the bottom of the bellows pocket, centered
on the pocket and 1¼" (3.2 cm) from the bot-
tom edge of the Pocket Panel. Carefully open
the buttonhole with small sharp scissors or a
seam ripper.
0 Cut a 15" (38 cm) length of corded piping
and pin it to one long side of the remaining
Pocket Panel piece, right sides together,
with raw edges matched and the piping seam
lying along the Pocket Panel seam line. To
reduce bulk in later seams, remove a few
stitches holding the piping closed and trim
½" (1.3 cm) of the filling cord away at each
end, then reposition the empty end of the
piping fabric. Using a zipper foot to sew close
to the piping, baste it in place. With the piped
panel on top, sew the two Pocket Panels right
sides together just inside the basting stitches
(closer to the cord), again using the zipper
foot. Sew the opposite long edges together
with a ¼" (6 mm) seam allowance, then pink
or zigzag-stitch the seam allowances to
prevent fraying when pushing the USb cable
through the channel. Turn the assembled
pocket panel right side out and press.
- Pin the pocket panel, with the bellows
pocket on top, to the right side of the Main
124
stitch
SMSS1109.indb 124
Shell piece, at the end opposite the appliquéd
motif, placing the corded top edge of the
pocket panel 1½" (3.8 cm) from the end of
the Main Shell. baste the raw side edges of
the pocket panel to the Main Shell piece, 3⁄8"
(1 cm) from the raw edges. Edgestitch the
bottom of the pocket panel.
= draw a removable guideline parallel to
the bottom edge of the pocket panel and ¼"
(6 mm) above the buttonhole. Topstitch along
the guideline to create the cable channel.
Measure and draw removable guidelines
parallel to the side of the bellows pocket 1½"
(3.8 cm) and 3¼" (8.5 cm) from the right-
hand edge of the bellows pocket, dividing the
pocket panel into smaller pockets, or place
the dividing lines as desired to make pockets
to suit your gear. Topstitch along each line
4
figure 3
from the corded edge of the pocket panel to
the upper edge of the channel.
q Cut two 2" (5 cm) lengths of hook-and-
loop tape. Position the loop side of one piece
1½" (3.8 cm) from the left edge of the Main
Shell, abutting the pocket panel, and edges-
titch to secure. repeat to position the second
loop piece 1½" (3.8 cm) from the right edge of
the Main Shell.
w Clip into the Main Shell’s seam allow-
ance on the left-hand edge just inside the
topstitching that defines the cable channel,
making each cut just a little less than the
½" (1.3 cm) seam allowance (7⁄16" [1.1 cm]).
Fold the resulting tab to the wrong side and
finger-press (figure 3).
ConstRUCt tHe stRaps + siDes
e Using a ¼" (6 mm) seam allowance, sew a
contrast Strap End piece to one end of each figure 4
canvas Short and long Strap piece with right
sides together. Press the seam allowances Fold ½" (1.3 cm) to the wrong side at the
toward the contrast fabric. open end of each assembled strap and press.
Edgestitch both long edges of the long strap
r Sew each pair of corresponding Strap only.
pieces right sides together along both long
t Insert the open end of the short strap
sides with ½" (1.3 cm) seam allowances,
through a rectangular ring, fold the end of
pivoting to sew across the contrast end just
the strap to the wrong side around one edge
outside the previous seam allowances (¼"
[6 mm] from the seam). Trim the corners of the ring, and topstitch along the strap’s
diagonally and turn the straps right side out. folded end through all thicknesses. Pin the
6/6/11 7:44 AM

side panel with
channel and
long strap
pocket panel
figure 5
strap, centered, right side up on the right
side of one of the canvas Shell Sides, placing
the contrast end 2" (5 cm) from the bottom
short end of the Shell Side; the metal ring
will extend beyond the upper end of the Side
piece. Edgestitch the strap to the Shell Side
along one long side of the strap, stopping ¾"
(2 cm) from the top edge of the Side piece.
Pivot with the needle down and stitch across
the strap, then pivot again to edgestitch the
second long edge. Pivot again at the contrast
fabric to stitch in the ditch across the strap,
then pivot a final time to return to the start-
ing point. Topstitch a 1" (2.5 cm) reinforcing
square in the center of the strap 1¼" (3.2 cm)
from the top edge of the Shell Side and ¼"
(6 mm) from the strap edgestitching.
y on the remaining canvas Shell Side piece,
sew a 11⁄8" (3 cm) long buttonhole 2" (5 cm)
from the right-hand long edge, starting 5½"
(14 cm) from the bottom of the piece. Pin the
Channel Facing over the buttonhole, wrong
sides up, with the short ends of the Facing
aligned with the long sides of the Shell Side
piece. Check that at least ¼" (6 mm) of the
Facing extends above and below the but-
tonhole, then topstitch the Facing to the Side
piece, ¼" (6 mm) from each long side of the
Facing. Sew an identical buttonhole through
both Side and Facing, 2" (5 cm) from the left
edge of the Side piece (this pass-through
outlet will be accessible to the main interior
of the bag). Cut a 1¼" (3.2 cm) strip of hook-
and-loop tape. Place the loop side on the
Shell Side, centered below the buttonholes
and aligned with the lowest line of topstitch-
ing on the Side piece, and edgestitch in place.
u Edgestitch the hook portion of the 1¼"
(3.2 cm) hook-and-loop tape to the back
of the long strap, 1¼" (3.2 cm) from the
SMSS1109.indb 125
side panel
with short
strap
contrast end. Fasten the tape to position the
strap on the Side piece, with the contrast
end 2" (5 cm) from the bottom end of the
Side piece. Edgestitch the strap to the Side,
beginning at the upper line of topstitching
for the side channel and sewing directly
on top of the previous edgestitching. Stop
sewing and backtack 1" (2.5 cm) below the
upper edge of the Side. begin edgestitching
the other side of the strap 1" (2.5 cm) below
the upper edge, ending at the upper line of
topstitching; the end will be left loose as a
flap to cover the cable outlets and closed by
the hook-and-loop tape. Sew a reinforcing
square as in Step 17.
asseMBle tHe sHell
i Use the Corner template to trim the Main
Shell corners at the end with the appliqué.
Pin corded piping to the Main Shell piece,
right sides together, along the long sides and
the short end with the appliqué, with the raw
edges together and the piping seam along
the shell seam line. at the corners, clip into
the seam allowance of the cording to ease
into a smooth curve (figure 4). remove the
filling cord from the ends and baste the cord-
ing as described in Step 10, shortening the
stitch length when sewing around the cor-
ners. Make sure the folded-back tab at the
cable channel is not caught in the stitching.
o Pin the Shell Side pieces to the Main Shell,
right sides together, with the upper edges
of the Sides aligned with the pocket end of
the Main Shell (figure 5). Clip and fold the
channel facing seam allowance as described
in Step 14 where the side channel meets the
pocket panel channel. Using a zipper foot,
sew the side pieces to the main shell close
to the corded piping, stopping and backtack-
ing ½" (1.3 cm) from the bottom edge of the
how-to
side pieces. Make sure the channel tab is not
caught in the seam.
p Clip the Main Shell seam allowance to
the end of the stitching on each side, being
careful not to clip the stitches or cut beyond
the seam line. Fold the Main Shell around the
corner and align it with the bottom edge of
the side piece, right sides together, to form
the bottom of the bag. Sew as described in
the previous step, backtacking to start and
stop ½" (1.3 cm) from the edges.
[ repeat the previous step to form the shell
back by joining the remaining long edges of
the side pieces to the main shell, stopping ½"
(1.3 cm) from the upper edge of the side piec-
es. The flap will extend past the shell front
and sides. Press the seams to one side.
] Trim the side seam allowances at the
cable channel to ¼" (6 mm) and whipstitch
them together. Whipstitch the folded-back
tabs together along the folds.
asseMBle tHe lining
\ Following the process for sewing the shell
pieces together, sew the lining sides to the
main lining. Sew all the way to the raw edges
at the top of the lining.
a Topstitch the hook portions of the 2"
(5 cm) hook-and-loop tape remaining from
the shell front to the flap lining, placing each
piece 1" (2.5 cm) from the bottom of the lin-
ing and 1½" (3.8 cm) in from each side edge.
s Pin the flap lining to the shell flap, right
sides together, positioning the hook-and-
loop tape side along the curved edge of the
flap. Using a zipper foot, sew the shell and
flap lining together close to the cord, starting
and stopping 1" (2.5 cm) from the shell side
pieces and shortening the stitch length to
sew around the corners. round the lining
corners to match the shell and clip and grade
the curved seam allowances.
d Insert the shell into the lining, right sides
together, keeping the flap out of the way and
making sure the straps are between the shell
and the lining. Sew the lining to the shell
around the raw side and front edges, leaving
the flap/back side open. be careful not to
catch the straps in the stitching. Turn the
bag right side out through the opening at the
flap. Turn the flap right side out, press, and
tuck the lining seam allowance (where the
flap meets the bag) behind the main lining.
Fold ½" (1.3 cm) to the wrong side along the
open edge of the bag lining, pin, and topstitch
through all layers to close the opening.
f Topstitch around the upper edges of the
bag, continuing the line of stitching that
closed the flap opening. For a clean finish,
backtack on either side of the piping that
would intersect the stitching instead of sew-
ing over it. Topstitch around the flap inside
the piped edge, closing any gaps in the seam
just above the main portion of the bag (from
Step 27).
125
interweavestitch.com
6/6/11 7:44 AM
 how-to
buttonhole
shown for
reference,
lies under
the lining
cut tabs are
now tucked
between the
layers
figure 6
g Pin the lining to the shell around the
pass-through buttonhole on the side of the
bag (the one that extends through both lay-
ers of the channel). Carefully slit the lining
through the buttonhole, beginning and ending
¼" (6 mm) from the ends of the buttonhole.
From the inside, clip the lining diagonally
from the ends of the slit to the buttonhole
corners (figure 6) to make small triangular
tabs at each end of the slit, extending them
just a few threads past the buttonhole. Tuck
the tabs between the lining and the shell and
whipstitch the folds to the channel facing.
FinisH tHe stRaps
h Insert the loose end of the long strap
through the two remaining square rings,
then insert it through the ring attached to
the short strap. bring the strap end back up
126
stitch
SMSS1109.indb 126
figure 7
the buttonhole. Carefully work the cable end
through the channel on the pocket panel, past
the side seam and into the side channel, and
out through the buttonhole on the side. When
behind the strap and through the uppermost
not in use, the cable end will be covered by
ring from top to bottom. Weave the strap end the flap at the end of the long strap.
from bottom to top through the middle ring.
Fold ½" (1.3 cm) of the strap end to the wrong keVin kosbab is a freelance writer, an
side. Fold the strap to the wrong side again
editor, and a pattern designer. He designs
½" (1.3 cm) below the previous fold, trapping
the middle ring between the folds. Edgestitch modern quilts and sewing projects for a variety
the first fold to the main part of the strap, of magazines, and you can find his Feed Dog
then edgestitch close to the second fold to Designs patterns in stores and on the Web at
secure the middle ring (figure 7). Use a large feeddog.net.
needle (size 100/16) and stitch slowly, turning
the hand wheel manually if necessary, to
pierce the many layers of canvas.
j Place the USb hub in the bellows pocket,
orienting the ports to be accessible from the
pocket opening. bring the cable through the
opening at the bottom of the pocket, then
insert the end into the cable channel through
6/6/11 7:44 AM ad_stitch_m
 Contemporary Patterns.
Modern Sewing.
Get your favorite patterns from .

magazine brings you patterns from stylish

clothes and home décor to fun accessories and gifts.

Download your favorite sewing patterns from today!

t
■ Dresses + Skirts ■ Quilts + Throws
■ Scarves + Shawls ■ Pillows + Home Décor

■ Women’s Tops, Coats + Jackets ■ Baby + Kid’s Clothing,

■ Men’s Clothing Toys + Accessories

■ Bags, Jewelry + Accessories ■ Gifts + More!

Begin your celebration of fabric and thread with patterns from

the sew daily pattern store.

www.interweavestore.com/Sewing
866-949-1646

ad_stitch_mag3.indd
SMSS1109.indb 1271 12/10/10
6/6/11 7:44
12:10
AMPM
 how-to
work
+ space
Machine Cover
+ Organizer In One
by lisa l. anDersOn {from page 60}
FaBRiC
Make necessary adjustments to fabric amounts
if altering the cover size to fit your machine
—1 yd (91.5 cm) of 60" (152.5 cm) wide linen
for cover (Main; shown: natural)
—3⁄8 yd (34.3 cm) of 45" (114.5 cm) wide solid-
color cotton fabric for binding, front stripe,
and bird appliqué (a; shown: golden yellow)
—3" × 7" (7.6 × 18 cm) of solid-color cotton fab-
ric for spool appliqués (b; shown: dark gray)
—Fat eighth (9" × 22" [23 × 56 cm]) or 9" ×
45" (23 × 114.5 cm) of cotton print fabric
for organizational components (C; shown:
multicolor rose print on gray)
otHeR sUpplies
—low-loft batting (craft or crib size)
—Threads for sewing, appliqué, and quilting
—Fusible web
—Embroidery floss (shown: teal)
—Embroidery needle and hoop
—Small amount of stuffing (such as
polyester fiberfill)
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Quilting safety pins or basting spray
—17⁄8 yd (171.5 cm) of 3⁄8" (1 cm) wide grosgrain
ribbon (shown: golden yellow with red
stitches)
—Two 23 mm (7⁄8") snaps
—one 28 mm (11⁄8") button
—Water-soluble fabric marking pen
—Machine Cover templates on the pattern
insert side b
128
stitch
SMSS1109.indb 128
FinisHeD size
—28" × 15½" (71 × 39.5 cm), sample was made
to fit a machine measuring 12" high × 15" wide
× 4" deep (30.5 × 38 × 10 cm); the size can be
adjusted to fit your machine, see notes.
notes
—Seam allowances are ¼" (6 mm) unless
otherwise noted.
—For explanations of terms and techniques
see Sewing basics on pages 67-72.
—Press the seam allowances toward the solid
or print fabric if you wish to have the stripes
pop out a little bit or press the seam allow-
ances open for a flatter surface.
—any button as large or larger than the snaps
can be used.
—To customize the size for your machine,
use a measuring tape to find the distance
from the tabletop, up the machine front,
across the top of the machine, and down
the machine back to the tabletop. add ½"
(1.3 cm) to determine the cover length.
Measure the machine width from side to
side and add ½" (1.3 cm) to determine the
cover width. adjust the fabric requirements
as necessary for the custom-size cover.
CUt tHe FaBRiC
1 From the Main fabric, cut:
—one 15½" × 23" (39.5 × 58.5 cm) piece
for Upper background
—one 15½" × 3½" (39.5 × 9 cm) piece
for lower background
—one 30" × 17½" (76 × 44.5 cm) piece
for backing
—one 3½" × 8" (9 × 20.5 cm) piece
for Pincushion back
—one 12½" × 9" (31.5 × 23 cm) piece
for Thread Catcher lining
—Two 13" × 9½" (33 × 24 cm) pieces
for Thread Catcher body
—one 2" × 4½" (5 × 11.5 cm) piece
for Upper Pocket
—one 3" × 4½" (7.5 × 11.5 cm) piece
for lower Pocket
—one 6¼" × 4¼" (16 × 11 cm) piece
for Pocket lining
From fabric a, cut:
—one 15½" × 2½" (39.5 × 6.5 cm) piece
for Cover Stripe
—one 3" × 3" (7.5 × 7.5 cm) piece
for bird appliqué
—Three 2½" (6.5 cm) × of W (width of fabric)
strips for binding
—one 2½" × 4" (6.5 × 10 cm) piece
for Pincushion Tab
From fabric C, cut:
—one 3½" × 8" (9 × 20.5 cm) piece
for Pincushion Front
—one 3½" × 12½" (9 × 31.5 cm) piece,
including the selvedge as one long edge,
for the Thread Catcher Cuff
—one 2" × 4½" (5 × 11.5 cm) piece
for Pocket Stripe
From the batting, cut:
—one 30" × 17½" (76 × 44.5 cm) piece
for Cover
—one 13" × 9½" (33 × 24 cm) piece
for Thread Catcher
—one 3½" × 5½" (9 × 14 cm) piece for Pocket
From the fusible web, cut:
—one 3" × 3" (7.5 × 7.5 cm) piece
for bird appliqué
—one 3" × 7" (7.5 × 18 cm) piece
for Spool appliqués
From the ribbon, cut four 16" (40.5 cm) pieces.
2 Trace one bird appliqué onto the paper side
of the 3" (7.5 cm) square of fusible web and
trace three Spools onto the larger piece. Fol-
lowing the manufacturer’s instructions, fuse
the web to the wrong sides of the correspond-
ing fabric a and b appliqué pieces. Cut out the
appliqué shapes along the traced outlines.
seW tHe pinCUsHion
3 Fold the Pincushion Tab in half crosswise
and sew both side seams, leaving the 2½"
(6.5 cm) end open. Clip the corners, turn right
side out, and press.
4 Place the Tab on the Pincushion Front, cen-
tered on one short end of the Front with right
sides together and raw edges matched. Place
the Pincushion back on the Front with right
sides together, sandwiching the Tab between
the Front and back. Sew all four sides, leaving
a small opening on the short end opposite the
Tab. Clip the corners, turn right side out, stuff,
and slip-stitch the opening closed.
5 Sew the socket half of one snap to the back
side of the tab, centering the snap on the tab
¼" (6 mm) from the tab’s free end.
6 Sew the button to the front of the tab over
the snap, concealing the stitches used to at-
tach the snap.
seW tHe poCket
7 With right sides together, sew the Upper
Pocket to one long edge of the Pocket Stripe.
With right sides together, sew the lower
Pocket to the other long edge of the Stripe.
Press the seams (see notes).
8 Press ¼" (6 mm) to the wrong side along
the free edge of the Upper Pocket and one
short edge of the Pocket lining.
9 With right sides together, sew the sides
and bottom of the Pocket lining and the as-
sembled pocket, leaving the pressed edges
open. Clip the corners, turn right side out, and
press. Insert the Pocket batting piece through
the opening, trimming the batting to fit if nec-
essary. Edgestitch along the pressed edges to
close the pocket. Topstitch 5⁄8" (1.5 cm) from
each long edge to quilt the pocket and keep
the batting in position.
seW tHe tHReaD CatCHeR
0 Sew the non-selvedge edge of the Thread
Catcher Cuff to one long edge of the Thread
Catcher lining, with right sides together. With
the cuff pressed away from the lining, fold the
unit in half to make a 6¼" × 12" (16 × 30.5 cm)
rectangle and sew along the sides and bottom,
leaving the cuff edge open.
6/6/11 7:44 AM

- layer the two Thread Catcher bodies, with
wrong sides together, and place the Thread
Catcher batting between the layers. baste the
layers together, using pins or basting spray.
Quilt with lines 1" (2.5 cm) apart and parallel
to the short ends, or as desired.
= Fold the quilted pieces in half widthwise,
with right sides together, and sew along the
sides and bottom, leaving one 6½" (16.5 cm)
edge open for the top. Clip the corners and turn
right side out. This is the thread catcher shell.
q Place the Thread Catcher lining inside the
shell, with wrong sides together, folding the
cuff down against the lining. Sew the top of the
thread catcher, stitching along the previous
cuff seam.
w Press the seam toward the thread catcher
and fold the cuff to the right side of the shell
to hide the seam.
e Sew the socket half of the second snap to
the cuff 1¼" (3.2 cm) below the cuff seam and
centered between the side seam and fold. The
snap will be on the back of the thread catcher;
if you want to feature a portion of the selvedge,
make sure it is on the side without the snap.
pieCe + appliqUé tHe CoveR top
The finished cover will fold over the top of the
sewing machine, creating a front and back, with
the cover’s short edges at the bottom. The stripe
and appliqués are on the front, while the pocket,
thread catcher, and pincushion are on the back.
r Sew the Upper background to one long
edge of the Cover Stripe. Sew the lower back-
ground to the Stripe’s other long edge. Press
the seams as directed in the notes.
t remove the paper backing and fuse the
prepared appliqué shapes to the cover, follow-
ing the manufacturer’s instructions. Position
the Spools in a tumbling pyramid, overlapping
the stripe and about 2½" (6.5 cm) from the
left edge of the cover (see photo on page 60).
Position the bird atop the highest spool, with
its tail about 3¼" (8.5 cm) from the left edge.
Use matching thread and the desired stitch
(shown: satin zigzag, 0.3–0.4 mm long and
1.5–2.0 mm wide) to appliqué each shape to
the cover.
y Use a water-soluble pen to sketch a loop-
ing line from the bird’s beak to a point about
1¾" (4.5 cm) from the right edge and above
the stripe. Hoop the cover and embroider the
line by hand with large running stitches, using
all six strands of the embroidery floss. Make
ten long straight stitches across the narrow
portion of each spool to suggest thread
wrapped around the spool.
u Sew the pocket to the back of the cover, 2"
(5 cm) from the lower and right raw edges.
Edgestitch the pocket’s side and lower edges,
leaving the top open. Topstitch along the cen-
ter of the pocket from top to bottom.
i attach the ball portion of the thread
catcher snap to the back, 5" (12.5 cm) from
the left side and 10½" (26.5 cm) from the
bottom. Sew the ball portion of the pincush-
ion snap 10" (25.5 cm) from the left edge and
10½" (26.5 cm) from the bottom.
SMSS1109.indb 129
FinisHing
o Create a quilt sandwich by layering the
backing (wrong side up), batting, and as-
sembled cover (right side up). baste with
safety pins or basting spray.
p Quilt as desired, keeping in mind the place-
ment of the organizational components; do not
sew across the pocket or plan a line of quilting
that must be broken at the snaps. The sample
is quilted with matching thread and a walking
foot, in straight lines parallel to the cover’s
short edges. The lines of quilting fall below
the stripe on the front, below the pocket on
the back, and across the cover in the middle
portion that will lie on top of the machine.
[ Trim the batting and backing to match the
cover, squaring up the corners. baste a length
of ribbon to the backing on each side of the
cover, 6½" (16.5 cm) above the short edges,
matching the raw edges, with the bulk of the
ribbon lying across the backing; coil and pin
the ribbon ends out of the way, if desired.
] Join the binding strips with diagonal seams
to create a continuous length. Press the
binding in half lengthwise, with wrong sides
together. Follow the instructions for binding
with Mitered Corners (option b) on page 72 to
bind the quilted cover. Catch the basted ribbon
ends in the binding seam, but be careful not to
catch the ties’ free ends.
lisa l. anderson has a design back-
ground and a love for all things crafty, especially
sewing. She enjoys writing about her creative
endeavors on her blog, Crafting My Way
Through Life, at imalisawork.blogspot.com.
Nested Storage Boxes
by lucie summers {from page 61}
FaBRiC
—about ¼ yd (23 cm) each (or desired
scraps) of 8 different 45" (114.5 cm) wide
print fabrics (see notes)
otHeR sUpplies
—Polyester sewing threads to blend with all
fabrics
—Sharps handsewing needle
—Curved upholstery needle (optional)
how-to
—Mat board, about 1⁄16" (2 mm) thick, two 16"
× 20" (40.5 × 51 cm) sheets or one 32" × 40"
(81.5 × 101.5 cm) sheet
—Glue stick
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Metal ruler or other straightedge (optional)
—Craft knife for cutting mat board
—Thimble (optional)
—binder clips or clothespins
FinisHeD sizes
—large box: 6" (15 cm) square × 5" (12.5 cm)
high; Medium box: 5" (12.5 cm) square × 4"
(10 cm) high; Small box: 4" (10 cm) square
× 3" (7.5 cm) high; Tiny box: 3" (7.5 cm)
square × 2" (5 cm) high.
notes
—For explanations of terms and techniques
see Sewing basics on pages 67-72
—Most of the fabrics used for the sample
boxes are from the nature Walk organic
fabric line by Cloud9 fabrics, cloud9fabrics
.com. The prints used were: Grove in colors
Straw and Sky; leaves in colors Crimson
and leaf; Clearing; and Moss in colors
ocean, Earth, and Crimson.
—This project is perfect for fat eighths, fat
quarters, 10" (25.4 cm) precut squares,
and (for pieced sides or smaller boxes) 5"
(12.5 cm) precut charm squares.
—Mat board, chipboard, or gray board is
a great weight for this project, light yet
sturdy for a really professional feel. a
cereal box or thin card works well too,
although one layer might be a little flimsy;
try gluing two pieces together. You could
also use an ultra-firm interfacing (such as
Timtex); if you think it’s a little thin, use two
pieces together.
—on some of the boxes, the fabric is pieced
together to create a patchwork effect. This
is very easy to do—simply randomly stitch
scraps of your chosen fabrics together us-
ing a ¼" (6 mm) seam allowance and press
the seams open. Trim the patchwork to the
desired size (see Cutting the Fabric) and
make the box as directed.
—If you decide to make a patchwork box,
make the bottom of the box using a solid
piece of fabric to prevent a wobbly box.
—Even if you don’t usually use a thimble for
handsewing, try it with with this project be-
cause stitching the box together is a tricky
task without one.
—a curved upholstery needle can simplify
whipstitching the box corners together.
—Following are the instructions for a basic
fabric box, but remember, you can really go
to town and decorate the box in any way you’d
like. Embellish with embroidery, appliqué,
beads, you name it! remember, you will need
to decorate the fabric before gluing it to the
mat board and constructing the box.
129
interweavestitch.com
6/6/11 7:44 AM
 how-to

CUt tHe FaBRiC
Note: Cut the shell and lining pieces from any
of the print fabrics, deciding which fabrics
you’d like to feature in each location on each
box before cutting. label each piece with
the box size and the location (e.g., “large
shell side" or “Medium lining bottom") as
you cut. organize the pieces for each box in
a separate pile or in a labeled plastic bag to
avoid confusion.
1 For the large box, cut:
—Four 6" × 5" (15 × 12.5 cm) pieces
for the shell sides
—one 6" × 6" (15 × 15 cm) piece
for the shell bottom
—Four 6" × 5" (15 × 12.5 cm) pieces
for the lining sides
—one 6" × 6" (15 × 15 cm) piece
for the lining bottom
2 For the medium box, cut:
—Four 5" × 4" (12.5 × 10 cm) pieces
for the shell sides
—one 5" × 5" (12.5 × 12.5 cm) piece
for the shell bottom
—Four 5" × 4" (12.5 × 10 cm) pieces
for the lining sides
—one 5" × 5" (12.5 × 12.5 cm) piece
spread glue along the edges of the visible
fabric, fold the fabric edges neatly over the
board, and press down firmly. do the same
with the long sides. When folding at the
corners, tuck a little extra fabric between
the fabric and board and pull the fabric taut
to create a smooth, sharp corner (figure 1).
mat board repeat with the remaining box sides and bot-
tom. leave the pieces to dry.
q Place one box side on the box bottom,
wrong sides together, and whipstitch the edges
securely together by hand. Keep the stitches
as small and neat as possible because they
will be seen! after every few stitches, stand the
box side on end as it will be positioned in the
finished box and check the stitch tension: too
figure 1 tight and the side won’t stand perpendicular
to the bottom; too loose and the stitches will
be too prominent. Stitch the remaining side
panels to the other edges of the box bottom,
stitching
exaggerated creating a “cross" shape (figure 2).
for reference
w Fold the box sides upward to form the
side box, with the stitches acting as hinges, and
whipstitch each side panel to its neighbors
as before. begin each seam at the top edge
of the box and work toward the bottom; if
one side of the box is slightly larger than its
neighbor, it’s easier to hide. This is the excit-
side

for the lining bottom bottom

3 For the small box, cut:
—Four 4" × 3" (10 × 7.5 cm) pieces
for the shell sides
—one 4" × 4" (10 × 10 cm) piece
for the shell bottom
—Four 4" × 3" (10 × 7.5 cm) pieces
for the lining sides
—one 4" × 4" (10 × 10 cm) piece
for the lining bottom
4 For the tiny box, cut:
—Four 3" × 2" (7.5 × 5 cm) pieces
for the shell sides
—one 3" × 3" (7.5 × 7.5 cm) piece
for the shell bottom
—Four 3" × 2" (7.5 × 5 cm) pieces
for the lining sides
—one 3" × 3" (7.5 × 7.5 cm) piece
for the lining bottom
CUt tHe Mat BoaRD
Note: Half of the pieces cut for each size box
will be used for the lining and will need to be
trimmed slightly. However, the exact dimen-
sions depend on fabric and board thickness
and can’t be determined until the box shell
has been stitched together.
When cutting mat board with a craft knife, a
metal ruler or straightedge is a more reliable
guide than an acrylic ruler, which can be cut
by the knife blade.
5For the large box, cut:
—Eight 5" × 4" (12.5 × 10 cm) pieces
for the sides
—Two 5" × 5" (12.5 × 12.5 cm) pieces
for the bottoms
6 For the medium box, cut:
—Eight 4" × 3" (10 × 7.5 cm) pieces
for the sides
side
side
figure 2
—Two 4" × 4" (10 × 10 cm) pieces
for the bottoms
7 For the small box, cut:
—Eight 3" × 2" (7.5 × 5 cm) pieces
for the sides
—Two 3" × 3" (7.5 × 7.5 cm) pieces
for the bottoms
8 For the tiny box, cut:
—Eight 2" × 1" (5 × 2.5 cm) pieces
for the sides
—Two 2" × 2" (5 × 5 cm) pieces
for the bottoms
asseMBle tHe BoXes
Follow the instructions below for each box.
9 lay out all of the fabric (wrong sides up)
and mat board pieces for the shell of one box,
including the pieces for the bottom of the
box. For the moment, put the fabric and mat
board lining pieces to one side.
0 Spread glue generously over one side of
each piece of mat board.
- Center each piece of mat board on the
wrong side of its corresponding fabric piece.
Turn the board over and make sure the fabric
is smooth, without puckers or pleats.
= Turn the board back over to the wrong
side. beginning with the shorter sides,
ing part as the box begins to take shape.
line tHe BoXes
e Carefully measure the inside of the box in
two ways: across the top of the box between the
inside surfaces of opposite side panels for one
measurement and from the bottom to the top
of the box interior for the other. Scribble with
a pencil on the back (visible mat board side) of
the measured side to remind yourself which
piece you have already measured, because
each side may be slightly different.
r Transfer the measurements to one piece
of lining mat board. You may find you just
need to trim the tiniest amount off for a cor-
rect fit; a very rough estimate is 1⁄16" (2 mm).
The goal is to have the box lining at the same
height or a little lower than the correspond-
ing box side. after trimming, place the board
inside the box to check the fit and adjust its
size further if necessary. It should be very
slightly loose, to allow for fabric thickness.
t Cover the lining mat board with a piece
of lining fabric as in Step 12 and check the
fit again while the glue is still wet, to allow
further size adjustments if necessary. Spread
glue generously on the wrong side of the lin-
ing panel and adhere it inside the box, using
binder clips or clothespins to hold it in place
while the glue dries.
y repeat Steps 16 and 17 with the next lining
side, measuring and gluing the lining to the
opposite box side.
u repeat Steps 16 and 17 with the remain-
ing two lining sides and finally the box bottom
(measure across the box in both directions,
between the inside surfaces of the lining side
pieces, to determine the bottom’s dimen-
sions). Use clothespins to hold the lining sides
in place and place a small heavy object in the

130
stitch

SMSS1109.indb 130 6/6/11 7:44 AM


box to keep the bottom flat. leave the box to
dry completely.
lucie summers is a designer/maker from
the United Kingdom, where she lives on a farm
with her family in the Suffolk countryside. She de-
signs and screen prints fabrics for sale at her online
shop under her Summersville label. She regularly
exhibits her work at The Festival of Quilts in Bir-
mingham, where she has won several prizes. See
her fabric at etsy.com/shop/summersville.
Scrappy Machine-
Needle Cushion
by kevin kOsBaB {from page 61}
FaBRiC
—1⁄8 yd (11.5 cm) of muslin for topmost stripe
(to be stamped with numbers) and the
inner bag (a)
—10" × 10" (25.5 × 25.5 cm) scrap of quilting
cotton print for sides, bottom, and patch-
work stripe (b; shown: green polka dot)
—3" × 1" (7.5 × 2.5 cm) strip of each of the
following for top stripes:
—a second quilting cotton print for the
patchwork stripe (C; shown: purple swirl
print)
—denim( d; shown: blue stripe print)
—Knit( E; shown: gold interlock)
—Embroidered fabric (F; see notes; shown:
red cotton with decorative
machine embroidery)
otHeR sUpplies
—3" (7.5 cm) square of cotton or wool batting
—3" × 1" (7.5 × 2.5 cm) piece of lightweight
fusible interfacing
—4" × 2" (10 × 5 cm) piece of lightweight
stabilizer or tissue paper (optional)
—Sewingt hread
—Ground walnut shells (see notes)
—Funnel( optional)
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—¼" (6 mm) tall rubber stamp number set
and ink pad
SMSS1109.indb 131
¾" ½" ½" ½"
(1.3 cm) (1.3 cm) (1.3 cm)
(2 cm)
figure 1
—Water-soluble fabric-marking pen
—Walking foot for sewing machine (optional)
FinisHeD size
—2½"wi de × 2½" long × 1" deep
(6.5 × 6.5 × 2.5 cm)
notes
—all seam allowances are ¼" (6 mm) unless
otherwise noted.
—For explanations of terms and techniques
see Sewing basics on pages 67-72.
—The fabric used for each stripe corresponds
to the type of needle to store there: jeans
needles in the denim fabric, stretch and
ball-point needles in the knit, quilting and
sharps needles in the patchwork, embroi-
dery needles in the embroidery stripe, and
universal needles in the muslin. The colors
chosen for the sample also correspond to
the colored band printed on needles manu-
factured by Schmetz. Choose fabrics and
colors according to the types and brands
of needles you use most often. Similarly,
stamp numbers on the muslin for the
needle sizes you use most often.
—If you don’t have a small piece of em-
broidered fabric, make your own. Simply
set your sewing machine to embroider a
design of your choosing. Use matching
thread. refer to Step 6.
—Insert a pin in the corresponding cushion
square when you install a new needle to
help you remember which needle is cur-
rently in your machine.
—The ground walnut shells (available from
some quilt shops and sold in pet stores
as pet bedding) used here for filling keep
needles sharp and give the cushion weight.
Substitute polyfill if desired.
CUt tHe FaBRiC
1 From fabric a, cut the following pieces:
—one3 " × 1" (7.5 × 2.5 cm) strip for the
Topmost Stripe
—Two4 " × 4" (10 × 10 cm) squares
for the Inner bag
—one3 " × 3" (7.5 × 7.5 cm) square
to back batting
2 From the 10" × 10" (25.5 × 25.5 cm) square
of fabric b, cut the following pieces:
—one3 " × 3" (7.5 × 7.5 cm) square
for the Cushion bottom
—Four3 " × 1½" (7.5 × 3.8 cm) strips
for the Cushion Sides
how-to
¾"
(2 cm)
figure 2
—Two1 " × 1" (2.5 × 2.5 cm) squares
for patchwork stripe
3 Cut the 3" × 1" (7.5 × 2.5 cm) strip of fabric
C into three 1" × 1" (2.5 × 2.5 cm) squares for
the patchwork stripe.
pRepaRe tHe FaBRiC stRips
4 With right sides together, piece the 1" × 1"
(2.5 × 2.5 cm) patchwork squares (fabrics b
and C) into a single strip, alternating the two
fabrics and pressing the seam allowances to
one side.
5 Fuse the interfacing to the wrong side of the
fabric d strip to stabilize it (both are 3" × 1" [7.5
× 2.5 cm] as specified in the Fabric list).
6 If you are embroidering the strip for
embroidery needles yourself, place a piece
of tissue paper or stabilizer under the fabric
and sew a few lines of decorative stitches
with matching thread.
7 divide the muslin strip into five sections:
Using a removable marking tool, draw a line
parallel to the short ends of the strip, ¾"
(2 cm) in from each short end. Mark every ½"
(1.3 cm) between the first two marks (figure
1). You will have four drawn lines. rubber-
stamp the numbers that represent a needle
size inside each square (for the sample,
European sizes 70, 75, 80, 90, and 100 were
stamped; choose the needle sizes you use
most commonly and the measuring system—
american or European—most familiar to you).
remove the drawn markings following the
manufacturer’s instructions. If recommended
by the ink manufacturer, press the strip to
heat-set the ink.
asseMBle tHe CUsHion top
8 assemble the cushion top: Place the 3" ×
3" (7.5 × 7.5 cm) square of batting on the 3" ×
3" (7.5 × 7.5 cm) square of fabric a. Place the
131
interweavestitch.com
6/6/11 7:44 AM
 how-to

stamped fabric a strip right side up on top of Embroidery Hoop

the batting, aligning the top side of the
stamped strip with the top edge of the batting. Wall Pockets
With the right sides together, place the fabric by BOnnie FergusOn {from page 62}
b strip on top of the stamped fabric a strip,
aligning the long and short edges of the strips,
and then sew through all the layers, ¼" (6 mm)
from the lower edges of the fabric strips. Press
open the fabric b strip (figure 2, on page 131) .
9 Place the fabric C strip right sides together
on the pressed-open fabric b strip, align-
ing the long and short edges, and sew them
together; press open the fabric C strip. repeat
this process until you’ve covered the batting
with all five of your fabric strips. To reduce figure 3
bulk in subsequent seams, trim away about
¼" (6 mm) of the batting from the top and
bottom edges of the assembled cushion top.
do not trim the batting on the right-hand and
left-hand edges or any of the fabric strips.
0 divide the cushion top into ½" × ½" (1.3 ×
1.3 cm) squares by sewing lines perpendicular DOWnlOaD The Full-siZe
to the seams, ¾" (2 cm) in from the edges and PaTTern anD PrOJecT
then every ½" (1.3 cm) in between (as you had insTrucTiOns aT
marked in Step 7), using a walking foot if de- inTerWeavesTiTch.cOm
sired. The four quilting lines should fall between
the stamped size numbers and in the “ditch"
between the pieces in the patchwork strip.
CoMplete tHe CUsHion Hedgehog Pincushion
- Make the inner bag to contain the walnut + Tree-Stump
shells: Sew the fabric a Inner bag pieces
together around all four sides, leaving a 2"
figure 4 Measuring Tape
(5 cm) wide opening in one of the sides for by heiDi BOyD {from page 62}
you have stitched the four Side strips together,
turning. Clip the corners diagonally and then
sew the two short ends together in the same
press the seam allowances open.
manner, to complete the assembled cushion
= With the wrong side of the bag still facing sides. Press the seams open.
out, to give the bag structure, box the corners.
beginning with the first corner, arrange the e on the right side of the assembled cushion
top, carefully measure and mark a point that
bag so that the seam allowances are facing
is ¼" (6 mm) from each raw edge, in all four
you and the seam line is in the center. You
corners. These marks will be used to help
will have created a new 90-degree angled
you sew the cushion top to the cushion sides.
corner, with the long edges folded, and you
will see part of the bag top and part of the bag r With right sides together, align the
bottom. Measure and mark a point ¾" (2 cm) marked corners of the assembled cushion
from the corner where the folded edges meet top with the seams of the assembled cushion
(not the corner of the seam allowances’ raw sides. Sew the four sides of the cushion top
edges), down the left-hand side’s folded edge. to the assembled cushion sides, pivoting your
next, using your acrylic ruler and marking work with the needle down at each marked
pen, draw a line perpendicular to the seam corner (figure 4). be sure to backtack at the
allowance, beginning at the point. This line beginning and end of the seam.
will be about 1" (2.5 cm) long. Machine stitch t Sew the Cushion bottom to the assembled
through both layers on the line and then trim cushion sides in the same manner as in FaBRiC
the corners to ¼" (6 mm) from the boxing Steps 15 and 16, this time leaving one side Note: 1⁄8 yd (23 cm) each of cotton print and
seam (figure 3). repeat the process to box open. Turn right side out. fleece is sufficient for both Hedgehog and
the remaining three corners.
y Insert the inner bag through the opening Tree Stump (if same fabrics are desired). al-
q Turn the bag right side out through the at the bottom and then slip stitch the opening ternatively, scraps can be used for any listed
opening, fill it with walnut shells (using a closed. fabric; check scrap sizes against patterns/
funnel is helpful) until firmly stuffed, and templates.
then whipstitch the opening closed. keVin kosbab is a freelance writer, an Hedgehog pincushion
w With right sides together and raw edges editor, and a pattern designer, who always —1⁄8 yd (11.5 cm) of cotton print for the back
aligned, sew two Cushion Side strips together thinks he’ll remember which needles are which (a; shown: brown starburst print)
along the short sides, starting ¼" (6 mm) from but never does. He designs modern quilts and —1⁄8 yd (11.5 cm) of fleece for the belly and
the raw edge and ending ¼" (6 mm) from the
sewing projects for magazines, and you can Face (b; shown: buff)
opposite raw edge. backtack at the beginning
and at the end of the seam. Join the remaining find his Feed Dog Designs patterns in stores —Scraps of wool felt for the Ears and Feet
Cushion Side strips in the same way. When and on the Web at feeddog.net. (C; shown: brown)

132
stitch

SMSS1109.indb 132 6/6/11 7:44 AM


—Scraps of wool felt for the Quill Collars
(d; shown: tan)
tree-stump Measuring tape
—1⁄8 yd (11.5 cm) of cotton print for the Side
(a; shown: brown and green wavy stripe
print)
—1⁄8 yd (11.5 cm) of wool felt for the
Top and bottom (b; shown: brown)
—1⁄8 yd (11.5 cm) of fleece for Stump layer #1
(C; shown: buff)
—Scraps of wool felt for Stump layer #2
(d; shown: tan)
—Scraps of wool felt for the leaf
(E; shown: green)
otHeR sUpplies
—Fiberfill
—Handsewing needle
Hedgehog pincushion
—Sewing threads to match the printed cotton
and fleece (shown: brown and white)
—Embroidery thread (shown: dMC six-strand
embroidery floss in orange)
—Crewel (embroidery) needle
—2 black glass E beads or other small round
beads for eyes
—6 mm acrylic pom-pom (shown: red-brown)
—dried beans
—removable fabric marking pen
—Point turner or chopstick
—Hedgehog Pincushion pattern and
templates on the pattern insert side b
tree-stump Measuring tape
—Sewing thread to match fabric a (shown:
brown)
—Sewing thread to contrast with fabric d
(shown: buff)
—Sewing thread to match fabric E (shown:
green)
—Embroidery thread (shown: dMC six-strand
embroidery floss in yellow-green)
—60" (152.5 cm) oval retractable tape mea-
sure (shown: Singer brand; see notes)
—1 glass E bead or other small bead for
flower center (shown: yellow; 3 mm)
—2 coordinating felt flowers to layer as
desired (shown: one 7⁄8" [2.2 cm] in dark aqua
and one ¾" [2 cm] in light aqua; see notes)
—Pinking shears
—Tree-Stump Measuring Tape pattern and
templates on the pattern insert side b
FinisHeD sizes
—The Hedgehog Pincushion is 3" high × 5
½" wide (7.5 × 14 cm). The Tree-Stump
Measuring Tape is 3 ¼" long × 2 ½" wide ×
1" deep (8.5 × 6.5 × 2.5 cm).
notes
—all seam allowances are ¼" (6 mm) unless
otherwise noted.
—For explanations of terms and techniques
see Sewing basics on pages 67-72.
SMSS1109.indb 133
how-to
—all of the felt used is WoolFelt from na- Kick. a die was used to cut the hydrangea
tional nonwovens. The felt’s fiber content flower shown.
is a 35% wool/65% rayon blend. For wool
felt, check with your local craft/fabric Hedgehog pincushion
store, or nationalnonwovens.com. CUt tHe FaBRiC
—Each new straight pin stored in the darling 1 Use the provided patterns and templates
Hedgehog Pincushion adds another quill to to cut the following pieces. Transfer the
markings for the facial features from the
the hedgehog’s back.
pattern to the right side of the Face, and the
—The retractable measuring tape used for
markings for the Quill Collar placements to
the sample was purchased at a Jo-ann
the right side of the back, using a removable
Fabrics and Crafts store; the specific
model of measuring tape used is not car- fabric pen. Transfer all other pattern mark-
ried in their online store. ings to the wrong sides of the fabrics (mark
notches with a removable pen; do not clip).
—The Tree-Stump Measuring Tape is basi-
cally an oval shape, with the measuring From fabric a, cut:
tape emerging and retracting from one of —2 backs (cut 1, cut 1 reverse)
the “pointed ends." retractable measuring From fabric B, cut:
tapes are also available in other shapes, —2 Faces (cut 1, cut 1 reverse)
including round and teardrop. The pattern
provided is for an oval-shaped measuring —1 belly
tape, but if you’d like to use another of the From fabric C, cut:
listed shapes, see the sidebar below for —2 Ears (cut 1, cut 1 reverse)
instructions on customizing the pattern. —4 Feet (cut 2, cut 2 reverse)
—Craft stores that carry scrapbook embel- From fabric D, cut:
lishments are great sources for felt
—1 Quill Collar #1
flowers, like those on the Tree Stump. You
can also make custom-cut flowers with a —1 Quill Collar #2
die-cutting machine, such as the Sizzix big
Tree-sTumP measuring TaPe
Customize the Tree-Stump Pattern
To make a Tree-Stump pattern for a round or teardrop-
shaped 60" (152.5 cm) retractable tape measure, use the
following instructions to create a custom pattern to fit
the measuring tape.
Refer to the provided patterns as reference; follow the cut-
ting instructions in Step 1 to use the customized pattern.
1 For the Tree-Stump Side, measure the circumference
and height of your tape measure’s hard shell. Draw a rectangle onto a piece of paper,
using the circumference measurement for the longer sides (length) and the height
measurement for the shorter sides (width). Next, add 1⁄4 " (6mm) wide seam allowances
to each side of the rectangle. For example, if the shell’s circumference is 5" (12.5 cm)
and the height is 5⁄8" (1.5 cm), the finished rectangle (with seam allowance added)
would be 51⁄4 " (14 cm) long by 11⁄8" (3 mm) wide.
2 For the stabilizer piece (will be cut from fabric C), draw a rectangle the same length
as the finished Tree-Stump Side rectangle; for the width, use the actual height of the
tape measure (do not add seam allowances to the width of the rectangle).
3 For the Top/Bottom piece, trace around the circumference of the tape measure’s
shell, onto your paper. Then add 1⁄4 " (6 mm) to the outside edge, for the seam allowance.
4 For Tree-Stump Layer #1, trace around the circumference of the tape measure’s
shell, do not add seam allowance.
5 For Tree-Stump Layer #2, draw the same shape as for the Tree-Stump Layer #1 but
reduce the shape by 1⁄4 " (6 mm) all around the outside edge; do not add seam allowance.
To add the topstitching line, hand-draw a spiral that echoes the shape of the piece.
6 For the Tree-Stump Leaf, use the provided pattern.
133
interweavestitch.com
6/6/11 7:44 AM
 how-to
asseMBle tHe HeDgeHog
2 Place the two back pieces right sides
together, aligning the raw edges. Pin and
then stitch them together along the rounded
back edge, leaving the neck and side edges
unsewn. reinforce the seam by sewing again,
this time stitching in the seam allowance,
1
⁄16–1⁄8" (2–3 mm) from the first seam line. Clip
the seam allowances along the curve. Turn
the piece right side out.
3 align Quill Collar #1 (which has eight
quill points) on the marked quill line farthest
from the neck edge. Pin and then stitch the
straight edge in place. Position Quill Collar
#2 (which has seven quill points) so that
the straight edge aligns with the remaining
marked line, nearest the neck edge. be sure
to position this quill piece so that the quill
points are offset. The second piece will cover
the seam made previously. Pin and then
stitch along the straight edge as before.
4 Place the Face pieces right sides together,
aligning all the edges. Pin and then stitch from
the nose to the top edge. Turn the seamed
piece right side out. Fold each Ear piece along
the marked fold line, right sides together. You
should have two mirror-image ears. Position
a folded ear on each side of the seamed face,
aligning the bases (straight edges) of the ears
with the unstitched neck edge of the face,
between the ear notches, with the folded-over
edge of the ear facing down toward the face
fabric (when sewn in place, the indentation
formed by the fold should be visible from the
front of the ear). Pin and then stitch the Ears in
place about 1⁄8" (3 mm) from the edge.
5 With right sides together, match the center
seam of the face with the center seam of the
assembled back, and align the seam allowance
of the two pieces. Pin the pieces together along
the neck edge, making sure the quill points
of the collars are lying flat against the back,
out of the way of the seam. Stitch the pieces
together, sandwiching the ears and quill collar
edge in the seam. Set aside for now.
6 Position the Feet on the right side of the
belly, with the toe ends of the Feet pointing
in the direction of the front (pointed) end of
the belly. align the straight edges of the Feet
with the edge of the belly, and positioned
between the notch markings. The front Feet
will be 1½" (3.8 cm) from the back Feet. Pin
and stitch the Feet to the edges of the belly,
stitching about 1⁄8" (3 mm) from the edge.
7 Turn the face/back piece inside out. With
right sides together, align the belly piece
from the tip of the nose to the end of the
back, stretching slightly as necessary for
proper fit. Pin in place around the edges. Sew
one side in place, beginning just behind the
back foot and stitching to the tip of the nose.
repeat with the other side, again beginning
just behind the back foot to the tip of the
nose. You will have an opening at the back
end of the hedgehog. Turn the hedgehog
right side out through the opening.
134
stitch
SMSS1109.indb 134
8 To stuff your hedgehog, start by push-
ing fiberfill into the nose and then continue
filling the body. leave space in the bottom of
the belly to fill it with dried beans (these will
weight the bottom of the hedgehog). once
the hedgehog is completely stuffed, turn
in the seam allowances at the opening and
handstitch closed with slip stitches.
9 Handsew one bead eye to each side of the
face, on the marked dots, and the pom-
pom to the tip of the nose (carry the thread
through the face to move from one location
to the next, if possible, then knot off, hiding
the knot under one of the elements, and
bring the needle through the face a couple
of inches before exiting; pull the thread taut
and clip, allowing the thread end to recede
into the head). Thread your crewel needle
with three strands of embroidery floss and
embroider a smiling mouth across the chin,
at the marked lines transferred to the face
from the pattern. The sample features one fly
stitch forming the mouth (with the securing
pass at the center of the stitch being very
short and placed under the center of the
chin). a long straight stitch or short running
stitches could also be used.
tree-stump Measuring tape
CUt tHe FaBRiC
0 Use the provided pattern and templates
(or provided dimensions) to cut the following
pieces. Transfer the markings for the top and
bottom layers of the Stump and the leaf veins
and notches from the pattern to the right sides
of the appropriate fabrics, using a removable
fabric pen. Transfer all other pattern markings
to the wrong sides of the fabrics (mark notches
with a removable pen; do not clip).
From fabric a, cut:
—1 strip, 1¼" × 10 ½" (3.2 × 26.5 cm) for the
Tree-Stump Side
From fabric B, cut:
—2 Top/bottoms
From fabric C, cut:
—2 Tree-Stump layers #1
—1 strip, ½" × 10 ½" (1.3 × 26.5 cm; for
stabilizer)
From fabric D, cut:
—2 Tree-Stump layers #2
From fabric e (using pinking shears), cut:
—2 leaves (cut 1, cut 1 reverse)
asseMBle tHe MeasURing
tape CoveR
- With right sides facing up, make two
identical stacks of the following pieces in this
order (one of each piece in each stack): Top/
bottom, Tree-Stump layer #1, and Tree-
Stump layer #2. Topstitch on the marked
spiral design (transferred from the pattern)
through all three layers, using contrasting
thread. You have now assembled the top and
bottom of the tree stump.
= Center the ½" × 10 ½" (1.3 × 26.5 cm) fabric
C strip on the wrong side of the Tree-Stump
Side strip. Holding these pieces together, flip
them over so that the right side of the Tree-
Stump Side faces up and pin them together
from the right side. Topstitch through both
layers, echoing the print pattern of the fabric,
or stitch your own free-motion design (this will
also secure the stabilizer strip in place). Fold
one short end over ¼" (6 mm) to the wrong
side and stitch the folded edge in place. This
finishes one side of the opening where the
measuring tape will emerge and retract.
q With right sides together, place the
finished end of the assembled stump side at
one of the narrow ends of the oval-shaped
assembled stump bottom (the top and bot-
tom stumps are identical, so pick one to be
the bottom). also align the raw edges of the
stump side and the stump bottom. Using
thread to match fabric b and beginning at
the finished short end of the stump side,
slowly sew the pieces together, stopping 1⁄8"
(3 mm) from where you started (remember
to backtack at the beginning and end of the
stitching). Trim the unfinished end of the strip
so that only ¼" (6 mm) remains. Fold the end
over to the wrong side and stitch the folded
edge in place. This finishes the other side of
the opening. Clip the seam allowances along
the curved edges, cutting close to but not into
the stitching. You now have what looks like an
inside-out hollowed-out stump!
w With right sides together, starting at one
of the finished short ends of the stump side,
align the assembled top so that its oval shape
is oriented the same as that of the stump
bottom. also align the raw edges of the as-
sembled stump top and the stump side and
then stitch as in Step 4, but this time stop
stitching 1" (2.5 cm) from where you started.
Clip the seam allowances along the curved
edges, as you did in Step 4.
e Turn the tree stump right side out through
the opening at the top and insert the measur-
ing tape. Pull the tape measure out a few
inches through the opening left in the side
of the stump to ensure that the end does not
disappear inside the tree stump (later you
will attach the leaf pull, which will prevent the
tape from receding into the stump). Sew the
opening at the top closed with slip stitches,
6/6/11 7:44 AM

using a handsewing needle and a 10"
(25.5 cm) length of thread that matches
fabric b; knot off but do not trim the thread.
after you have closed the opening, bring the
thread out of the stump top, about 1" (2.5 cm)
to the right or left of the tape measure open-
ing. Pass the needle through the center of
the two stacked felt flowers and then through
the bead. bring the needle back through the
flower center and into the stump top, then
bring the needle back to the top under a
flower petal and tie the end of the thread in a
secure knot. Clip off the excess thread.
r Place the two leaf pieces on top of each
other (wrong sides together), aligning the
pinked edges. Use matching thread to ma-
chine stitch the pieces together, ¼" (6 mm)
from the edge, leaving an opening between
the notches. Insert the pull tab end of the
measuring tape into the opening. To secure
the pull tab inside the leaf, use slip stitches
and matching thread to handstitch the opening
closed around the pull tab. Thread your crewel
needle with three strands of matching (or de-
sired color) embroidery thread and handstitch
the vein pattern through both sides of the leaf,
on the marked lines you transferred from
the pattern. Use fly stitch or your preferred
embroidery stitch to create the veins; be
careful as you embroider to avoid hitting the
sandwiched tab with your needle.
heidi boyd is the author of ten books with
North Light Books, most notably the Simply
Beautiful series. Her goal is to make sophis-
ticated design approachable and easy for all.
She has a fine-art degree and got her start in
professional crafting as a contributor to Better
Homes and gardens books and magazines.
Visit her blog at heidiboyd.blogspot.com.
Pretty Pattern Weights
by BOnnie FergusOn {from page 63}
DOWnlOaD The Full-siZe
PaTTern anD PrOJecT
insTrucTiOns aT
inTerWeavesTiTch.cOm
SMSS1109.indb 135
Craft Apron
by WhiTney cruTchFielD {from page 63}
FaBRiC
—3⁄4 yd (68.5 cm) of 45" (114.5 cm) wide
cotton twill or other home-decorator-
weight fabric (a; shown: white/coral print)
—¾ yd (68.5 cm) of contrasting 45"
(114.5 cm) wide cotton twill or other
home-decorator-weight fabric (b; shown:
white/aqua print)
—¼ yd (23 cm) of plain cotton twill or muslin
for the lining of the zipper pouch
otHeR sUpplies
—Sewing thread to match fabric and zipper
—Handsewing needle
—2½ yd (2.3 m) of 1" (2.5 cm) wide cotton
twill tape (shown: white)
—5" (12.5 cm) nylon zipper (shown: white)
—4 sew-on snaps
—rotary cutter, rigid acrylic ruler,
and self-healing mat
—Erasable or water-soluble fabric marker
FinisHeD size
—17" wide × 13½" long (43 × 34.5 cm)
notes
—all seam allowances are ½" (1.3 cm) unless
otherwise noted.
—For explanations of terms and techniques
see Sewing basics on pages 67-72.
—The measurements given fit a waist size
up to 34" (86.5 cm), with enough tie length
to tie comfortably. To adjust the fit, cut
each tie piece at a length equal to half
your actual waist measurement plus 1½"
(3.8 cm) for seams and hems.
—lighter weight fabric may be used. Inter-
facing should be included in the body of the
apron if this is the case.
CUt tHe FaBRiC
1 Cut the following pieces as directed (you
may want to label each piece on the wrong
side with a removable fabric marker or tape
to avoid confusion).
From fabric a:
—one 18" × 23" (45.5 × 58.5 cm) rectangle for
the lining apron
how-to
—one 6½" × 2" (16.5 × 5 cm) rectangle for
the Zipper Pouch Upper Front
—one 6½" × 3½" (16.5 × 9 cm) rectangle
for the Zipper Pouch lower Front
—Two 3" × 1½" (7.5 × 3.8 cm) rectangles
for Zipper Tabs (on zipper pouch)
From fabric B:
—one 18" × 24" (45.5 × 61 cm) rectangle
for the outer apron
—one 6½" × 5" (16.5 × 12.5 cm) rectangle
for the Zipper Pouch back
From plain cotton twill or muslin:
—one 6½" × 5" (16.5 × 12.5 cm) rectangle
for Zipper Pouch back lining
—one 6½" × 2" (16.5 × 5 cm) rectangle
for Zipper Pouch Upper Front lining
—one 6½" × 3½" (16.5 × 9 cm) rectangle
for Zipper Pouch lower Front lining
From cotton twill tape:
—Four 18½" (47 cm) pieces for the Ties
—Two 4½" (11.5 cm) pieces for the
Utility loops
asseMBle tHe ties
2 Press a ½" (1.3 cm) hem to the wrong side
on one end of each of the four twill Tie pieces.
3 Pin two twill Tie pieces wrong sides
together, lining up the pressed hems and
the edges of the twill tape to create a tie with
double thickness. Pin the remaining pair of
twill Tie pieces together in the same way.
4 Sew along the center of each tie pair to join
the layers, backtacking when starting and stop-
ping, and making sure the hems remain folded
under. Then topstitch along both long edges of
each tie pair, about 1⁄8" (3 mm) in from the edge.
You now have the completed ties.
Make tHe apRon BoDY
5 Place the fabric b outer apron piece right
side up on your work surface. Place the ties
on top of the fabric, 5⁄8" (1.5 cm) below one
short side of the rectangle, with unhemmed
ends of the ties lining up with the rectangle
edges. Place the fabric a lining apron piece
on top, right side down and aligning the long
sides and the short end with the ties (the
outer apron fabric will be 1" [2.5 cm] longer
at the bottom). Pin to secure the two layers of
fabric and the ties (figure 1 on page 136).
6 Sew the apron pieces together on three
sides, leaving the edge opposite the ties
open. be sure to catch only the unhemmed
ends of the ties in the seam.
7 Clip the corners, turn the assembled
apron right side out, and press the seams.
8 To hem the open edge, press under a ¼"
(6 mm) hem on fabric b, then press another
½" (1.3 cm) hem, covering the raw edge of
fabric a. Pin the hem in place, then topstitch
close to the edge of the inner fold, and press
again. You have now created the apron body.
9 on each long side of the apron body,
place a pin 13½" (34.5 cm) down from the top
(where the ties are attached) to mark the fold
135
interweavestitch.com
6/6/11 7:44 AM
 how-to
(1.5 cm)
⁄8"
5
figure 1
line. Fold the bottom of the apron body up
where marked by the pins so that the right
sides of fabric a are together. Press the fold
and pin the outer edges together.
0 Topstitch along the two sides and top edge
of the apron body, ¼" (6 mm) from the edges,
backtacking at both ends. The lower portions
of this stitching will close the side edges of
the pockets, while the upper portion will be
decorative topstitching. Press.
CReate tHe poCkets
- Measure and mark 3" (7.5 cm) in from the
left edge of the pocket portion of the apron.
Create the first pocket by topstitching in a
straight line from the bottom to the top of the
pocket portion at this measurement, being
sure to backtack on both ends of the stitch.
Measure 1⁄8" (3 mm) to the right of that stitch
and sew a second line of stitching, reinforcing
the pocket divider. To create the remaining
pocket dividers, repeat these steps at 6"
(15 cm) and 11½" (29 cm) from the left edge
of the pocket portion. Press.
= Fold each twill Utility loop piece in half
widthwise. Sew three lines of stitching along
each loop as described in Step 4. Press a ¼"
(6 mm) rolled hem into both ends of each
length of remaining twill tape for the utility
loops. Position the pressed pieces next to each
other 3⁄4" (2 cm) above the farthest right pocket
with 1" (2.5 cm) between the loops. Pin in place,
leaving just a bit of slack in each (instead of
pinning them completely flat to the apron).
Stitch each hemmed edge of both completed
utility loops, securing them to the apron fabric.
figure 2
136
stitch
SMSS1109.indb 136
Make tHe zippeR poUCH
q Press the fabric a Zipper Tab pieces in
half widthwise, wrong sides together, to form
double-thickness squares.
w Position one folded Zipper Tab at each end
of the zipper on the zipper’s right side, with
the folded edges pointing in and extending ¼"
(6 mm) past the metal stop at each end of the
zipper teeth. Pin in place.
e Topstitch along the folded edge of the Tab
pieces 1⁄8" (3 mm) from the fold, being careful
not to sew over the metal stops (figure 2).
r Place the fabric a Zipper Pouch lower
Front piece right side up on your work
surface. lay the zipper on top, right sides to-
gether, aligning one pair of long edges at the
top. Place the lower Front lining piece on
top of these, right side down, aligning the top
edge. Pin in place. Stitch this seam, using a
¼" (6 mm) seam allowance, and sewing only
between the two metal stops on the zipper.
Turn right side out and press.
t Place the Upper Front lining piece right side
up on your work surface. lay the remaining
loose zipper tape on top, right side up, aligning
the long edges. Place the fabric a Upper Front
piece right side down on top, aligning the top
edge. Pin and sew with a ¼" (6 mm) seam al-
lowance between the stops only, as in the previ-
ous step. Turn right side out and press. This is
the front panel of the pouch.
y With lining sides together, place the back
lining piece on the assembled front panel.
Pin in place, pinning only to the lining fabric
of the front panel. Stitch the lining layers
together around all four edges using a ¼"
(6 mm) seam allowance, keeping the fabric
a pieces and the zipper out of the way. leave
half of the top edge unsewn, being sure to
backtack at both ends of the stitching.
u Unzip the zipper and place the fabric b
Zipper Pouch back piece on the front panel,
right sides together. Pin in place, pinning the
fabric b piece only to the fabric a upper front,
lower front, and zipper tab pieces on the front
panel. Stitch around all four edges using a ¼"
(6 mm) seam allowance, keeping the lining
fabric out of the way.
i Clip the corners and turn the pouch right
side out by reaching through the opening in
the lining and pulling through the open zip-
per. Push out the corners and press flat. Turn
in the raw edges of the opening in the lining
and sew the opening by hand (using a slip
stitch) or machine (by topstitching).
¼"
(6 cm)
FinisHing
o Measure and mark with a fabric marker
four equally spaced points on the fabric b
side of the zipper pouch (they should be
about 23⁄8" [6 cm] apart), 5⁄8" (1.5 cm) from the
top of the pouch.
p With a needle and thread, handstitch one
male snap part at each of these points with a
whipstitch.
[ on the right-hand apron tie, measure 1"
(2.5 cm) from the apron body and mark with
a pin. align the left edge of the zipper pouch
with this mark. Using a fabric marker, mark
where each snap meets the tie.
] With a needle and thread, handstitch a
female snap part at each of these points with
a whipstitch.
\ Snap the zipper pouch to the apron ties.
WhiTney cruTchField is a Brooklyn,
New York–based textile artist and designer
specializing in bright and bold hand screen-
printed textiles. You can find her work at the
Museum of Contemporary Art in Denver,
Colorado; Mama Said Sew in Fort Collins,
Colorado; Blue House in Ann Arbor, Michigan;
and at whitneycrutchfield.com.
Quilted Bookends
by Briana arlene Balsam
{from page 64}
FaBRiC
—8 cotton fabric scraps in various prints, each
measuring at least 2¼" × 7¼" (5.5 × 18.5
cm) for pieced details
—½ yd (46 cm) of 45" (114.5 cm) wide cotton
fabric for background in color to offset piec-
ing fabrics (shown: off-white)
—½ yd (46 cm) of 45" (114.5 cm) wide cotton
muslin for backing
otHeR sUpplies
—Coordinating machine-sewing thread
—Coordinating machine-quilting thread
6/6/11 7:44 AM

L9 L8 L4 L2
L9 L8 L6
L6 L4 L2
L7
L7 L5
L5 L3
L3 L1
L1
left bookend diagram
—½ yd (46 cm) of low-loft quilt batting
—7" (18 cm) strip of 5⁄8" (1.5 cm) wide or wider
sew-in hook-and-loop fastener (such as
Velcro)
—rotary cutter, rigid acrylic ruler, and self-
healing mat
—Quilting pins or quilt basting spray
—duct tape (optional)
—darning or free-motion embroidery foot for
sewing machine (optional for quilting)
—2 standard-size paving bricks (typically
75⁄8" × 35⁄8“ × 21⁄4" [19.5 × 9 × 5.5 cm])
—Serger or pinking shears (optional)
FinisHeD size
—8" tall × 4" wide × 2" deep (20.5 × 10 × 5 cm)
notes
—all seam allowances are 1⁄2" (1.3 cm) unless
otherwise noted.
—For explanations of terms and techniques
see Sewing basics on pages 67-72.
—Fabric requirements are given for one book-
end set (two individual bookends).
—Press all seams to one side unless other-
wise noted.
—The muslin backing fabric will not be visible
in the finished product, so feel free to make
use of scraps or substitute ½ yd (46 cm) of
any light-colored fabric in lieu of muslin.
—To avoid the bricks scraping your fabric and
causing unwanted rips, wrap the bricks with
duct tape prior to inserting them into the
bookends.
—The bricks used in the sample have rounded
edges. brick sizes and shapes may vary
slightly by manufacturer. Therefore, it’s best
to buy your bricks first, then adjust the mea-
surements of the cut pieces if necessary.
SMSS1109.indb 137
R2
R2 R4
R4 R6 R8
R8 R9
R9
R6
R1
R1 R3
R3 R5
R5 R7
R7
right bookend diagram
CUt tHe FaBRiC
1 From the background cotton fabric, cut:
Two 9" × 5" (23 × 12.5 cm) pieces for the backs
Four 9" × 3" (23 × 7.5 cm) pieces for the Sides
Two 5" × 3" (12.5 × 7.5) pieces for the Tops
Two 5" × 5" (12.5 × 12.5 cm) pieces for the
bottoms
refer to the left bookend diagram and the
right bookend diagram above for assistance
with the following steps.
2 From the scrap fabrics, using a different
scrap for each piece, cut:
—one 61⁄2" × 11⁄2" (16.5 × 3.8 cm) piece for l1
—one 71⁄2" × 11⁄2" (19 × 3.8 cm) piece for l3
—one 51⁄2" × 11⁄2" (14 × 3.8 cm) piece for l5
—one 61⁄2" × 11⁄4" (16.5 × 3.2 cm) piece for l7
—one 5" × 11⁄2" (12.5 × 3.8 cm) piece for r1
—one 6" × 11⁄2" (15 × 3.8 cm) piece for r3
—one 71⁄4" × 1" (18.5 × 2.5 cm) piece for r5
—one 51⁄2" × 13⁄4" (14 × 4.5 cm) piece for r7
3 From the background cotton, cut:
—one 3" × 11⁄2" (7.5 × 3.8 cm) piece for l2
—one 2" × 11⁄2" (5 × 3.8 cm) piece for l4
—one 4" × 11⁄2" (10 × 3.8 cm) piece for l6
—one 3" × 11⁄2" (7.5 × 3.8 cm) piece for l8
—one 41⁄2" × 11⁄2" (11.5 × 3.8 cm) piece for r2
—one 31⁄2" × 11⁄2" (9 × 3.8 cm) piece for r4
—one 21⁄4" × 1" (5.5 × 2.5 cm) piece for r6
—one 4" × 13⁄4" (10 × 4.5 cm) piece for r8
—Two 9" × 11⁄4" (23 × 3.2 cm) pieces for
l9 and r9
From the muslin, cut: two 5" × 5"
(12.5 × 12.5 cm) pieces for bottoms
4 From the batting, cut two 5" × 5"
(12.5 × 12.5 cm) pieces for bottoms.
how-to
Note: Instructions are given below for one
bookend. Follow the same steps for both the
left and the right bookends.
Make tHe FRonts
Use 1⁄4" (6 mm) seam allowance for
Steps 5 and 6.
5 Pin piece 1 to piece 2 with right sides
together, following the appropriate diagram
for placement. Sew and press the seam allow-
ances to one side. repeat for pieces 3 and 4, 5
and 6, and 7 and 8. You now have four pieced
strips each measuring 9" (23 cm) in length.
6 Pin the sewn strips together along their
long edges as shown in the diagrams. attach
piece 9 to complete the block as shown in the
diagrams.
7 Square and trim the edges of the assem-
bled Front, as necessary, to measure 9" × 5"
(23 × 12.5 cm).
qUilt tHe pieCes
8 Spread the cotton muslin on a flat surface.
layer the quilt batting on top of the cotton
muslin, followed by all bookend pieces except
the bottom, right sides up, leaving at least ½"
(1.3 cm) between pieces. Set the bottom aside
for now.
9 Use pins to baste the three layers together,
or apply quilt basting spray, following the
manufacturer’s instructions.
0 once pinned, rough cut around each piece
through all layers.
- Machine quilt the layers of each piece
together, removing the pins as you work.
Use any quilting style you prefer. The sample
features “stitch in the ditch" quilting around
the “books" on the Front and meandering
free-motion quilting over the background (off-
white) fabric. refer to your sewing machine
manual for free-motion work specifics; the
feed dogs will be lowered or covered and a
darning or free-motion foot installed. (See the
sidebar on page 106 for more information.)
= Square up the edges of each piece.
q layer one quilt batting bottom, a cotton
muslin bottom (right side up), and one off-
white cotton bottom (right side down). Pin the
edges.
137
interweavestitch.com
6/6/11 7:44 AM
 how-to

w Stitch 1⁄2" (1.3 cm) from the edge along
three sides of the layered stack. Trim the
corners diagonally to reduce bulk, trim the
batting close to the seam line, turn right side
out, and press.
e Edgestitch the sewn edges, leaving the
open edge free.
r Quilt the bottom as in Step 11.
asseMBle tHe BookenD
t Pin the top edge of the Front to one 5"
(12.5 cm) edge of the Top, right sides together,
and sew, leaving 1⁄2" (1.3 cm) free at each end.
y Pin one 5" (12.5 cm) edge of the back to the
other 5" (12.5 cm) edge of the Top, right sides
together, and sew, leaving 1⁄2" (1.3 cm) free at
each end as before.
u Pin one 3" (7.5 cm) edge of a Side to a 3"
(7.5 cm) edge of the Top, right sides together,
and sew, leaving ½" (1.3 cm) free at each end
and making sure the stitches meet the previ-
ous seams at the corners. be sure to fold back
the Front and back so they aren’t caught in
the new seam.
i repeat Step 19 to attach the remaining
Side.
o Pin and sew the Front to each of the two
Sides along their 9" (23 cm) edges, beginning
each seam where the previous seam lines
meet, ½" (1.3 cm) from the raw edge, and sew-
ing all the way to the raw edge at the bottom.
p repeat Step 21 to stitch the Sides to the
back.
[ Zigzag, pink, overcast, or serge all the raw
edges, including the raw edge of the bottom.
] Pin the raw edge of the bottom to the raw
bottom edge of the Front, right sides together,
and stitch, using a 3⁄8" (1 cm) seam allowance.
\ Fold and press 3⁄8" (1 cm) to the wrong side
on the open edge of the bookend, pressing the
seam allowance from Step 24 to the wrong
side while pressing the finished bottom away
from the bookend.
a Edgestitch the folded bottom edge of the
bookend.
attaCH Hook-anD-loop ClosURes
s Cut a 3½" (9 cm) strip of hook-and-loop
fastener. Pin the hook half of the fastener to
the inner surface of the bottom, ½" (1.3 cm)
from the free end. Edgestitch in place.
d Pin the loop portion of the fastener to the
outer surface of the back, ½" (1.3 cm) above
the hemmed edge. Edgestitch in place.
f Insert the paving brick into the bookend
and use the hook-and-loop strips to close the
bookend cover.
Sew Much —Point turner or similar tool
Business-card —Walking foot and/or Teflon foot for sewing
machine (see notes)
Portfolio FinisHeD size
by carOlyn FrieDlanDer 17" × 12" (43 × 30.5 cm) open; 81⁄2" × 12"
{from page 64} (21.5 × 30.5c m) folded
notes
—all seam allowances are 1⁄2" (1.3 cm) unless
otherwise noted.
—For explanations of terms and techniques
see Sewing basics on pages 67-72.
—Use 3.0 mm stitch length for all stitching to
avoid completely perforating the vinyl.
—Use a walking foot throughout to help guide
the vinyl through the machine. It is recom-
mended that you sew a test sample with the
walking foot to ensure that it does not mar
the vinyl. If you find that the walking foot is
leaving marks, switch to a Teflon foot.
—do not pin through the vinyl because the
holes will be permanent. Use painter’s tape
as instructed.
—Gently iron any folds or wrinkles from the
interfacing before cutting.
FaBRiC
—1⁄2 yd (46 cm) each of two 45" (114.5 cm) wide —Test machine tension on scraps before
medium- to heavyweight cotton print fabrics beginning the project.
for portfolio exterior CUt tHe FaBRiC
—3⁄8 yd (34.5 cm) of medium-weight vinyl 1 Cut the fabric as directed.
(found at fabric, craft, and hardware stores)
—From each print fabric, cut one 18" × 13"
otHeR sUpplies (45.5 × 33 cm) rectangles.
—3⁄8 yd of 22" (56 cm) wide sew-in ultra-firm —From the vinyl, cut eight 18" × 21⁄2"
interfacing (such as Peltex #70) (45.5 × 6.5 cm) rectangles.
—Sewing thread to match fabric —From the ultra-firm interfacing, cut two
—Contrasting sewing thread for topstitching 11¾" × 8" (30 × 20.5 cm) rectangles.
(shown: orange)
Make tHe eXteRioR pieCes
—Universal sewing machine needle 2 Use a removable marking tool to draw
—Painter’s tape placement lines for the vinyl strips on each
—rotary cutter, rigid acrylic ruler, and self- fabric rectangle, 31⁄2" (9 cm), 63⁄8" (16.3 cm),
healing mat 91⁄4" (23.5 cm), and 121⁄8" (30.8 cm) from the top
—Chalk or favorite removable marking tool raw edge (figure 1).
1" 5" 9" 13" 17"
(2.5 cm) (12.5 cm) (23 cm) (33 cm) (43 cm)
3½"
(9 cm)
6 3⁄8"
(16.3 cm)

briana arlene balsam is a biologist

91⁄4"
based just outside Washington, D.C. She has (23.5 cm)
been sewing since childhood, has contributed to
Fat Quarterly eMag and an upcoming Stash
Books publication, and blogs at briana-arlene 121⁄8"
.blogspot.com. (30.8 cm)

figure 1

138
stitch

SMSS1109.indb 138 6/6/11 7:44 AM

 how-to

3 Position one vinyl strip above the first
marked line, with the lower edge of the vinyl
strip along the line. Use painter’s tape along
the upper edge to hold the strip in place, gen-
tly removing the tape after sewing the strip.
Edgestitch 1⁄8" (3 mm) from the vinyl’s lower
edge. repeat to sew vinyl strips along every
line on each fabric rectangle.
4 Mark vertical sewing lines on each fabric
rectangle. Measuring from the fabric’s left
edge, place the right edge of painter’s tape
strips 1" (2.5 cm), 5" (12.5 cm), 9" (23 cm), 13"
(33 cm), and 17" (43 cm) from the fabric’s left
edge (figure 1).
5 Sewing from the bottom toward the top
and beginning with the center (9" [23 cm])
line, topstitch along the right edge of each
tape strip, as close to the tape as possible
without stitching onto it. Work from the center
outward, gently removing each strip of tape as
you finish the row of topstitching.
6 Topstitch 1⁄8" (3 mm) from the short edges
of each fabric rectangle to hold the ends of the
vinyl strips in place.
seW tHe eXteRioR
panels togetHeR
7 Pin the fabric panels right sides together,
being careful not to pin through the vinyl. Make
sure all the vinyl strips are open toward the top.
8 Sew around the edge of the panels, leaving
a 10" (25.5 cm) wide opening at the bottom
center, backtacking at beginning and end.
9 Trim the corners diagonally to reduce bulk
and carefully turn the project right side out,
using the point turner or similar tool to gently
push the corners out.
FinisHing
0 Slide the first piece of the ultra-firm inter-
facing through the opening and into the left
side of the project, pushing it into the corners
and making sure the seam allowance is neatly
underneath the interfacing (that is, on the inte-
rior side). Pin in place, avoiding the vinyl strips.
- Slide the second piece of the ultra-firm
interfacing into the right side of the project,
making sure all seam allowances are flat and
beneath the interfacing. Pin in place. There
should be a 1⁄4" (6 mm) gap at the center,
between the two pieces of interfacing. If not,
slide the interfacing farther into the corners.
= Close the opening at the bottom, using the
interfacing as a guide for tucking the seam al-
lowance under the interfacing and continuing
across the 1⁄4" (6mm) gap. Pin the folded edges
in place, avoiding the vinyl.
q Edgestitch around the entire project, secur-
ing the interfacing and closing the gap.
w Topstitch 1⁄8" (3 mm) to each side of the
central line of topstitching (the 9" [23 cm]
line from Step 4) to create the portfolio spine.
These lines of stitches should fall just outside
the interfacing edges, to be sewn through fab-
ric and vinyl only, so the portfolio folds easily
along the lines.
carolyn Friedlander is a designer
from Lake Wales, Florida, who believes that
making things by hand makes things better.
She is thrilled to be releasing her first line of
quilt and sewing patterns in 2011. Find more
of her work at bipedalhumm.com.

ReSouRCeS liTTle Dear

littledear.etsy.com
seTh aarOn
henDersOn
Jil caPPucciO
jilcappuccio.com
PeTunias sethaarondesigns.com WhiTney cruTchFielD
petunias.etsy.com greTchen JOnes whitneycrutchfield.com
seWing room silly hilly gretchenjonesnyc.com BOnnie FergusOn
PAGES 6–15 sillyhilly.etsy.com Jay mccarrOll fishsticksdesigns.com
c&T PuBlishing sir TOm jaymccarroll.com carOlyn FrieDlanDer
ctpub.com sirtom.etsy.com bipedalhumm.com
cenTer FOr PaTTern ProFile
The small OBJecT PAGES 30–31 kevin kOsBaB
Design thesmallobject.com feeddog.net
centerforpatterndesign Wenlan chia
.com sTilelemenTe twinklebywenlan.com cheryl kucZek
stilelemente.etsy.com paradisodesigns.blogspot
The DOll lOFT .com
thedollloft.com seW insPired
maTerial World PAGE 144 amanDa nOrell
DriTZ clOThing care PAGES 18–19 etsy.com/shop
joann.com amy karOl
TimO rissanen /almostevelyn
amykarol.com
Fiskars Trish PresTOn
zerofabricwastefashion angrychicken.typepad.com
www2.fiskars.com twopeasinapoddesigns.com
.blogspot.com
ThOmas knauer
ProJecT missy shePler
thomasknauersews.com inside ProJecT designers missystitches.com
rOWenTa runWay
lisa l. anDersOn ruTh singer
rowenta.com PAGES 20–28
imalisawork.blogspot.com www.ruthsinger.com
The sPiral FOunDaTiOn PrOJecT runWay
Briana arlene Balsam lucie summers
spiralfoundation.org mylifetime.com/shows
briana-arlene.blogspot.com etsy.com/shop/
/project-runway
sulky summersville
heiDi BOyD
sulky.com bravotv.com/projectrunway
heidiboyd.blogspot.com ayumi Takahashi
mOnDO guerra ayumills.blogspot.com
WishlisT caThy BullingTOn
lovemondotrasho.com
elephantbooty.blogspot kaTrin vOrBeck
PAGE 16
.com sew-mad.blogspot.com
king POPcOrn
sTeFFani k. BurTOn BeTZ WhiTe
kingpopcorn.etsy.com
sewwithsass.blogspot.com betzwhite.com

139

SMSS1109.indb 139 6/6/11 7:44 AM

 marketplace

UniqUe
PatternS
for
Creative
Sewing

#270 – Metro Middy Blouse

See our timeless patterns adapted from

vintage fashion and ethnic costume
at www.folkwear.com

patterns with timeless style

Wrenly
A new collection of
fabrics by Valori Wells ;NCEM N=?N?L;
Sheree’s
for Free Spirit Fabric.
cotton, cotton voile and cotton sateen
?Q B;N ;<LC=M
www.batiks.com
Alchemy
•••••••• Batik! Batik! Batik!
Batik Cotton & Rayon
New Sewing Cards Shirts, Scarves & Kits
Available... Packs, Charms & Jellies
Check out the
stitchinpost.com Word Fabrics
541-549-6061 460 E. Main Street
Wytheville, VA 24382 Save 10% off your order
800.228.4573 276.228.9592 enter code Stitch
www.batiks.com www.shereesalchemy.com

140
* stitch

SMSS1109.indb 140 6/6/11 7:45 AM

 marketplace

�����������������
Nancy Lee Chong & Janice Lee Baehr

�� ��
When you think of appliqué, think of us!

������
QUILT
Appliqué
BORDERS
TABLE
&
RUNNERS

Christmas Socks • 13”x 72”

Many options for runners,
borders, placemats & more.
amy butler*japanese Imports*free spirit
Patterns • Kits • Fabric • DVDs • Aurifil Thread alexander henry*michael miller
www.prqc.com robert kaufman & more!

On-line Galleries • Free e-Newsletter Crafty Planet

PO Box 932, Snohomish, WA 98291- 0932
360-568-7778 • info@prqc.com shopcraftyplanet.com
ADVERTISER INDEX
A ————————————————— M —————————————————
Above All Fabrics 65 Marcus Brothers Textiles 17
Martha Pullen Company 59
B —————————————————
Material Girls, The 141
Batiks etcetera 140
Moda Fabrics C4
Brother International Corp. 29
BurdaStyle, Inc. 73 p —————————————————
Pacific Rim Quilt Company 141
c —————————————————
Prima Marketing Inc. C2
C & T Publishing 4
Cedar Canyon Textiles 7 Q —————————————————
Cloth Paper Scissors CReATe 143 Quilting Arts in Stitches e-mag 104
Cloud 9 Fabrics 10 Quilting Arts Magazine 66
Clover Needlecraft Inc. 17
s —————————————————
Craftside/VoyageurPress.com 65
Sew Daily online Pattern store 127
Crafty Planet 141
SewDaily.com C3
CreativFestival 73
Sewing Workshop, The 66
e ————————————————— Sheree’s Alchemy 140
eQuilter.com 66 Simplicity Creative Group 2
eucalan Inc. 73 Sterling Name Tape Company 141
Stitchin Post, The 140
F —————————————————
Studio Kat Designs 140
Fat Quarter Shop 11
Sulky of America 11
Folkwear 140
T —————————————————
H —————————————————
Therm o Web Adhesives 65
Hancocks of Paducah Inc. 140
Timeless Treasures 32
Handbehg.com 140
W—————————————————
i —————————————————
Westminster Lifestyle Fabrics 3
Interweave 74
Woolylady 141
Interweave Books/Cute Dresses 115
Interweave Books/Sew Wild 88

141
interweavestitch.com *

SMSS1109.indb 141 6/6/11 7:45 AM

 classifieds
Accessories & supplies ————
WWW.SOFTFABRICPHOTOS.COM
art quilt supplies fabrics

sewing web commection

is your best resource for ink-jet printing on
fabric. Do it yourself or we’ll do it for you. Unique Stitching Moda Fabrics
Supplies, books, patterns, and more. (303) www.uniquestitching.com.au www.unitednotions.com
716-9240. cecile@uniquestitching.com.au (800) 527-9447
A treasure trove of hand dyed
* * *
fabric, fiber, & silks. Timeless Treasures
www.ttfabrics.com
fabric shops
(212) 226-1400
What’s Sew,Mama,Sew!
www.sewmamasew.com * * *
missing? info@sewmamasew.com
Fabulous fabric, modern patterns
Westminster Lifestyle Fabrics
www.westminsterfabrics.com

Your shop should and a vibrant sewing community. (866) 907-3305

be listed here! * * *
Pink Chalk Fabrics
For more info contact www.pinkchalkfabrics.com
Stephanie griess at (888) 894-0658
(877) 613-4630 Fabric and patterns for modern
or sgriess@interweave.com. sewists.

california Three Crafty Quilters—Boca Raton

sewing shop directory

Once Around—Mill Valley Top-quality fabric, books, and notions for the mod-
www.oncearound.com ern, traditional, and art quilter. Email threecrafty
The felting, stamping, embroidery, fabric-painting, quilters@gmail.com.
wreath-making, embossing, scrapbooking, découp- 38 SE 4th St. (561) 447-4147
age, candle-crafting, bookbinding, glitter, sewing,
minnesota
knitting and more . . . ARTS & CRAFTS STORE.
Make It Sew—Chanhassen
352 Miller Ave. (415) 389-1667
www.makeitsewmn.com
* * * Come visit our bright, welcoming shop featuring
Maisonnette—Oceanside contemporary quilting fabrics, fine fashion fabrics,
www.maisonnetteoceanside.com and Bernina sewing machine sales and service.
Maisonnette features the latest designer fabrics, pat- 600 Market St., Ste. 110 (952) 767-0701
terns, and notions. We also have an amazing collec-
tion of local art, photography, and handmade jewelry! new york
523 N. Freeman St. (760) 730-5447 KC Framing & Fabrics—Saratoga Springs
www.kcframingandfabrics.com
florida Picture framing, quilting fabrics, classes and no-
Three Crafty Ladies—Sanibel tions, long-arm services in two weeks, sewing ma-
www.threecraftyladies.com chine sales and service, wedding invitations.
Fabric, quilting, and crafts—specializing in tropicals 65 Davidson Dr. (518) 580-9055
and batiks.
1628 Periwinkle Wy. (239) 472-2893

142
* stitch

SMSS1109.indb 142 6/6/11 7:45 AM

SMSS1109.indb 143 6/6/11 7:45 AM
 sew inspired
BEND
rules
your own
Amy Karol, author of the popular Angry
Chicken blog, shares her down-to-earth
tips for embracing what you sew and let-
ting your creativity shine. Essay amy karOl
I LOVE TO SEW, but I can easily get bogged down in my
own set of rules, hang-ups, goals, and expectations. Over
the years, I’ve found a few concepts that help me stay
focused and have fun, while expanding my sewing skills
and creativity. Here are some ways I bend my own rules
including ones I didn’t even know I had.
Sew for pleasure without guilt. If it’s a pleasure
to sew, I don’t feel guilty about it. Yes, I could sew some-
thing I need, but what really makes my heart sing? I love
sewing costumes for myself and my children. Do we need
them? No. But I’m truly happy sewing costumes, so I have
banished all guilt around it and embrace it. Remember to
sew what makes you happy.
Sew even if it doesn't save you money. It’s
really easy to get caught up in the “I could sew that
myself and save money” mindset. But do I want to?
Sometimes the answer is yes, and it can be a great
project. But sometimes the answer is no. I trust that
instinct. If it doesn’t excite me, I don’t sew it, even if I
can. I love sewing napkins, but have no interest in doing
upholstery. I’m totally okay with this. Saving money
is awesome, but I never make it a mandatory goal of a
sewing project.
Make your own constraints and limit your
choices for a project. When deciding on a project,
I often start with a garment type that has a cut or detail I
want to try. I limit my fabric choices and buy only one or
two cuts of fabric at any given time. I can always go back
to the fabric store, but for me, buying too much at once
can make my head spin. I also work on only one project
at a time. Only one. I mean it. By putting constraints on
the project, you encourage more creativity.
144
stitch
SMSS1109.indb 144
Clockwise: Amy
Karol believes that
sewing should al-
ways be fun; Karol's
favorite thing to
sew is costumes
for herself and her
children.
Alter and refine your sewing project after
you’ve worn it a few times. I almost always make
little alterations to a piece after I’ve worn it. I do this with
my children’s clothes as well. It’s so easy to take it in here
or there, change the hem length or sleeve length, add
trims—nothing is sacred. I have even turned dresses into
skirts a year or so later because I never wore them in their
original form. I love the freedom (and the challenge) of
knowing I can always change something. You can use
this same idea for purchased clothes as well.
Be a constructive cheerleader for your
sewing, not its worst critic. I’m always honest with
myself when I sew. Did I go too fast? Do I even like this
fabric? What was I thinking? And I should never sew
late at night. Sigh. But then I celebrate what I did like
about a project and take note of that. What I enjoy doing
I tend to do well, so that’s a big clue as to where my next
efforts should go. Beating myself up over a failed or less-
than-perfect project is easy, but I try to avoid it. I imagine
words of encouragement I’d say to a friend and then say
them to myself.
Then I start another project.
Artist amy karOl has written two sewing books, Bend
the-Rules Sewing: The Essential guide to a Whole New
Way to Sew and Bend the Rules with Fabric: Fun Sewing
Projects with Stencils, Stamps, Dye, Photo Transfers, Silk
Screening, and More. She lives in Portland, Oregon, with her
husband, three daughters, and three cats. Find her at her website
amykarol.com and her crafty blog angrychicken.typepad.com.
6/6/11 7:45 AM
 join.
post.
watch. sew
discuss. learn.
all
for
at
free!sewdaily.com
Join our online community
comment. today! It's FREE. It's EASY.
connect.

profile pages forums

UPLOAD photos of your work,
information about yourself, post
announcements, make friends in the
community, and include your blog or
website link.
DISCUSS sewing techniques and tips,
get feedback and help, chat about
the magazine, start a sew-along, and
talk about other events and sewing
happenings.

blogs free stuff

Check out the Stitch and Sew Daily
BLOGS for technique tutorials, news,
author and designer Q&As, and more.
photo + video galleries
Watch technique videos, POST photos
Get BONUS content from Stitch
magazine, online extras, free
projects, and some of our most
popular e-newsletters.

b
of projects you’ve made from Stitch,

sewdaily
sewing
share a video you’ve made, and see
what other users are working on. made in + get ou r
modern. Jo ive Sewing
shop exclus
nline
Supplies: O
Find the BEST magazines and books,
Tips + 5 �re
e
instructional DVDs, and more! Pattern s !

sewdaily
sewing
made
modern.
Visit sewdaily.com
and join today!

sewdaily.com

pC3 Ad - Sew Daily.indd 3 6/6/11 7:53 AM

 ASK FOR COSMO CRICKET FROM MODA
COSMOCRICKET.COM COSMOCRICKET.TYPEPAD.COM

The splendor of the silver screen and the

inspiration of Amelia Earhart coincided Circa 1934.
This collection with its typewriter key caps, vintage
numbers and ornate medallions captures this pivotal
time in history. Rich red, worn yellow, antique white
and sage green give you the perfect pallet to work
with. We hope it inspires you to create pieces that
celebrate the struggles and perseverance
of the human spirit!

pC4 - Ad - Moda Fabrics.indd 4 6/6/11 7:53 AM

 AS SEEN IN FALL 2011
pattern
PATTERNS + TEMPLATES

1 MEN’S TOILETRY KIT by CATHY 2 GADGET MESSENGER BAG 3 QUILTED TEXT PILLOW 4 STUDIO SATCHEL by TRISH
BULLINGTON Project photo on page 57; by KEVIN KOSBAB Project photo on page by MISSY SHEPLER Project photo on page PRESTON Project photo on page 44;
instructions on page 120. 56; instructions on page 123. 50; instructions on page 105. instructions on page 92.

8WOODLAND SWEATER
5 CUDDLY CATERPILLAR 6RUSSIAN DOLL BACKPACK 7DOUBLE-BOLSTER DOG BED SKIRT + APPLIQUÉ TOP by
SCARF by STEPHANIE SMITH Project by THERESA GONZALES Project photo on by CAROL ZENTGRAF Project photo on AMANDA NORELL Project photo on page
photo on page 39; instructions on page 82. page 48; instructions on page 101. page 41; instructions on page 85. 38; instructions on page 81.

9HEDGEHOG PINCUSHION + 0MACHINE COVER -OWL PAIR by HEIDI BOYD Project =STITCHERS HAVERSACK by
TREE STUMP MEASURING TAPE + ORGANIZER IN ONE by LISA photo on page 40; instructions on page 83. JENN RHOADS Project photo on page 42;
by HEIDI BOYD Project photo on page 62; L HENDERSON Project photo on page 60; instructions on page 89.
instructions on page 132. instructions on page 128.

qKIMONO BABY SWADDLE by wZIP ZIP PURSE e SLOUCH BAG by CHERYL rDROP TOP MESSENGER BAG
THERESA GONZALES Project photo on page by REBECCA KEMP BRENTProject photo KUCZEK Project photo on page 47; instructions by STEFFANI K BURTON Project photo on
40; instructions on page 84. on page 45; instructions on page 94. on page 98. page 43; instructions on page 90.

© INTERWEAVE PRESS LLC Please respect the copyright by not

Not to be reprinted. All rights reserved. forwarding or distributing this document interweavestitch.com
PAGE 1 OF 54
 FALL 2011 pattern
GETTING STARTED Basic techniques and terms
you’ll need to know for the pattern you have downloaded.

ASSEMBLING FULL-SIZE PATTERN PRINTOUT PATTERN SYMBOLS & MARKINGS

1 |
When prepar-
ing to print the PDF, BUTTON + BUTTONHOLE
make sure that you are PLACEMENT MARKS Solid lines indi-
printing it at 100% and cate buttonholes. A large open circle is
that there is no scaling. the button symbol and shows placement.
Check the settings for
page scaling (should be Test Square
CUTTING LINES Multisize
“None”) and check the
2" 2" [5 5 cm] patterns have different cutting
preview to make sure
that you will be printing lines for each size.
at full size. Make sure
that the box labeled “Au- PLACE ON FOLD BRACKET This is
to-Rotate and Center” a grainline marking with arrows pointing
is unchecked (instruc- to the edge of the pattern. Place on the
tions apply specifically to Adobe Reader; if using another PDF fold of the fabric so that your finished
reader, check for similar settings). piece will be twice the size of the pattern
|
2 To ensure that the pattern has printed at the correct scale, piece, without adding a seam.
check the size of the TEST SQUARE. The Test Square
should be 2" × 2” (5 × 5 cm). GRAINLINE The double-ended arrow
|
3 To begin assembling the pattern, cut off or fold the dotted should be parallel to the lengthwise
margin around each page.
grain or fold unless specifically marked
|
4 The pages are numbered in rows, so the first row of pages as crosswise. Bias grainlines will be
is numbered 1a, 1b, 1c, etc. Line up the rows and match the
diagonal.
dotted lines together so they overlap. Tape the pages together.
Use the illustrated guide to match each piece. Once the pattern
is complete, find your size, pin the pattern to the fabric, and fol- NOTCHES Notches are triangle-
low the coordinating line to cut out or trace the pattern. shaped symbols used for accurately
matching seams. Pieces to be joined will
LAYOUT, MARKING & CUTTING GUIDELINES have corresponding notches.
1 |Find the lines that correspond to your size and trace
the pattern pieces, either on tissue paper or directly onto DARTS Dashed lines and dots mark
the fabric, using tracing paper and a tracing wheel.
darts. The dashed lines show where the
|
2 If you are cutting pattern pieces on the fold or cutting stitching will be, and the dot shows the
two of the same pattern piece, fold the fabric in half,
position of the dart point (signaling the
selvedge to selvedge, with right sides together. Note that this
point, at the end of the dart, where your
technique is not appropriate for some fabrics so check the
stitching should end).
project instructions if you are unsure.
|
3 Lay the pattern pieces on the fabric as close together PATTERN DOTS Filled circles indicate
as possible. Double-check that all pattern pieces to be
that a mark needs to be made (often on
cut “on the fold” are placed on the fold.
the right side of the fabric) for placement
|
4 Make sure all pattern pieces are placed on the fabric of elements such as a pocket or a dart
with the grainline running parallel to the lengthwise grain unless
point. Mark by punching through the pat-
a crosswise or bias grainline is present.
tern paper only, then mark on the fabric
|
5 Copy all pattern markings onto the wrong side of the fabric
through the hole.
unless otherwise noted.
|
6 Read through all cutting instructions listed in the project
SLASH MARKS A dashed line (some-
instructions for directions on how many pattern pieces to
cut out of your fabric and interfacing. times appearing with pattern dots)
indicates an area to be slashed. Further
|
7 Use weights to hold the pattern pieces down and use
instructions for making the slash will be
pins to secure the corners as needed.
included in the pattern instructions.
|
8 Cut the pieces slowly and carefully.

© INTERWEAVE PRESS LLC Please respect the copyright by not

Not to be reprinted. All rights reserved. forwarding or distributing this document interweavestitch.com
PAGE 2 OF 54
 FALL 2011

1a 1b 1c 1d 1e interlining cut line

1f 1g 6 RUSSIAN DOLL
BACKPACK
LARGE FACE/5" (12.5 cm) circle

6 RUSSIAN DOLL
1 MEN'S TOILETRY KIT snap placement both main pan el linings

CHEEK
SMALL
FA11 PATTERN INSERT LOWER FRONT

BACKPACK
TEMPLATES
cut 1 main, cut 1 lining
cut 1 interfacing (optional) 2 GADGET
MESSENGER BAG
CORNER TEMPLAT

LARGE
CHEEK
placement LARGE washers
6 RUSSIAN DOLL
BACKPACK
SMALL FACE/3" (7.5 cm) circle

4 STUDIO SATCHEL

MOUTH
1 MEN'S TOILETRY KIT

LARGE
placement MEDIUM washers

SMALL HAIR
FRONT POCKET LINING/INNER DIVIDER PIECES MAIN PANEL/MAIN PANEL LINING
/MAIN PANEL INTERLINING

3 QUILTED TEXT PILLOW

cut 3 lining
cut 2 main (transfer snap placement to 1 piece only)
cut 2 fabric B (lining)
cut 2 fusible fleece on dashed line (interlining)

MOUTH
placement SMALL washers

SMALL
TYPE TEMPLATE
snap placement one main pa nel only

SC RP DLY
t 4 F AR

6 RUSSIAN DOLL
cu AR L
D
IL
TE U
6 RUSSIAN DOLL

CA 5 C

BACKPACK
LARGE HAIR
BACKPACK

MESSENGER BAG
USB MOTIF TEMPLATE
WALLET LOWER FRONT

2 GADGET
cut 1 from fabric B

1 MEN'S TOILETRY KIT

UPPER FRONT
cut 1 main, cut 1 interfacing (optional)

leave open for turning and inserting body

2a 2b 2c 2d 2e 2f 2g

cut 2 (cut 1, cut 1 reverse)

MEASURING TAPE
9 TREE STUMP

as directed
LEAF
1 MEN'S TOILETRY KIT

cut 1 interfacing (optional)

6 RUSSIAN DOLL

cut 1 from fabric A

BACKPACK
cut 2 lining

eye placement eye placement

cut 1 main

POCKET
BACK

5 CUDDLY CATERPILLAR
BIRD
SCARF 5 CUDDLY CATERPILLAR interlining cut line
TEMPLATE
FACE SCARF

guidance for placement only

cut 2 TAIL
use only as directed

seam line
0 MACHINE COVER
+ ORGANIZER IN ONE

MEASURING TAPE
TREE STUMP LAYER #2
9 TREE STUMP
4 STUDIO SATCHEL

cut 2 fabric D
FLAP/FLAP LINING/FLAP INTERLINING
cut 1 fabric A
SPOOL cut 1 fabric B (lining; mark
TEMPLATE snap location this piece only)
cut 2 fusible fleece on dashed line (interlining)

cut 1 fabric D
PINCUSHION
QUILL COLLAR #1 9 HEDGEHOG

7 DOUBLE-BOLSTER snap placement

DOG BED
7 DOUBLE-BOLSTER
7" (18 CM) CIRCLE FOR
DOG BED SIZE LARGE ONLY
55⁄ 8" (14.3 CM) CIRCLE FOR
for size small/medium only
9 HEDGEHOG QUILL COLLAR #2
SIZE SMALL/MEDIUM ONLY PINCUSHION cut 1 fabric D
cut 2 from fabric A
cut 2 from fabric A

3a 3b nos
edg e
e
3c 9 TREE STUMP
3d 3e 3f 3g
MEASURING TAPE
TREE STUMP LAYER #1

cut 1 each from fabrics A+ B

cut 2 fabric C R
TE

6 RUSSIAN DOLL
EA TOP

WALLET BODY
BACKPACK
SWUÉ LATE
foo
t
D
R N LIQ MP
TREE STUMP TOP/BOTTOM TE LA P TE
D P DY
cut 2 fabric B EA TOP O A
O + BO
9 HE SWUÉ W T EL
PINC DG D 8 SKIR IRR
EH AN PLIQ TAIL U
foot

US O
HIO G DL P EL TE SQ
BE O A
LLY N O + IRR PLA
- OWL PAIR cut
1 fab W T U M
SMALL OWL BELLY ric 8 SKIR SQ TE
cut 1 from fabric D
B w ZIP ZIP PURSE
SIDE BODY
foot

leav
e ope
cut 4 main (cut 2, cut 2 reverse)

side seam
n bet
wee cut 4 interfacing (cut 2, cut 2 reverse)
n not
che
s

fold
t
foo

side seam
IR w ZIP ZIP PURSE
PA L
= STITCHERS HAVERSACK

9 EAR LINING
L W fol
d line
W O G cut 2 contrast B on fold
O ALLASE br
ic cut 2 (cut 1, cut 1
cut 2 interfacing on fold
- SM B fa reverse) fabric C
reversed for tracing

neck edge
from
center seam

TYPE TEMPLATE

t1
cu
9 HEDGEHOG

quill collar #2 placement

quill collar #1 placement

IR PINCUSHION
- OWL PAIR PAWL
L
neck edge
ear

BACK
SMALL/LARGE OWL
W O SE E
TOP BEAK O ALL BA bric 9 FACE cut 2 (cut 1, cut 1
- G fa
cut 2 from fabric G SM IN cut 2 (cut 1, cut 1 reverse) fabric A
W
(cut 1, cut 1 reverse) from reverse) fabric A
9 FOOT
center seam t2 cut 4 (cut 2, cut 2
cu
reverse) fabric C
- OWL PAIR
SMALL OWL
OUTER WING
cut 4 from fabric C
(cut 2, cut 2 reverse)

4a 4b 4c 4d 4e 4f 4g
e SLOUCH BAG
LINING SIDE
cut 1 reverse from fabric B

cut 2 contrast 1
cut 1 from fabric A
- OWL PAIR

cut 2 muslin (interlining)

LARGE OWL
24" (61 CM) CIRCLE FOR SIZE SMALL/MED ONLY

BODY
cut 1 from fabric G
- OWL PAIR

LARGE OWL BELLY

cut 1 from fabric D
place on fold

cut 2 on the fold from fabric A

cut 2 on the fold from fabric B
cut 1 on the fold from batting

LARGE OWL

- OWL PAIR
place on fold

7 DOUBLE-BOLSTER

BASE
DOG BED

- OWL PAIR
SMALL OWL EYE
cut 2 from fabric H
cut 2 from fabric H

- OWL PAIR
- OWL PAIR
LARGE OWL

SMALL OWL
EYEBALL

cut 2 from fabric E

BODY
OWL PAIR
LARGE OWL

cut 2 from fabric A

cut 1 reverse from fabric e SLOUCH BAG
EYE

POCKET
cut 2 main
cut 2 contrast 1

IR
cen

L PA L
ter

OW
sea

E OWING - OWL PAIR

-
m

RG W C
LA TER ric ) SMALL/LARGE OWL
OU fab erse BOTTOM BEAK
m
fro t 2 rev cut 1 from fabric G
t4
cu 2, cu
(cut
left wing

q right wing edge q

5a 5b 5c 5d 5e 5f 5g
leave open
E

cu
ric

cu t 30
" (7 cu t 2 1 on
IR

m fab
RG BASE
L PA L
E OW

6 t on th
CM 2 on th e fo
2 fro

)C th e fo ld
NG

e
IR fo ld fr from
- OW

C
WI

DO D LE FO ld fromom ba
LA

cut

UB OG R SI fafabr tting
LE BE ZE bric ic B
-B 7D LA A
O RG
LS E
TE O
NLY
R e SLOUCH BAG
SHELL PANEL
cut 4 main
(cut 2, cut 2 reverse)
cut 4 muslin
(interlining; cut 2, cut 2 reverse)
cut 4 headliner
(cut 2, cut 2 reverse)
q KIMONO BABY
cut 1 reverse fabric B

SWADDLE
cut 1 fabric A
RIGHT WING

batt
ing
only cut
as direline
(cut
cted
)

6a 6b 6c 6d 6e 6f 6g
cut 1 ultra firm fusible interfacing
cut 3 muslin (interlining)

cut 1 iron-on clear vinyl

e SLOUCH BAG

cut 1 contrast 1

cut 1 headliner
BOTTOM (B)
cut 1 main
cut 1 each from fabrics A + B as directed only

cut 2 muslin (interlining)

q

LINING FRONT/BACK
e SLOUCH BAG
MAIN BODY (includes left wing)
pocket cut line (cut only as directed)

cut 2 contrast 1
cut 1 batting as directed only
cut 1 of each of fabrics A + B
q KIMONO BABY

q KIMONO BABY
SWADDLE

SWADDLE
POCKET

e SLOUCH BAG
UPPER LINING
cut 2 contrast 2

righ
q
e SLOUCH BAG
t win
g edg
e
UPPER LINING SIDE
cut 2 contrast 2

q leave open

7a 7b 7c 7d 7e 7f 7g
tab placement r

r center
MESSENGER BAG
r DROP-TOP

cut 2 interfacing
cut 1 contrast
cut 1 main
GUSSET
use only as directed for shell (main fabric)

cut 4 interfacing (cut 2, cut 2 reverse)

cut 2 contrast (cut 1, cut 1 reverse)
MESSENGER BAG
r DROP-TOP

MAIN PANEL

r center
r accent strip seam on shell
r accent strip seam on shell

r center
DTMG

8a 8b 8c
cut out along dashed line and discard
MESSENGER BAG
SHOULDER HOLE
r DROP-TOP

r cell pocket placement

DTMG

DTMG

r tab placement

© INTERWEAVE PRESS LLC Please respect the copyright by not

Not to be reprinted. All rights reserved. forwarding or distributing this document interweavestitch.com
PAGE 3 OF 54
1a
FA11 PATTERN INSERT

1 MEN'S TOILETRY KIT

FRONT POCKET LINING/INNER DIVIDER PIECES
cut 3 lining
 1b

placement LARGE washers

placement MEDIUM washers

S

placement SMALL washers

1 MEN'S TOILETRY KIT

UPPER FRONT
cut 1 main, cut 1 interfacing (optional)
1c
1 MEN'S TOILETRY KIT
LOWER FRONT
cut 1 main, cut 1 lining
cut 1 interfacing (optional)

MESSENGER BAG
USB MOTIF TEMPLATE

2 GADGET
 1d

2 GADGET

CORNER TEMPLAT
MESSENGER BAG

CA 5 C
TE U
D
SC RP DL
I Y
cu AR LL
t 4 F AR

3 QUILTED TEXT PILLOW

TYPE TEMPLATE
1e interlining cut line

snap placement both main pan el li

4 STUDIO SATCHEL
MAIN PANEL/MAIN PANEL LINING
/MAIN PANEL INTERLINING
cut 2 main (transfer snap placement to 1 piece only)
cut 2 fabric B (lining)
cut 2 fusible fleece on dashed line (interlining)

snap placement one main pa nel

ne
1f
pan el linings

pa nel only
1g 6RUSSIAN DOLL
BACKPACK
LARGE FACE/5" (12.5 cm) circle

6RUSSIAN DOLL
CHEEK
SMALL

BACKPACK
TEMPLATES
LARGE
CHEEK

6RUSSIAN DOLL
BACKPACK
SMALL FACE/3" (7.5 cm) circle
MOUTH
LARGE

SMALL HAIR
MOUTH
SMALL

6RUSSIAN DOLL

6RUSSIAN DOLL
BACKPACK
LARGE HAIR

BACKPACK
WALLET LOWER FRONT
cut 1 from fabric B
 2a

1 MEN'S TOILETRY KIT

BACK
cut 1 main
cut 2 lining
cut 1 interfacing (optional)
 ! leave open for turning and inserting body

2b

eye placement eye placement

5 CUDDLY CATERPILLAR
SCARF
FACE
cut 2

7 DOUBLE-BOLSTER
DOG BED
55⁄8" (14.3 CM) CIRCLE FOR
SIZE SMALL/MEDIUM ONLY
cut 2 from fabric A
2c

BIRD
5 CUDDLY CATERPILLAR TEMPLATE
SCARF
guidance for placement only

TAIL
use only as directed
seam line

0MACHINE COVER
+ ORGANIZER IN ONE

SPOOL
TEMPLATE

7 DOUBLE-BOLSTER
DOG BED
7" (18 CM) CIRCLE FOR
SIZE LARGE ONLY
for size small/medium only
cut 2 from fabric A
 R
NE
2d

cut 1 fabric D
QUILL COLLAR #1

PINCUSHION
9HEDGEHOG
9TREE STUMP
MEASURING TAPE
TREE STUMP LAYER #2
cut 2 fabric D

PINCUSHION
9HEDGEHOG

cut 1 fabric D
9 TREE STUMP

QUILL COLLAR #2
MEASURING TAPE
LEAF
cut 2 (cut 1, cut 1 reverse)
as directed
2e
2f

interlining cut line

4 STUDIO SATCHEL
FLAP/FLAP LINING/FLAP INTERLINING
cut 1 fabric A
cut 1 fabric B (lining; mark
snap location this piece only)
cut 2 fusible fleece on dashed line (interlining)

snap placement
 2g

6RUSSIAN DOLL
BACKPACK
POCKET
cut 1 from fabric A
3a

-OWL PAIR
SMALL OWL BELLY
cut 1 from fabric D

IR
A
P WL
L
W LL O E ic
G
O A AS br
- SM B fa
m
ro
center seam

f
t1
cu

-OWL PAIR
SMALL/LARGE OWL
TOP BEAK
cut 2 from fabric G
(cut 1, cut 1 reverse)
center seam

-OWL PAIR
SMALL OWL
OUTER WING
cut 4 from fabric C
(cut 2, cut 2 reverse)
3b no
ed e
ge
s

fo
t o

9H
PIN EDG
CU EHO

foot
SH
BE IONG
cut L LY
1 fa
bri
cB
foot

lea
ve
o pe
n be
tw
een
no
tch
e s

t
foo

A IR
P WL
L E
W LL O AS ric E
O A B
- SM ING fab
W m
fro
t2
cu
3c 9TREE STUMP
MEASURING TAPE
TREE STUMP LAYER #1
cut 2 fabric C

TREE STUMP TOP/BOTTOM

cut 2 fabric B

8
= STITCHERS HAVERSACK
reversed for tracing
TYPE TEMPLATE
 3d
T ER
EA TOP
SWUÉ LAT
E
D
N LIQ EMP
T ER A
L P T
D AP DY
EA TOP O
O T + BO
SWUÉ W IR EL
D
N LIQ IL 8 SK IR R
A P TA
U
DL AP EL TE SQ
O
O T + IRR PLA
W U M
8 SKIR SQ TE

9EAR fol
d lin
e
cut 2 (cut 1, cut 1
reverse) fabric C
neck edge

9HEDGEHOG
quill collar #2 placement

quill collar #1 placement

PINCUSHION
neck edge
ear

BACK
9FACE cut 2 (cut 1, cut 1
cut 2 (cut 1, cut 1 reverse) fabric A
reverse) fabric A
9FOOT
cut 4 (cut 2, cut 2
reverse) fabric C
3e !

side seam

wZIP ZIP PURSE

LINING
cut 2 contrast B on fold
cut 2 interfacing on fold
3f

wZIP ZIP PURSE

SIDE BODY
cut 4 main (cut 2, cut 2 reverse)
side seam

cut 4 interfacing (cut 2, cut 2 reverse)

fold
 6RUSSIAN DOLL
BACKPACK
WALLET BODY
cut 1 each from fabrics A+ B
3g
 cut 1 from fabric G
BASE
LARGE OWL
-OWL PAIR
eam
ters
cen
7 DOUBLE-BOLSTER

se)
- LARG R WIN ic C
DOG BED

OU om f ever
r
G

ab
AIR
24" (61 CM) CIRCLE FOR SIZE SMALL/MED ONLY

r
L WL

4 f ut 2
cut 2 on the fold from fabric A

EO
P

cu 2, c
cut 2 on the fold from fabric B

r
TE
OW
cut 1 on the fold from batting

t
(cu
t
place on fold
4a place on fold
4b

LARGE OWL BELLY

cut 1 from fabric D
-OWL PAIR

-OWL PAIR
SMALL/LARGE OWL
BOTTOM BEAK
cut 1 from fabric G

left wing
 4c

-OWL PAIR
SMALL OWL EYE
cut 2 from fabric H

-OWL PAIR
SMALL OWL
BODY
cut 2 from fabric A
cut 1 reverse from fabric
left wing
 4d

-OWL PAIR
LARGE OWL
EYEBALL
cut 2 from fabric H

OWL PAIR
LARGE OWL
EYE
cut 2 from fabric E

-OWL PAIR
LARGE OWL
BODY
cut 1 from fabric A
cut 1 reverse from fabric B
4e
4f

e SLOUCH BAG
POCKET
cut 2 main
cut 2 contrast 1
4g
e SLOUCH BAG
LINING SIDE
cut 2 contrast 1
cut 2 muslin (interlining)
 5a

IR
L PA L
W OW
-OARGE BASE
L
NG E
WI abric
mf
2 fro
cut
!
R Y
TE NL
O
LS E
O RG
-B 7D LA c A
LE BE IZE abri ic B
UB OG OR S m f fabr tting
DO D E F fro m ba
d o
CL fol ld fr rom
IR e o f
) C n th e f old
CM 2 o n th he f
6
" (7 cut 2 o on t
t
30 cu ut 1
c
5b
 qKIMONO BABY
SWADDLE
RIGHT WING
cut 1 fabric A
cut 1 reverse fabric B
qlea
ve ope
n

ted ut
s d line (c
)
5c

irec
onl g cut
ya
tin
bat
 5d
qright wing edge
5e
5f
5g

e SLOUCH BAG
SHELL PANEL
cut 4 main
(cut 2, cut 2 reverse)
cut 4 muslin
(interlining; cut 2, cut 2 reverse)
cut 4 headliner
(cut 2, cut 2 reverse)
 qKIMONO BABY
SWADDLE
POCKET
cut 1 each from fabrics A + B as directed only
6a
 qpocket cut line (cut only as directed)

qleave open
6b
 qr
qKIMONO BABY

ight
SWADDLE

win
MAIN BODY (includes left wing)

g ed
cut 1 of each of fabrics A + B

ge
cut 1 batting as directed only
d)

6c
cte
 6d

e SLOUCH BAG
BOTTOM (B)
cut 1 main
cut 1 contrast 1
cut 3 muslin (interlining)
cut 1 headliner
cut 1 ultra firm fusible interfacing
cut 1 iron-on clear vinyl
 6e

e SLOUCH BAG
LINING FRONT/BACK
cut 2 contrast 1

cut 2 contrast 2
cut 2 muslin (interlining)

UPPER LINING SIDE

e SLOUCH BAG
6f

e SLOUCH BAG
UPPER LINING
cut 2 contrast 2
6g
 7a

r DROP-TOP
MESSENGER BAG
MAIN PANEL
use only as directed for shell (main fabric)
cut 2 contrast (cut 1, cut 1 reverse)
cut 4 interfacing (cut 2, cut 2 reverse)
 7b
r accent strip seam on shell
tab placement
r
 7c

r accent strip seam on shell

r center
 7d

r DROP-TOP
MESSENGER BAG
GUSSET
cut 1 main
cut 1 contrast
cut 2 interfacing
7e

r center

r center
7f
7g
 8a

r DROP-TOP
MESSENGER BAG
SHOULDER HOLE
cut out along dashed line and discard
 8b

r tab placement
DTMG

r cell pocket placement

DTMG DTMG
8c