Holly: May 2012 Archives
Brace for gushing. Because the second I finished my first run of the new Hot Patterns Pyramid Wristlet, I texted a photo of it to my best friend with the caption "HOW CUTE IS THIS PATTERN?!?!?"
(Her reply: "Super cute!!!!")
First off, where has this pattern been all my life? No use crying over the absence of a thing. I'll just celebrate it now that I've got it. My advice is download it now! Right now!
Here's the rundown on my test drive:
For the first sample, I used a small cut of dupioni from the stash. For interfacing, I used a plain heavy canvas, also from the stash. I lined it with the same dupioni I used for the outside.
The pattern instructions mention the teeny tiny seam allowance you will need to use to create the zipper opening. It is not fibbing! That said, it's clearly marked and is no problem if you take your time. Here's what mine looks like flipped and ironed after I stitched and slashed it to make way for the zipper:
Now, here's my trick for a little reinforcement at the base of the pyramid, which forms the bottom of the bag. I use craft foam. Yep. Regular old craft foam.
I actually stitch my craft foam into the bag structure. First, I fold my pattern along the lines that mark out the square at the bottom of the bag. Then, I use the folded pattern as a guide, and I mark that line with pieces of masking tape, working my way around all four sides of the square base.
Here's my square, roughly marked out with tape:
Once my marks are in place, I slide the craft foam between the interfaced outer layer and the lining layer, making sure it sits within the boundaries of my tape marks. Then I run a straight stitch around my square, creating a permanent enclosure for my craft foam base reinforcement. I remove my tape as I go.
After that, the bag finishes according to the pattern directions -- stitching up each of the four sides, and setting in the strap as you stitch across the top of the pyramid. The softness of the craft foam allows for easy turning, and before you know it, a bag is born!
I made a second version out of a damask cotton print, using the exact same technique for the base. Worked like a charm on the second go, too, so it wasn't just a fluke on the first one!
The size of the bag is fab -- the wide base easily accommodates an iPhone or similar-sized mobile device, and there's still plenty of room for a wallet and any must-have cosmetics. In fact, this pattern could easily be used for cosmetic bags instead of purses.
The quick nature of this bag means that you can whip it up in an afternoon for a party that night, and you're practically guaranteed you'll have the best bag in the room!
Hop over here for the download, and have a blast playing! I see a version in a sand colored silk with hieroglyph embellishments in my future ...
(Her reply: "Super cute!!!!")
First off, where has this pattern been all my life? No use crying over the absence of a thing. I'll just celebrate it now that I've got it. My advice is download it now! Right now!
Here's the rundown on my test drive:
For the first sample, I used a small cut of dupioni from the stash. For interfacing, I used a plain heavy canvas, also from the stash. I lined it with the same dupioni I used for the outside.
The pattern instructions mention the teeny tiny seam allowance you will need to use to create the zipper opening. It is not fibbing! That said, it's clearly marked and is no problem if you take your time. Here's what mine looks like flipped and ironed after I stitched and slashed it to make way for the zipper:
Now, here's my trick for a little reinforcement at the base of the pyramid, which forms the bottom of the bag. I use craft foam. Yep. Regular old craft foam.I actually stitch my craft foam into the bag structure. First, I fold my pattern along the lines that mark out the square at the bottom of the bag. Then, I use the folded pattern as a guide, and I mark that line with pieces of masking tape, working my way around all four sides of the square base.
Here's my square, roughly marked out with tape:Once my marks are in place, I slide the craft foam between the interfaced outer layer and the lining layer, making sure it sits within the boundaries of my tape marks. Then I run a straight stitch around my square, creating a permanent enclosure for my craft foam base reinforcement. I remove my tape as I go.After that, the bag finishes according to the pattern directions -- stitching up each of the four sides, and setting in the strap as you stitch across the top of the pyramid. The softness of the craft foam allows for easy turning, and before you know it, a bag is born!I made a second version out of a damask cotton print, using the exact same technique for the base. Worked like a charm on the second go, too, so it wasn't just a fluke on the first one!The size of the bag is fab -- the wide base easily accommodates an iPhone or similar-sized mobile device, and there's still plenty of room for a wallet and any must-have cosmetics. In fact, this pattern could easily be used for cosmetic bags instead of purses.
The quick nature of this bag means that you can whip it up in an afternoon for a party that night, and you're practically guaranteed you'll have the best bag in the room!
Hop over here for the download, and have a blast playing! I see a version in a sand colored silk with hieroglyph embellishments in my future ...
Since Memorial Day weekend is the unofficial start of summer for many families, I am already thinking about warm weather entertaining, which means luaus, luaus and more luaus. I love a little theme decor, and hibiscus everything is a big favorite, so I decided to create some table accessories featuring a simple hibiscus graphic as the primary design element.
For inspiration and a pattern, I turned to my sewing room, which has a Hawaiian theme. My accent wall is painted with large-scale hibiscus (I used an opaque projector to throw the images on the wall and then just painted in the designs), so I figured I'd just trace those to make my appliques.
For inspiration and a pattern, I turned to my sewing room, which has a Hawaiian theme. My accent wall is painted with large-scale hibiscus (I used an opaque projector to throw the images on the wall and then just painted in the designs), so I figured I'd just trace those to make my appliques.
I taped my Wonder Under directly over my wall hibiscus and traced around the design with a water-based marker to avoid any bleed-through that might discolor the wall. Since the design is bigger than my fusible, I had to piece things a bit. I made two versions of the design for my table, one large and one VERY large.
After I took the Wonder Under down from the wall, I went over my tracing with a sharpie.
After I had my complete flower design transferred to the fusible, I ironed it to a pink duchess satin. For the stamen, I used a yellow duchess satin.
If you're careful when you peel the backing paper off your fabric once you've fused it, you can keep it as a pattern for future projects!
After my pieces were all fused and peeled, I arranged them on a green twill that I've had in the stash for a while.
Once I had the pieces arranged to my satisfaction, I ironed them down to the twill following manufacturer's instructions.
For the smaller of the two designs, I used a fleece backing. I safety pinned the top layer to a layer of fleece before I stitched my pieces down. To start with the tricky stamen, I first straight stitched it into place with a long basting stitch. Then I zig-zagged over it.
Once I had my whole flower stitched along all edges (this was the most time consuming part of the process), I cut the piece down to follow the contours of the flower but still leave a green border.
I used a pale green iridescent satin that I had on hand to create a bias binding, and voila! The smaller one can be used with warm dishes, since it has a fleece backing.
The larger version is more like a table cloth, and covers most of our dining room table. It doesn't have a fleece backing. It also needs more ironing!
I love knowing I can pull these out any time a festive tropical mood hits me -- and that I can machine wash them.
Of course, every time I do a Wonder Under project, I immediately think of 30 other projects I could use it for. But for now, I'm going to enjoy my Hawaiian getaway in my own house. Who's ready for a Mai Tai?
After I took the Wonder Under down from the wall, I went over my tracing with a sharpie.After I had my complete flower design transferred to the fusible, I ironed it to a pink duchess satin. For the stamen, I used a yellow duchess satin.If you're careful when you peel the backing paper off your fabric once you've fused it, you can keep it as a pattern for future projects!After my pieces were all fused and peeled, I arranged them on a green twill that I've had in the stash for a while.Once I had the pieces arranged to my satisfaction, I ironed them down to the twill following manufacturer's instructions.For the smaller of the two designs, I used a fleece backing. I safety pinned the top layer to a layer of fleece before I stitched my pieces down. To start with the tricky stamen, I first straight stitched it into place with a long basting stitch. Then I zig-zagged over it.Once I had my whole flower stitched along all edges (this was the most time consuming part of the process), I cut the piece down to follow the contours of the flower but still leave a green border.I used a pale green iridescent satin that I had on hand to create a bias binding, and voila! The smaller one can be used with warm dishes, since it has a fleece backing. The larger version is more like a table cloth, and covers most of our dining room table. It doesn't have a fleece backing. It also needs more ironing!I love knowing I can pull these out any time a festive tropical mood hits me -- and that I can machine wash them.
Of course, every time I do a Wonder Under project, I immediately think of 30 other projects I could use it for. But for now, I'm going to enjoy my Hawaiian getaway in my own house. Who's ready for a Mai Tai?
Wooohooooo! It's summer dress season! I love this time of year -- it seems like I want to make a new dress every day. In an effort to try to fulfill my own desires, I have learned some tricks to make my dressmaking go faster. One of those tricks is my approach to zippers.
I know a lot of people dread zippers, but there's really nothing to fear. Once you figure out a method that works for you, zippers become just another seam, and you'll soon find your wardrobe growing lickety-split.
My method takes some of the usual dress assembly steps out of order. (Note: This approach assumes you're putting the zipper into the back of your dress.)
First, I prepare the two back sections of dress. Often, dress pattern instructions will have you assemble the bodice first, then the skirt, then attach the two, and THEN insert the zipper. By assembling the back sections first, I set myself up to set the zipper into a flat piece, rather than trying to fiddle with a garment that's more fully formed. It just makes it a bit easier. If you use the approach, you'll then need to assemble the front of the dress before you join everything together at the shoulder and sides.
I know a lot of people dread zippers, but there's really nothing to fear. Once you figure out a method that works for you, zippers become just another seam, and you'll soon find your wardrobe growing lickety-split.
My method takes some of the usual dress assembly steps out of order. (Note: This approach assumes you're putting the zipper into the back of your dress.)
First, I prepare the two back sections of dress. Often, dress pattern instructions will have you assemble the bodice first, then the skirt, then attach the two, and THEN insert the zipper. By assembling the back sections first, I set myself up to set the zipper into a flat piece, rather than trying to fiddle with a garment that's more fully formed. It just makes it a bit easier. If you use the approach, you'll then need to assemble the front of the dress before you join everything together at the shoulder and sides.
Holding the two back sections together at the center where the zipper will go, I lay the zipper down the length of the seam to mark where it will end. I place the mark just past the metal zipper stop.
Then, I stitch the back pieces together along the center back. I use the longest stitch possible for the section where the zipper will go, and then I switch to a shorter, normal assembly stitch for the rest of the seam. The photo below shows the change in stitch length at the blue mark I made earlier.
Next, I press the seam open. I like to give it a good hard press to ensure my creases will be sharp once my zipper is set in.
OK, we're getting close to show time! Once my fabric has cooled from the iron's heat, I use my seam ripper to gently open up the top of the seam -- about 1.5" to 2" works just fine. You want to make sure that if the top edge of the zipper is lined up with the top edge of your fabric, you'll have about an inch of tooth area open. I align my slightly-opened zipper with the edge of my opened seam so the teeth match up with the creased edge.
I set the zipper and dress back under the foot just as I was holding it in the photo above. You may have noticed there haven't been any pins in these photos -- I don't use them, even for zippers! I find I can work much more quickly and smoothly without them.
I carefully start stitching the zipper in place, sewing far enough down the zipper that I'll have room to pull the zipper tab up without getting in the way of my stitching.
Once I've cleared enough length, I lift my presser foot and pull the tab up, and continue to sew the zipper into place down along the center back seam.
To keep the zipper centered, I usually keep the dress piece rolled (sometimes wadded) in my left hand, and I periodically lift things up to make sure the teeth are still lines up with the center of the seam. This is one of those things you get better and better at the more you do it.
Once I've cleared the metal zipper stop, I turn the fabric to stitch across the zipper -- I usually backstitch to make sure this cross piece is strong -- and then I turn the corner again to make the return trip up the opposite side of the seam. Because the zipper is already in place and I don't need to check its alignment, the second side is much faster than the first.
Once I near the top of the zipper on this side, I often open the seam up a little more to pull the zipper pull back out of the way.
With the zipper opened so the pull is no longer creating an obstacle, I finish up the second side of the zipper, taking care to keep the fabric aligned with the zipper teeth so the creased edges will abut when the zipper's closed.
After the stitching's done, I quickly open up the rest of the stitching that covers the zipper.
And that's that! Zipper is in and I'm free to finish my dress. Whether your pattern calls for a facing or a bound edge at the neck opening, you'll likely need a hook and eye at the top of the zipper to keep things neat and square.
Is your zipper method similar to mine? Do you have another trick? Let us know!
Then, I stitch the back pieces together along the center back. I use the longest stitch possible for the section where the zipper will go, and then I switch to a shorter, normal assembly stitch for the rest of the seam. The photo below shows the change in stitch length at the blue mark I made earlier.Next, I press the seam open. I like to give it a good hard press to ensure my creases will be sharp once my zipper is set in.OK, we're getting close to show time! Once my fabric has cooled from the iron's heat, I use my seam ripper to gently open up the top of the seam -- about 1.5" to 2" works just fine. You want to make sure that if the top edge of the zipper is lined up with the top edge of your fabric, you'll have about an inch of tooth area open. I align my slightly-opened zipper with the edge of my opened seam so the teeth match up with the creased edge.
I set the zipper and dress back under the foot just as I was holding it in the photo above. You may have noticed there haven't been any pins in these photos -- I don't use them, even for zippers! I find I can work much more quickly and smoothly without them. I carefully start stitching the zipper in place, sewing far enough down the zipper that I'll have room to pull the zipper tab up without getting in the way of my stitching.
Once I've cleared enough length, I lift my presser foot and pull the tab up, and continue to sew the zipper into place down along the center back seam.
To keep the zipper centered, I usually keep the dress piece rolled (sometimes wadded) in my left hand, and I periodically lift things up to make sure the teeth are still lines up with the center of the seam. This is one of those things you get better and better at the more you do it. Once I've cleared the metal zipper stop, I turn the fabric to stitch across the zipper -- I usually backstitch to make sure this cross piece is strong -- and then I turn the corner again to make the return trip up the opposite side of the seam. Because the zipper is already in place and I don't need to check its alignment, the second side is much faster than the first.Once I near the top of the zipper on this side, I often open the seam up a little more to pull the zipper pull back out of the way.With the zipper opened so the pull is no longer creating an obstacle, I finish up the second side of the zipper, taking care to keep the fabric aligned with the zipper teeth so the creased edges will abut when the zipper's closed.After the stitching's done, I quickly open up the rest of the stitching that covers the zipper.And that's that! Zipper is in and I'm free to finish my dress. Whether your pattern calls for a facing or a bound edge at the neck opening, you'll likely need a hook and eye at the top of the zipper to keep things neat and square.
Is your zipper method similar to mine? Do you have another trick? Let us know!
This one goes out to all the pet people! This particular post is cat-focused, but doggies are always welcome to hang.I like 'em all!
Pets wearing clothes in one of those polarizing topics. Some people think it's hilarious to put clothes on their pets, while others think it's incredibly cruel. My stance on the topic is in the middle -- if the pet is OK with it, so am I, but it breaks my heart to see an animal struggle or thrash around in fear or discomfort.
However, there are some cat breeds that actually benefit from having a good shirt. These include the hairless Sphynx and the curly-haired Rex breeds. Because the fur on these guys is either missing or less dense than your average house cat, they lose their body heat easily. Their exposed skin also puts them at risk for sunburn when they fall asleep too long in a sunbeam. Seriously, you do NOT want to deal with a cat with a sunburn.
I am lucky enough to have a Devon Rex named Mr. Burns in my brood -- so I'm familiar with the constant heat-seeking of a chilly feline. To help him out, I decided to try my hand at making him a shirt. Luckily, Mr. Burns is one of those rare cats that doesn't mind wearing clothes a bit.
First, I took his measurements and drew up a plan. (I am keenly aware that he's a butterball. We're working on it.) I measured him around the widest part of his belly, across his back from one shoulder to another, and the length from his neck to almost the base of his tail.
Note that my sketch for the top and bottom pieces is woefully off, proportionally speaking.
To start cutting on the fleece I selected, I first cut a piece 11 inches wide and 13 inches long. The grain runs along the 13 inch length so the piece stretches across the 11 inch span. I folded the piece in half so I could cut the fabric according to my measurements and keep it symmetrical.
To start shaping the piece, I first cut a curve along the bottom. The shirt will be longer on the cat's back and a little shorter on the belly, so the cat can groom as normal without getting a mouthful of fleece.
Next, I made a cut from the widest part of the piece at the bottom, angling in to the narrowest measurement at the top. For Burnsy, I wanted an 8 inch width across the back of the neck. Because cats' necks are very delicate -- much more so than a dog's -- it's better to cut the neck wide and then take it in a little after a fitting than to have it too tight.
Then I cut semicircles for the leg holes.
To cut the belly of the shirt, I cut another rectangle, this one 9 inches wide, and folded it in half as I did the first rectangle. Then I aligned the folded back piece with the underpiece and used it as a cutting guide.Not that the folded edge of the back piece sits (folded) and inch back from the folded edge of the underpiece.
After the two pieces were cut, I just joined them at the sides with the serger, then I cut two pieces of soft rayon knit each 6 inches by 2 inches, and used those to make mini sleeves that finished the arm holes. Since I'm working with fleece, I'm not going to add bulk by hemming the top or bottom. Here's the shirt laid out flat:
OK, time to fit it on Mr. Burns! Forgive the fuzziness in these images. Anyone who has tried to take photos of a pet knows that they rarely cooperate. As you can see, this shirt run a little tight across the upper back -- the arm holes need to be cut wider.
Mr. Burns didn't seem to bothered, and trotted all over the house in his new shirt, but the fit did bother me, and it did limit his range of motion slightly -- a big no-no in pet clothes.
This shot of him walking from the side really shows how much it's pulling around his front leg.
So, I decided to try a second shirt, this one out of a lightweight cotton knit. For this version, I also skipped the sleeves and cut the arm holes wider. I am happy to report a much better fit.
As you can see, I need to take in the neck a bit or add a small amount of elastic. But first I'll have to wrestle it off of Mr. Burns, who seems to be enjoying his new finery quite a bit!
Pets wearing clothes in one of those polarizing topics. Some people think it's hilarious to put clothes on their pets, while others think it's incredibly cruel. My stance on the topic is in the middle -- if the pet is OK with it, so am I, but it breaks my heart to see an animal struggle or thrash around in fear or discomfort.
However, there are some cat breeds that actually benefit from having a good shirt. These include the hairless Sphynx and the curly-haired Rex breeds. Because the fur on these guys is either missing or less dense than your average house cat, they lose their body heat easily. Their exposed skin also puts them at risk for sunburn when they fall asleep too long in a sunbeam. Seriously, you do NOT want to deal with a cat with a sunburn.
I am lucky enough to have a Devon Rex named Mr. Burns in my brood -- so I'm familiar with the constant heat-seeking of a chilly feline. To help him out, I decided to try my hand at making him a shirt. Luckily, Mr. Burns is one of those rare cats that doesn't mind wearing clothes a bit.
First, I took his measurements and drew up a plan. (I am keenly aware that he's a butterball. We're working on it.) I measured him around the widest part of his belly, across his back from one shoulder to another, and the length from his neck to almost the base of his tail.
Note that my sketch for the top and bottom pieces is woefully off, proportionally speaking.
To start cutting on the fleece I selected, I first cut a piece 11 inches wide and 13 inches long. The grain runs along the 13 inch length so the piece stretches across the 11 inch span. I folded the piece in half so I could cut the fabric according to my measurements and keep it symmetrical.To start shaping the piece, I first cut a curve along the bottom. The shirt will be longer on the cat's back and a little shorter on the belly, so the cat can groom as normal without getting a mouthful of fleece.Next, I made a cut from the widest part of the piece at the bottom, angling in to the narrowest measurement at the top. For Burnsy, I wanted an 8 inch width across the back of the neck. Because cats' necks are very delicate -- much more so than a dog's -- it's better to cut the neck wide and then take it in a little after a fitting than to have it too tight.Then I cut semicircles for the leg holes. To cut the belly of the shirt, I cut another rectangle, this one 9 inches wide, and folded it in half as I did the first rectangle. Then I aligned the folded back piece with the underpiece and used it as a cutting guide.Not that the folded edge of the back piece sits (folded) and inch back from the folded edge of the underpiece. After the two pieces were cut, I just joined them at the sides with the serger, then I cut two pieces of soft rayon knit each 6 inches by 2 inches, and used those to make mini sleeves that finished the arm holes. Since I'm working with fleece, I'm not going to add bulk by hemming the top or bottom. Here's the shirt laid out flat:OK, time to fit it on Mr. Burns! Forgive the fuzziness in these images. Anyone who has tried to take photos of a pet knows that they rarely cooperate. As you can see, this shirt run a little tight across the upper back -- the arm holes need to be cut wider. Mr. Burns didn't seem to bothered, and trotted all over the house in his new shirt, but the fit did bother me, and it did limit his range of motion slightly -- a big no-no in pet clothes.This shot of him walking from the side really shows how much it's pulling around his front leg.So, I decided to try a second shirt, this one out of a lightweight cotton knit. For this version, I also skipped the sleeves and cut the arm holes wider. I am happy to report a much better fit.As you can see, I need to take in the neck a bit or add a small amount of elastic. But first I'll have to wrestle it off of Mr. Burns, who seems to be enjoying his new finery quite a bit!
OK, this one's a super easy project -- perfect for budding seamsters. All you need is a t-shirt and about 30 minutes -- and you'll have time to spare!
To start with, pull your shirt -- inside out -- over your sewing machine. A unisex size Medium is just about perfect.
To make marking easier, you might want to pin the shoulders of your shirt so the neck opening sits higher than the top of the machine.
Next, mark the curve of your machine where you'll cut and sew the top of the cover. I used a sharpie so it's easy to see in photos.
Pull your shirt off your machine, and clip along your marked line. I usually taper my curve so it ends down at the bottom of the armscye.
Here's the trimmed top of the former shirt/almost cover.
To true up the top and make it symmetrical, fold your fabric in half and clip your curve so both sides are ever.
Next, just stitch that top clipped edge closed.I usually use my serger.
Pull your stitched cover over the machine, and mark the handle width. You'll clip an opening from one marking to the other to let the handle through. I know what you're thinking. "Why don't you just leave an opening in the seam?" You can totally do it that way if you prefer, but I find that in the course of being carried around, the seams tend to start to split open. This way, the seam stays intact.
You also need to mark the point where the cover hits the table or other sewing surface once it's pulled down.
Use that lower edge mark as a guide, and fold up the remaining piece of shirt. The mark will be inside the crease of the fold.
I make a reverse cuff by folding the hem back down. This will reinforce the top edge of what's about to become a series of pockets.
Stitch channels into the folded lower edge to create pockets. You can customize the width of your pocket channels to match the items you most often take with you when you sew on the go. I like to make one wide enough to hold the foot and power cord, and the rest varying sizes to hold spare needles, thread, snips, trims and whatever else I need.
Here we are, loaded up and ready to go! Who wants to host a sewing get together?
To start with, pull your shirt -- inside out -- over your sewing machine. A unisex size Medium is just about perfect.
To make marking easier, you might want to pin the shoulders of your shirt so the neck opening sits higher than the top of the machine.
Next, mark the curve of your machine where you'll cut and sew the top of the cover. I used a sharpie so it's easy to see in photos.
Pull your shirt off your machine, and clip along your marked line. I usually taper my curve so it ends down at the bottom of the armscye.
Here's the trimmed top of the former shirt/almost cover.
To true up the top and make it symmetrical, fold your fabric in half and clip your curve so both sides are ever.
Next, just stitch that top clipped edge closed.I usually use my serger.Pull your stitched cover over the machine, and mark the handle width. You'll clip an opening from one marking to the other to let the handle through. I know what you're thinking. "Why don't you just leave an opening in the seam?" You can totally do it that way if you prefer, but I find that in the course of being carried around, the seams tend to start to split open. This way, the seam stays intact.You also need to mark the point where the cover hits the table or other sewing surface once it's pulled down.Use that lower edge mark as a guide, and fold up the remaining piece of shirt. The mark will be inside the crease of the fold.I make a reverse cuff by folding the hem back down. This will reinforce the top edge of what's about to become a series of pockets.Stitch channels into the folded lower edge to create pockets. You can customize the width of your pocket channels to match the items you most often take with you when you sew on the go. I like to make one wide enough to hold the foot and power cord, and the rest varying sizes to hold spare needles, thread, snips, trims and whatever else I need.Here we are, loaded up and ready to go! Who wants to host a sewing get together?
