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Blog posts tagged with 'embroidery designs'

Lady Bug Baby Quilt
Lady Bug Baby Quilt

Lady-Bug-Quilt-Instructions

The Lady Bug Quilt uses a quilt-as-you-go technique that I’ve used in quite a few quilts. Feature blocks are appliquéd onto white fabric and the batting and backing are added for a round of echo quilting. Green blocks are quilting straight through all the layers with a butterfly motif.

A comprehensive guide to making QAYG quilts is included separately. This document provides extra notes for this particular quilt. Because I made this as a gift, I didn’t write up detailed guidelines.

Project Notes

This quilt was designed and made for the birth of my grandniece in 2012 and was based on her color scheme. All the blocks are used as they are set up in the set.

The set also includes additional coordinating designs that weren’t used and can be used for other purposes.

 

For batting, I used a June Tailor fusible batting.

 

Threads are Hemingworth polyester and the bobbin is a standard white pre-wound polyester embroidery bobbin. Stabilizer is Sulky Soft n Sheer for the appliqué blocks and Washaway for the quilted blocks.

 

Fabric Requirements

I like to draw sketches of my quilts in graphics software to help determine the layout, color and design placement, and fabric requirements. I’ll also use a spreadsheet to keep track of fabric needs.

 

If you don’t have suitable fabrics in your stash for the appliqués pick up some fat quarters:

 

  • Ladybug: black (body), red (outer wings), light gray (inner wings)
  • Flower: pink (petals), black (flower center)

Appliques in this set are designed for precutting and templates are included for hand and machine cutting. (See the included Applique Basics if you’re unfamiliar with my technique.

 

Lady-Bug-Quilt-Instructions

About the Designs

Basic embroidery designs have been customized by rotating and combining to streamline the process of stitching the blocks. Extra stops are included to permit interacting as required to place appliqué pieces and backing fabrics. Refer to the color sequences for what actions to take.

Designs are also included individually for those with smaller hoops or for use with coordinating accessories.

 

Quick Notes on Stitching & Assembly

For fully illustrated step-by-steps, see Quilt As You Go Basics. Here’s a quick recap for this quilt.

Embroidering the Appliqué Blocks

Important: The two appliqué blocks have multiple stops. Pay attention to the color sequences to know what to do.

  1. Hoop stabilizer. Sew first color directly onto stabilizer as guideline.
  2. Position background fabric and sew next color (basting stitching) to fix fabric to stabilizer
  3. Stitch appliqué design, stopping before the outline quilting.
  4. Fuse the batting to the wrong side of the backing fabric. Slide this under the hooping design, batting side up and match alignment to top block. Use tape to secure the block.
  5. Sew the last color change to echo quilt the two pieces together.
  6. Remove from hoop. Trim away excess stabilizer.

Embroidering Quilted blocks

Note: I used regular white embroidery bobbin thread. You may choose to use a matching color embroidery thread if desired.

  1. Make a quilt sandwich of backing, batting, and top fabric. Fuse together.
  2. Hoop stabilizer. Sew first color directly onto the stabilizer as a guideline.
  3. Lightly mist the back of the quilt sandwich with TESA and position on the stabilizer
  4. Sew the rest of the design.
  5. Remove from hoop. Trim away excess stabilizer.

When all blocks are stitched, trim to size.

Make a Dedication Label

I like Adine Script for my quilt labels. It’s not heavy or bulky and the script is elegant and readable

 

Lady-Bug-Quilt-Instructions

 

Assembling

Quilt is assembled using a piece-as-you-go technique placing the rows on the diagonal with the blocks on point.

Want to Learn More About Machine Embroidery?

If you’d like to learn more about machine embroidery, check out my current classes on Craftsy. Use the links below to get 50% off on these classes:

  • Thread Savvy: Stitch Flawlessly with Any Thread
  • 20 Things Every Embroiderer Should Know

Craftsy has a huge and ever-growing list of classes on a wide range of topics led by premier instructors. I’ve enrolled in classes on embroidery, quilting, sewing, knitting, crochet, painting, cake decorating, cooking, and photography.

I’ve watched them on my iPhone while riding in the car and on my iPad snuggled up in bed. I love that I can bookmark places to review again, hit the 30 second repeat when I get distracted or need to see a technique again, and my favorite part is I can speed it up or slow it down. You can even ask questions of the instructor.

 

There are some free ones, so please do try it out. One more tip—if you have a slow network where you live, visit a fast network and download the course to a mobile device for later viewing. Or, new for 2017, course can be purchased on DVD!

Dimensional Flowers
Dimensional Flowers

Dimensional flowers are surprisingly quick and easy to make. Not only that, but they take only minimal supplies and not much time. I love that I can attach them to most anything and have an instant embroidered accent without making a permanent commitment. Embroidered 3D flowers make the perfect holiday accessory or gift! Wouldn’t they make a lovely decorative touch on special gift?

 

Skill Level

 

  • Basic embroidery and hand sewing

This project involves only simple hand sewing after embroidering (or gluing, if you prefer).

What You’ll Learn

  • How to create a three dimensional floral corsage
  • How to keep thin slippery fabrics from slipping in the hoop

 

 

Please read through all instructions before starting your project!

Supplies

  • Nylon organza
  • Rayon embroidery thread
  • Matching bobbin thread
  • Small sharp scissors for trimming away fabric
  • Soldering iron for melting fabric
  • Magnets or pin backs for attaching to garments
  • Small piece craft-weight felt (I use dark green most often) and or scraps of cutaway
  • Temporary embroidery spray adhesive (TESA)
  • White school glue, hot glue, hand needle and thread (I used invisible thread and embroidery bobbin thread)
  • Beads, buttons, or brooch for flower centers
  • Optional: Acrylic paint, inks, brushes, colored pencils
  • Water mister bottle

Nice to Have

  • Light table for precise alignment when stacking pieces to stitch in the hoop

Preliminaries

Dimensional flowers and leaves are stitched on two layers of nylon organza (no additional stabilizer), then cut out close to the stitching, and finally finished with a soldering iron to melt away the remaining fibers and fuse the edges. For best results, stitch with rayon embroidery thread with a matching color bobbin. Rayon is more heat resistant than polyester, which tends to scorch, especially on lighter colors.

 

Pieces thus finished can then be assembled. Some pieces may be attached with an embroidery motif, most often a flower center, which may be part of a design or separate. Sometime I attach them by sewing the bottom most layer last, and then while it is still hooped, place the top layers, then stitch together. Another way is to hoop a piece of cutaway or craft felt, position all the pieces and stitch together. How the flower is assembled depends on the type of flower.

 

I often prefer to use beads, buttons, or other items as a flower center. Using a drop of white school glue in the center of the flowers will hold the layers together and keep them from shifting while hand stitching them together. Assembled flowers along with the leaves are then arranged on a piece of dark green craft felt and hand stitched or hot-glued in place. Trim the felt back so it isn’t visible. Attach a pin back or use magnets. Magnets will let you use your corsage on leather or suede garments where a pin could cause damage.

 

Your corsage can be used on hats, purses, or garments. They make great gifts and craft show items. Smaller ones work well for hair bows or glued to a hair clip.

 

About the Fabric

Nylon organza is ideal for this project. Nylon organza comes in a wide range of colors, it’s relatively inexpensive, readily available, is lightweight and has enough body to retain it’s shape, and is quite stable. Indeed, I often use it as a cutaway stabilizer inside cardigans where the inside is likely to be visible. Finding a color that matches or blends looks better than the basic choices we have in standard stabilizers. I usually pick up a few yards when I find a new color or it’s on sale so I always have some in my stash. (I find it in the bridal section of the chain fabric stores and also order online.)

 

Do make sure you choose nylon and not polyester. Nylon melts quickly and easily, well before there is any thread damage. Polyester also has a softer hand than nylon and won’t hold its shape as well.

 

While nylon does have all these wonderful characteristics, it is very thin and slippery. You’ll need to take precautions to keep it from slipping in the hoop.

 

Also, you’ll likely get better results stitching each design separately or combining only a few in a small hoop rather than ganging up more and using a larger hoop. Smaller elements can be combined as long as you don’t have to increase your hoop size to accommodate them.

 

Feel free to choose your own colors. Who says you have to use a realistic one? You can also get interesting effects by using two different colors layered together. For example, you could layer white with pink to get a softer color.

 

About the Designs

 

These designs are organized by folder. There’s a folder for each flower and a separate one for the leaves. The leaves are designed to give you some variety and are not meant to be “botanically correct” leaves. Choose any leaf you like for your project or skip them altogether!

 

With many elements in this collection, you’ll find multiple sizes. You may want to stack different size pieces or you may want to have a variety of finished size flowers. Note that using the provided resized designs will keep the stitching consistent between pieces. Use caution when resizing designs to avoid excessively long or short satin stitches.

 

Don’t feel that you have to use every piece in folder or that you can only use one of each piece. Get creative! Mix and match and create your own hybrids! You can make more than the samples shown here!

 

The aster, carnation, rose, and poinsettia flower elements have an appliqué stop (noted as a color change) after the first outline. This is to allow you the option to add color with paint, ink, or other media. Use the same color as color 2 for this color.

 

Some of the flower elements (carnation and poinsettia) have small circles digitized into the center. You can use these to align multiple elements. A separate circle is also included and is in the Center Tack folder. This is a two-step design. Sew the first color as a placement guide onto a piece of hooped cutaway or felt. Then position all the layers on top securing them with tape. Finally, sew the second color.

 

 

While you likely have a smaller hoop that will accommodate the design used for the flower center, it may not provide enough area to secure the petals easily.

 

These designs are digitized to sew fast and feature the fabric rather than fully fill stitched flowers. Additional color can be introduced by layering two fabric colors or with ink, paint, colored pencils, or similar media.

Use the smaller (upper) layers of some designs to create smaller flowers.

 

Detailed Instructions

1. Wind a matching bobbin. Because these designs aren’t densely stitched, you can use the same 40-weight thread in the bobbin as the needle. If your machine is pre-tensioned for a thinner bobbin thread, you may need to do some tension adjustments. Every machine is different so this is something you can check during your test sew. If you have colored bobbins, they’ll work even if they’re polyester. The needle thread will wrap around to the back and the soldering iron won’t (or shouldn’t) be touching the poly so you shouldn’t have issues with scorched thread unless you overdo it with the soldering iron.

2. Preparing your fabrics. Preshrinking is not necessary. If your fabric has creases in it, keep in mind you can’t iron it. You can steam it with an iron—just don’t touch the iron to the fabric. I usually buy nylon organza in minimum 1 yard lengths. I hoop whatever amount I have and then just trim out the pieces after sewing. I also wait until I’ve sewn as many pieces as I plan out of particular color before trimming. This makes the best use of the fabric. (I’m not cheap, I’m economically minded!)

You can reduce waste by working with whole pieces of fabric and then trimming afterwards. In this case, you’ll want to hoop so that the bulk of the fabric is out of the way—usually to the left on most domestic single-needle machines.

 

You can mist the layers with TESA to keep them from slipping during stitching.

 

TESA will dissipate over time so prepare your layers when you have time to embroider.

 

To prevent slippage, I like to cut a piece of scrap cutaway into a “hoop window” that gets hooped with the fabric. This also cushions the fabric from any damage caused by an overly tight hoop.

 

3. Stitch your designs. No special tricks here; just remember to change your bobbin when changing needle thread colors. Some elements have an appliqué stop programmed. The design will sew an outline and then stop. This is an optional stop to make it easy to add more color using other media. My favorite is a little dry brushing with acrylic paint. This technique requires no drying time and is quick and easy.

Remove the hoop from the machine but not the fabric from the hoop. Load the brush with a little a paint and brush of the excess on a paper towel. Lightly flick the paint onto the hooped fabric as desired. You can paint one or both sides. It’s better to layer multiple light coats than one heavy one.

You don’t have to worry about “staying in the lines” because anything outside of the run stitch will be removed.

“Dry brush” means exactly that! If you rinse your brush between applications, it must be completely dry before the next one.

4. Finishing your embroidery. When all your elements are stitched, carefully cut them out close to the stitching.

Heat up your soldering iron and quickly glide around each piece right next to the stitching. The remaining fibers will melt away and the fused edge will be a little more secure. Be sure to clean off your soldering iron frequently by wiping it on several layers of old towel. This is especially important if you’re working with lighter colors or polyester thread to avoid dark scorch marks.

 

Some people prefer to leave their flowers or leaves hooped and place it on a tile and then quickly zip around it with the soldering iron or wood burning tool. Since I prefer to sew a strip full of pieces to maximize my fabric usage, I think this method wastes fabric. Try both ways and see which you prefer.

5. Build your flowers and create your corsage.

 

Now the fun really begins. Some flowers will need to be hand stitched while other can be stitched together in the hoop. Leaves can be hand-stitched or hot-glued.

Layer your pieces and decide how you will assemble them. Separate instructions are included for each flower. Get creative with the elements. For example, stitch just the inner petals of the rose for a bud or use the smaller inner petals of the poinsettia to make a smaller flower. Leaves can also be used as petals—simply stitch them in different colors and combine them as you wish.

When combining several small flowers into a cluster, I prefer to attach them to a piece of green craft felt. You can hot-glue or hand-stitch as desired.

6. Shape your flower. You can shape your flowers by pinching and scrunching them. Misting with water will cause them to curl a bit into a more natural looking shape. Misting can also revive a flattened corsage.

7. Attach a pin or a magnet to the back of your corsage. I like the magnets because I can use it with my suede and leather jackets without damage. Just hot glue one magnet to the corsage and use a second inside your garment. I found them on the notions wall at my local chain fabric store.

 

Notes About Resizing

Many elements are included in different sizes for design consistency and flexibility. “Design consistency” means the satin columns on each element are the same width and the stitch lengths on run stitch details are the same. If you choose to resize any elements, choose an element that is closest in size to what you want. Shrinking may make the satin stitches too short.

Aster

The aster includes ten sizes of petals and two sizes of sepals allowing you to make a range of sizes of this flower. Asters come in a variety of colors; I’ve stitched them with a lighter lavender under a darker one. The shape of these petals makes them useful for other similar flowers like daisies or chrysanthemums and even marigolds.

 

The sepals and the smallest aster petals are the same shape; use them to make a small flower by stitching them on a “flower colored” organza.

 

The aster can be finished with the fringed center in the aster folder, the center circle or by hand with buttons or beads. Hand stitched French knots would be lovely.

 

The fringed center has three color stops and can be sewn in one color. The first color is a placement guide to align petals. Color two is the candlewicking stitches and color three is the fringe.

 

Don’t want fringe? Stop after color two.

 

The three separate colors in this design are for convenience and to force the machine to stop. Feel free to use as many or as few colors as you like.

 

When using the fringed center, take care to align your pieces accurately; a light table can help. I recommend sewing on only the inner most petal design you plan to use to avoid stitching through too many layers of stitches.

 

To create the fringe, trim the bobbin thread and then lift the fringing stitches on the front with a pair of tweezers. You can have loops by cutting only the bobbin thread or you can cut the loops for a fluffier finish.

 

Use the center tack design to layer and stitch the rest of your design. Hot glue the fringed center to the center of the other layers.

 

Carnation

There are two sizes of this design; the smaller one will fit a 4x4” hoop.

I painted around the edges on both sides of the carnation using the dry brush technique.

Use the center tack stitch to embroider the sepal and petals 1 - 5 together.

Roll Petals 6 into a loose tube shape and glue at the base. I used Elmer’s to avoid burning my fingers. Hold with a paper clip until dry. Use a hot glue gun to attach Petals 6 to the center of the rest of the flower. Leaves were also hot glued to the back.

Hydrangea

This flower will require the most hand work!

Individual petal groups are hand stitched with small pearlized bead to the base piece. Sew as many or a few as you like. The sample here uses slightly more than the smaller group. Because the beads add weight, you may want to add a layer of cutaway or felt as a support beneath the base flower.

Pinch up the petals to make them more dimensional.

Poinsettia

The poinsettia, like the aster, includes a wide range of petal sizes to allow you to create multiple sizes. You can choose graduated sizes or use several of the same size.

 

Stitch and stack petals as desired. The petals can be stitched together with the center tack circle design or by hand with beads or a button for the center.

This flower offers the most opportunity to create different sizes of flowers since each set of petals is just a resized version. The larger petals do exceed a 4”x4” sewing field.

You can also create small flowers using 2 or 3 of the smaller sizes. Try combining multiple pieces of identically sized petals just offsetting the points for variation. Sew in different colors to get a more daisy-like flower.

Rose

I stitched my rose in Softlight Soft Gold in the needle and bobbin with one layer of pink and second of white organza underneath with some paint applied to the pink side only for additional interest.

The rose petals are grouped to fit a 4” x 4” hoop. The rose pieces increase in the number of petals from one (the center) to six (the outer most).

The rose is finished by hand stitching, building from the center out. Start by rolling the center most piece into a “bud” and hand stitch to hold shape. Stitch the other partial petals by whip stitching the open ends together.

Nestle the five inner pieces inside each other and hand stitch at the base from the bottom.

Hot glue the inner petals to the center of the outer most petal, add leaves, and pin or magnet.

Leaves

A variety of leaf shapes and sizes are included; simply select the ones you want to use and hot glue or hand stitch leaves, arranging as desired to the bottom of your corsage.

Summary

I love making these corsages. They’re quick to sew and offer a lot of creative options. Plus, I can add embroidery to any garment or even a hat or purse that’s changeable with the season, occasion or my mood! Keep a stash on hand for easy gift-giving throughout the year!

Lace Heart Box
Lace Heart Box

A touch of delicate romance is a delight year round, not just for Valentine’s Day! Consider other holidays—Mother’s Day, Sweetest Day, birthdays—or just a special token to say “I’m thinking of you.”

 

This versatile little design can be sewn as a trinket box, sachet, or simply as hearts. You’ll notice the top has a small inner heart, perfect for customizing with another small design or a monogram. The bottom is more plain to reduce sewing time and provide a place for an additional message.

 

To make lining the box simple, I created 2 appliqués sized to fit into the lid and base. Lining is optional.

 

This small ring or trinket box is designed so that it may be sewn in a 4x4” or 100x100mm hoop. If you have a 5x7 hoop, you’ll find a longer side piece that can be used instead of piecing two smaller segments together for each side.

 

Please read all instructions before beginning

 

Included

  • PDF instructions
  • PDF Templates for
  • Freestanding appliqué inserts
  • Shaping lid
  • PDF license & color sequences
  • 8 embroidery designs

Designs

You’ll notice the focus of this design differs from many of the free-standing lace designs widely available on the internet these days. Those designs are often created by laying down a mesh of fill stitches as a fabric substitute and then stitching satin elements over the top. Such designs are quicker to digitize but they don’t capture the elegance of the old time hand punched lace. I have incorporated areas of “mesh” on both the lid and the bottom to allow personalizing your heart box as desired.

 

Included designs:

  • lgp00201-Lid
  • lgp00202-Bottom
  • lgp00203-Sides (for 5x7” hoop)
  • lgp00204-Sides (for 4x4” hoop)
  • lgp00205-Appliqué insert for lid
  • lgp00206-Appliqué insert for bottom
  • lgp00207-Sachet bag (in the hoop)
  • lgp00208-Rosebud embellishment
 

Supplies

  • 1/8” wide ribbon (matching or contrasting)
  • Embroidery thread (metallic not recommended due to short stitch lengths)
  • Bobbin thread (may match needle thread or use regular bobbin thread)
  • Wash-Away stabilizer (I used products from Hemingworth and Perfect Solutions)
  • 4x4” square of foam core
  • Xacto knife
  • Invisible thread for stitching side panels together
  • Duct tape
  • Wire cookie drying rack
  • Thick, absorbent towel
  • KK2000 or other TESA (temporary embroidery spray adhesive)
  • Cellophane tape
  • Straight pins
  • Clear drying fabric glue (not hot glue gun)
  • Needle with large eye for lacing ribbon
  • Artist’s paint brush (small flat used for acrylics is perfect
 

Optional

  • Bobbins wound with matching thread
  • Fabric for lining the box (satin, velvet, velveteen, silk are excellent choices)
  • Appropriate stabilizer for embroidering
  • Medium weight cutaway stabilizer for appliqué stability
  • Steam-A-Seam II for appliqué or other fusible web for appliqué
  • Heat fusible tearaway (8” wide roll are perfect)
  • Hot fix crystals for additional embellishing
  • Potpourri for sachet
  • Lining fabric for sachet
 

Cautions

  • Resizing lace designs is not recommended.
  • For optimum results, do not combine multiple pieces in larger hoop.
  • This design was not digitized for metallic threads; you may get more thread breaks due to the shorter stitches.
 

Process Overview

  1. Sew lace designs.
  2. Cut out foam core template for shaping lid.
  3. Trim stabilizer away close to designs. Rinse out stabilizer and shape appropriately to dry.
  4. Optional: Apply hot-fix crystals.
  5. Stitch side pieces together end to end to form one continuous loop.
  6. Lace side piece to bottom with ribbon.
  7. Lace ribbon through the lid rim.
  8. Optional: Sew lining inserts, if desired and fit into lid and base.
 

General Tips for Lace

The quality of your lace depends heavily on proper hooping and machine tensions. If the thread tensions are too tight, the stitches will be pulled more and sections may not align properly, underlay may be exposed, and your design may fall apart in areas when the stabilizer is removed. You can also experience these problems if the stabilizer slips in the hoop.

 

Sometimes there are just a few errant stitches hanging out and these can be trimmed away with small thread snips.

 
    • Sew in the smallest hoop that will accommodate the design. Do not combine multiple pieces in one hoop.
    • For optimum results, hoop two layers of water-soluble fiber-based stabilizer (not film) in the hoop. Make sure both layers are smooth, taut and fully gripped between the rings of the hoop. I prefer duct taping the stabilizer to the hoop (after hooping).
 

Do not use a film type water soluble stabilizer. These stabilizers—even the very heavy ones—will perforate during stitching causing a loss of stability!

 
  • Make sure your machine is clean and properly tensioned. Overly tight tensions will pull the stitches more tightly and may cause exposed travel and underlay stitches.
  • After embroidering the lace, trim away excess stabilizer and rinse in water (refer to your stabilizer for appropriate temperature). Do not over-rinse; the remaining stabilizer will act as a stiffener to give your design body.
  • To dry, smooth out the pieces on a thick, absorbent towel. Roll up the towel and press out the excess moisture; do not wring out lace. Lay the pieces out flat to air dry, shaping if distorted. You may wish to lightly steam press the pieces after drying to flatten if necessary,

The sides and bottom should dry flat, the lid needs to be shaped over the foam core form

 

Planning Your Project

Before you begin sewing, customize the designs if you wish. For example, add a monogram or small floral design, such as one of the florals from Building Blocks 1, Florals 1 or Building Blocks 6, Delicate Roses. You may also wish to add a small message to the bottom or here again, you can add some other designs. These additions can be sewn in the same color as the rest of your box or in contrasting ones

 

As a bonus, one of the rosebuds from Delicate Roses has been included with this project collection.

 

If you are not lining your box and you are sewing in a color other than white, you may want to wind some bobbins with matching thread so the inside looks just as pretty as the outside.

 

Sewing Lace Box Pieces

Sew one top, one bottom and one of the side piece designs.

Shaping the Lid

1. Make the shaping template.

 

Print the lid template, making sure it prints at full size. This template is sized to exactly fit within the embroidered lid.

 

Cut out loosely, spray the back with TESA and smooth onto the square of foam core. Using the X-acto knife, cut out by tracing the printed heart outline. Don’t try to cut all the way through at once.

 

Once the heart is completely cut out, you may want to wrap short lengths of cellophane tape around the cut edges to reinforce them.

 

Optional: Wrap the foam core heart in plastic kitchen wrap to protect it from the damp lace. (An especially goo idea if you are making multiples.)

 

2. Form the damp lid piece over the template.

 

The solid satin border should line up just along the outer edge. Fold the scallops over the side and hold in place with straight pins.

 

 

Optional Embellishment

Once the pieces are dry, now is the best time to apply hot fix crystals or other embellishments, if desired. Small pearls would look especially pretty

 

Assemble Sides

Using invisible thread and a zigzag stitch (multi-step or standard), butt the side pieces on the short ends and zigzag the sections to form one continuous loop. A stitch width and length of 1.5 to 2.0mm works well.

 

If you are concerned about getting a nice alignment, tape the ends to a piece of Wash-Away to hold in place during stitching. Trim off excess stabilizer and remove the remaining bits with a paintbrush dipped in water

One seam will match the center top and the opposite seam will match to the bottom point of the heart. If desired, weave a ribbon through the scallops similarly to lid edge.

 

Attach Sides to Bottom

There are two options for attaching the side piece to the bottom. One is to lace the pieces together using a ribbon (about 1 yard needed). The richelieu bars are designed to line up between the two pieces. Tuck the ends in and hand stitch or glue.

 

The other method is to join the seams similarly to how the side pieces were done. Using a machine zigzag and stitch from the outside of the box, matching the bars as you stitch

Don’t limit yourself to solid color ribbons or matching colors! There are some beautiful hand-dyed ribbons available or you can use fabric paints or inks to color your own

 

Finishing Lid

Once the lid has dried, remove the pins and foam core form. Lace a piece of ribbon (about 14” if no bow) through the scallops going over the center bar and under the scallop border. The ends can be hand stitched together on the inside (or glued) or the ends can be tied into a small bow. (I just used glue).

 

 

Creating the Lining Pieces

The included templates are used to precut your appliqué shapes for machine embroidery. For the sample here, I fused two pieces of fabric wrong sides together with a layer of medium weight cutaway sandwiched in the middle using Seam-A-Seam II. I also wound a bobbin with matching thread.

 

The drawback to lining the lid and including the stabilizer is that the rim of the lid is already very short (to keep it within a 100x100mm sewing field) and this added thickness will make the lid less secure.

 

Print the template at actual size, loosely cut out a pair of the lid and bottom templates and fuse to the top side of the fabric. (I printed on fusible tearaway in an ink jet printer.) Cut out shapes precisely along the outer edge of each line

 

 

At this point, you will need to consider your stabilizer. For example, if you’re using a fabric that cannot get wet, then a water soluble stabilizer will be a problem. (The paint-brush removal technique shown here can often be used on fabrics not suitable for soaking in water.) You will need to select a stabilizer that can be removed cleanly without damaging either the stitches or the fabric. For the steps shown here, I used one layer of Wash-Away.

 

Sew color one of the design for a placement guide directly onto the stabilizer. Remove the pattern template, lightly mist the back of the fabric appliqué with TESA and precisely place the piece over the stitched lines. Finish the design.

 

 

 

Remove from hoop and trim away the excess stabilizer close to the stitching line both outside of the embroidery and on the back, as shown below.

 

Heat a small container of water and using a paint brush dampened (not dripping) with water, gently melt away the remaining bits of stabilizer. If your fabric water spots easily, trim as closely as possible to the stitching and keep the brush as close to the stitches as possible. Take care to avoid a really wet brush that will promote moisture wicking into the fabric.

 

 

This paint brush method will avoid time spent rinsing, drying, and pressing. It’s really quite easy and quick to do and works especially well when the stabilizer is not entrapped in a lot of stitching.

 

Do not soak out water soluble products if you have used a TESA and it has not fully dissipated. You can speed dissipate TESA with a medium hot dry iron, however, many fiber based washaway products will shrink with heat. Do not use this method if your fabric cannot handle heat.

 

If your fabric won’t tolerate the paint brush method, another option is to use nylon organza as a stabilizer and instead of using the double sided fabric, appliqué onto the organza, then simply cut or melt away the organza for a two-sided piece.

 

The finished appliqués fit snuggly into the top and bottom. You may wish to secure with a few stitches here and there or dots of clear-drying glue.

 

You can also use the templates to simply cut out a piece of felt or ultra suede to use as a lining.

 

Sachet

You can easily make a small sachet by embroidering 2 lid pieces. For this sample, I completely rinsed out all traces of stabilizer. You’ll notice that when you do this, you have a very soft, drapable piece of lace.

Stitch a simple bag lining in the hoop by hooping two layers of organza or other lightweight tightly woven, semi-sheer fabric (right sides together) and stitching design lgp00207. Trim away excess with pinking shears leaving a scant quarter inch seam allowance. Turn the bag.

 

If you prefer to conserve fabric, simply use the lid appliqué template as a pattern and add seam allowances

 

 

If you are using a powdery potpourri, close up the opening so that it is just large enough for a small funnel. Pour in the scented stuff and finish closing. Partially lace the ribbon through the heart scallops starting from the center top. Insert the scent bag into the lace sachet and finish lacing

 

Sandwich the sachet between the two lace hearts and lace the hearts together through the scallops. You may wish to add a ribbon loop to hang the sachet. These little sachets would make wonderful wedding gifts for the bride and bridesmaids.

 

Troubleshooting

These designs have been tested on my own machines with 40 wt. rayon and polyester and 50 wt. cotton embroidery threads, rinsed and rigorously pulled to check for areas that are not well connected. All samples were sewn with 2 layers of Hemingworth Wash-Away or Perfect Solutions Wash-Away Mesh. If you use the designs as is with similar products, you should get results similar to those shown here.

 

If your results pull apart, have stray exposed stitches, or other registration issues, the two most common reasons are overly tight tensions and/or shifting of the stabilizer due to the forces of sewing. To prevent the latter, I prefer to use duct tape, as illustrated below.

 

Other Notes:

Feel free to put your own touch of creativity on your heart box. For example, you may choose to make the sides a different color from the lid and base. You may embellish your lid with ribbon roses.

 

The lid piece is also suitable as an appliqué on other projects or attach to a greeting card.

ITH Mini Stockings
ITH Mini Stockings

ITH-Mini-Stockings

Elegant or cute and whimsical, the choice is yours! These in-the-hoop mini stockings take only small bits of fabric and are quick to make. They’re perfect for your holiday table or for mini treat bags.

 

This set includes 9 stockings that can be completed in the hoop with just one hooping. Each stocking is fully lined with no exposed seams. The cuff is free at the bottom, the way a cuff on a sock would be.

 

Four additional designs are included for adding text to the cuff. These must be stitched separately and before the main stocking. Matt down stitching is included for stitching on textured fabric. Skip this color change if not needed.

 

The stockings can be completed in a 130 x 180mm ( “5x7”) sewing field hoop. The personalized cuffs will work in a 100 x 100mm (“4x4”) sewing field hoop.

 

Skill Level

While this project is simple, it has a lot of steps and you’ll need to pay close attention to what goes where and when.

 

Some of the stockings include appliqué. If you aren’t familiar with this technique, you might want to watch this video: How to do Machine Embroidered Applique.

 

Please read through all instructions before starting your project! This project, while complex, is not really difficult because the embroidery takes care of all the construction. Cut and place carefully and you’ll have a successful result!

 

 Resizing is not recommended

 

Fabric Choices

I used a mixture of quilt weight cottons and polar fleece. For most of the stockings, I applied a thin cotton batting behind the front. Stockings that didn’t include batting were interfaced.

 

The cutting list included in the design worksheet calls for folding the cuff wrong sides together before stitching to the front of the stocking. If you use polar fleece, this will add a lot of bulk and it will be harder to get the stocking front smooth and flat.

 

Since this type of fleece doesn’t ravel, you can use just a single layer. With this method, you could cut the free (bottom) edge of the cuff with a decorative edge, as shown below

 

 

The key when choosing and preparing your fabrics is to keep in mind that the stitched project needs to be turned inside out twice so be aware of how thick and how stiff your fabrics are. For example, on the Santa because I used polar fleece for the beard so I omitted the batting and just interfaced the fabric.

 

Threads

I used mostly polyester embroidery thread. The holly design would look gorgeous in metallic. I did use gold metallic on Santa’s glasses.

 

About the Appliques

Applique patterns are included for the stocking shape as well as other elements for some of the designs. I did not precut the stocking shape. For the other pieces, I precut if I was using quilt cottons and applied fusible web to the back

 

Fusible web cannot be used on polar fleece so for Santa’s beard, I chose to use the trim-inplace method

.

 

About the Designs

Each design has a worksheet with a color sequence, actual size appliqué patterns, plus sewing and cutting instructions. Once you’re familiar with these more complete instructions, you should be able to follow the worksheet notes.

 

The stocking steps are the same for each design. The decorative parts all start with color 4. Assembling and finishing the stocking are the last 3 colors. I recommend you try making the Plain Stocking first so that you understand the in-the-hoop steps.

 

There are 9 stocking designs and 4 cuff designs. If you want an embroidered cuff, you need to sew that separately and before the stocking. The cuff design assumes you will be folding the fabric. Use this design as a placement guide if you wish to personalize cuffs with names

 

 

What You’ll Need

  • Suitable fabrics, pre-washed and pressed. I used quilt-weight cottons and polar fleece. Tip: If fabrics are especially soft, starching can reduce distortion when stitching if you aren’t applying interfacing.
  • Rotary cutter, quilting ruler and mat
  • Stabilizer: I used Sulky Soft ‘n Sheer for knits (polar fleece) and wash-away tearaway for wovens.
  • Batting: I used Warm and Natural (batting is optional)
  • Fusible interfacing: I used Pellon ShirTailor
  • Steam-a-Seam 2 for appliqué
  • Steam-a-Seam 2: 1/4’ wide hem tape
  • Scissors used:
  • For trimming batting
  • Thread snips
  • Heavy scissors for final trim
  • Suitable embroidery threads
  • Optional: ribbons or decorative cord for hanging loops
  • Tape (Scotch invisible, painter’s tape, or similar)

 

Getting Started

You’ll need to some prep work before starting the embroidery:

 

  • Cut, press, and prepare all your fabrics
  • If you’re making self fabric loops, make these ahead. (Instructions not included.)
  • Stitch any personalized cuffs before stitching the main stocking design.

 

Stocking Cutting Requirements

  • Stocking front: cut 2 4.75” x 5.75” of fabric & 1 of batting*.
  • Plain Cuff: Cut one 3.75” wide by 3” tall folded wrong side together to 3.75” x 1.5”.
  • Embroidered Cuff: Cut one 4” x 4”
  • Back: Cut one: 4.75” x 11.5, folded wrong side together to 4.75” x 5.75” TIP: Applying a strip of fusible web at the fold line (on the inside) will reinforce the folded edge.
  • Optional Loop: Cut twice as long as desired length + 1”

 

* Batting is optional and can make the project more difficult to turn and appear more puckered on the front

 

QUICK CUTTING TIP: If you’re using the same fabric for the front, back, and front lining, cut 2 pieces of fabric 5” x 12” wide. If your fabric is folded, this is just one cut. Cut the front fabric into 2 pieces

 

Optional: Embroidering the Cuff

The cuff design includes matt down stitches in case you are stitching on a textured fabric.

These should be sewn in the same color as your fabric. If you don’t need them, skip color 3

1. Hoop appropriate stabilizer and sew color 1 for placement

 

2. Place fabric. Sew color 2

 

3. Color 3 is a matt down stitch to flatten any texture. If you don’t need it, skip it.

 

4. Color 4 is the lettering

 

 

Remove from hoop. Mark center top. Cut out along tack down line. Remove stabilizer.

 

Fold in half horizontally, wrong side together. The lettering is positioned to align along the folded edge.

 

Embroidering the Stocking

1. Hoop appropriate stabilizer and sew color 1 for placement. This placement line allows for 1/4” seam. All fabrics should cover this line

 

 

2. Place batting (if using) and sew color 2. If not using batting, skip this color change.

 

 

3. Trim back batting to tack down stitching to minimize bulk in the seam allowances

4. Place top fabric right side up. Sew color 3.

This color will secure the stocking front to the stabilizer and stitch some additional placement guides:

 

    • Top center is the center cuff guide
    • Top horizontal guides are for placing the back fabric (top fold will match here).
    • Bottom horizontal guides are for aligning the bottom fold of the cuff

Using a pen or pencil and rulle, extend these lines onto the stabilizer so they are visible later

 

Any decorative elements are sewn here. Refer to your individual design color sequences if not sewing the Plain Stocking

 

 

5. Place the cuff, aligning folded edge (or bottom edge, if you’re using one layer of fabric) with horizontal bottom placement guides and top center with top center guide. The cuff should be placed right side up

 

 

If you’re adding a loop hanger, position that at this time also. Place the loop with the raw edges toward the raw edges of the stocking fabrics and right side down. Extend it about 1/2” beyond the seam line.

 

Secure with tape in a such a way that the presser foot won’t “trip” or catch on any raised areas.

 

Sew color 4

.6. Place the folded back piece over the design aligning folded edge to the top horizontal placement guide. Sew color 5 to attach lining

7. Place front lining right side down over the design. Sew color 6

 

 

Finishing

Trim seam allowances leaving an extension at the turn opening. If you’ve included a hanger, leave it about 3/8” - 1/2” long to avoid raveling. (See photo later.)

Press back the seam allowances. Fuse a small strip of hem tape leaving the protective paper in place

 

 

Turn right side out through opening push out all corners and curves. Peel of tape on fusible web and fuse close.

 

Turn right side out and press.

 

Note: Polar fleece is damaged by heat so pay attention to what your fabrics can tolerate.

 

Variations

For the Holly and Snowman stockings, sew the decorative parts of the design after color 4 following the color sequence information included with the designs

 

For the designs with appliqués, pre-cutting the appliqués and using a fusible web is recommended for smooth, normal weight fabrics.

 

 

This method doesn’t always work well with polar fleece so you may wish to use the trim in place method. If you choose this option, you must trim right up to the stitching line! Only the snowflake stocking and Santa designs have been set up for trim in place.

 

 

For the Santa, the base stocking front fabric should be whatever color you want for Santa’s face.

 

On the stocking, I’ve set the toe and heel areas as separate placements to make it easier to use 2 different fabrics. The sample shows them in the same color

 

Getting Creative

You can add your own designs to the plain stocking or replace the text on the cuff. The small size of the stocking limits the amount of text you can include but many names could fit here.

 

On the Snowflake stocking, you can omit either or both of the additional appliqués (heel and toe) or keep the appliqués and omit the snowflake.

 

Experiment with different fabrics and threads.

 

Summary

As you can see by these samples, you can make your stockings in any color combination. Also, if you are experienced with software, you can add a monogram, name, other embellishment, or a design from your stash to the plain bag or the cuff. Any cuff personalizations need to be brief and kept to about 2.5” wide.

It’s a Girl!  Girly Girl Quilt
It’s a Girl! Girly Girl Quilt

You can watch a YouTube video on this project to get a good overview of the process: http://www.youtube.com/watch?v=tWKVNQTG-74 or see all my videos at http://www.youtube.com/user/LindeeGVideos

 

Using embroidery designs to quilt makes it easy for anyone to create intricate designs quickly and easily. An important difference with embroidery designs is how the machine is tensioned. In normal sewing and quilting, the needle and bobbin threads are evenly balanced. This is not the case with embroidery. Here the top thread is pulled to the back and the back is likely to look rather messy—especially if your machine has automatic trimmers that pull all the thread tails to the back. To minimize this, match your bobbin thread to the top thread and choose a busy fabric for the back that blends well with your thread color. You may also wish to adjust your tensions for a more even balance.

 

 

Most quilting motifs are continuous and will only have one pair of tie-offs. Redwork designs with many distinct elements will have more tie-offs.

 

It’s a Girl! design collection from Lindee G Embroidery includes 12 decorative, redwork style designs for baby girls. Each design is available in 2 sizes: one for smaller hoops (approximately 85mm square) and one for 5x7” hoops (approximately 125mm square). Due to the amount of detail in these designs, I don’t recommend shrinking the smaller size. The smaller sizes have shorter stitch lengths and in some cases, some small details have been eliminated.

 

Additionally, there are 2 utility blocks included to assist in making this project. These utility files will require at least the next size larger hoop and are essentially a double basting line with an appliqué stop in the middle. For the larger block, you’ll need an 8x8” hoop. These utility files sews 2 rounds of basting stitches: the first for placement and the second to hold the quilt sandwich in place for stitching. You can sew it with the same thread you use for the design. This basting block is not required to make the quilt. If you can’t sew the larger designs, simply cut your blocks large enough to be hooped. Or, use the baste-in-the-hoop function if your machine has one. I created the squares to help with accurate placement and to reduce the amount of fabric needed for each block.

 

These instructions are for larger hoop machines. If you have a smaller sewing field, adjust accordingly.

 

Tips for Smaller Machines

If you have a very small sewing field (less than 100 x 100mm or 4 x 4”), you’ll need to take a slightly different approach than the one described for the sample. Make your “quilt sandwich” large enough to hoop between the rings of your hoop as shown below.

 

 

For 5 x 7” hoops, you can sew the larger versions without the utility file or the smaller designs with the utility file. When sewing the larger designs in a 5 x 7” hoop, either hoop the fabric as shown in the previous figure or use a baste-in-the hoop feature to attach the block to the stabilizer as shown later.

 

Please read through all the instructions before beginning this project because construction techniques vary from standard piecing techniques.

Skill Level

 

Basic sewing skills are required; it’s not my intention to teach you how to sew! If you’ve never pieced a quilt, and you need more instructions, please refer to a basic quilting reference.

 

What You’ll Learn

  • How to quilt in the hoop
  • How to assemble pre-quilted blocks
  • How to add a ruffle to the edge of a quilt

Fabric Requirements

You will need approximately 2 1/2 yards each of two fabrics. Color 1 in the sample is a tone on tone white print on a slightly peachy beige background; color 2 is a peachy colored batik. The back side of the sample is all peach except for the outer borders, binding, and ruffle.

  • 12 - 8 x 8” squares for back (color 2)
  • 12 - 8 x 8” squares for front (color 1)
  • 12 - 8 x 8” squares of fusible fleece (be sure to choose one with a water soluble glue so your quilt will be soft)
  • 3” wide strips for sashing (you will need sashing strips for BOTH sides of your quilt; sashing strips will be folded in half lengthwise
  • 8 - 6 3/4” long (or height of your block) for front (color 2)
  • 8 - 6 3/4” long (or height of your block) for back (color 2)
  • 3 at width of your assembled rows for front (color 2)
  • 3 at width of your assembled rows for back (color 2)
  • Outer borders: 3” wide strips, 1 set for front and 1 for back. These are not folded. I used color 1 for the back and color 2 for the front.
  • Ruffle: 5” wide, length depends on desired fullness of ruffle (color 1)
  • Optional binding: bias strips 1 1/2” wide, 1 set for front (color 2) and one for the back (color 1) [See note under Finishing before cutting; these are not required if you use the easier method.

 

Supplies

 

 

Preparation

  • Cut and prepare your blocks. Make a “quilt sandwich” by layering the backing fabric (face down), a layer of batting, and a layer of top fabric (face up), and press together according to package instructions to fuse. If you aren’t using fusible batting, lightly mist backs of fabric with TESA and smooth over batting.
  • Wind several bobbins with matching embroidery thread.

Embroidering

For each block, you will be sewing the appropriate utility block file followed by the embroidery design. You may wish to combine these in software or at the machine or just load each file as required.

  • Hoop a piece of wash-away backing.
  • Load the larger square utility file (lgs01126) and sew color 1, which will stitch a placement guide on the stabilizer.
  • Lightly mist the back of your quilt sandwich with TESA and smooth into place over the basting guides. The block will extend beyond the basting lines approximately 1/2”.
  • Sew the next color stop to attach the block to the stabilizer.
  • Load the decorative design and sew. For this quilt, I used designs lgs01113 - lgs01124.
  • When the design is finished, remove from hoop and trim off excess stabilizer.
  • Continue embroidering all the blocks

 

Make a Label

It’s always a good idea to attach a label to your quilt. Labels can be simple or fancy. On this quilt, I just used a lettering program to stitch the quilt name, my name, and the date. This label is sewn into the binding and hand stitched along turned under edges. Sometimes I embroider the label right onto the backing of the quilt.

 

Trim Blocks

Using the basting line as a guide, trim and square up your blocks to the same size (mine were 6 3/4” square) with the rotary cutter and ruler. Your blocks must all be the same size.

When all your blocks are embroidered, arrange them in a pleasing way into four rows of 3 blocks.

Sashing

Sashing is applied to the right hand edge of the blocks in the left and center columns of your quilt. Please note the seam allowances are 1/2” rather than the standard 1/4”. I chose to fold the strips in half for two reasons:

  • It’s quicker because you won’t have to fold and press under the raw edge.
  • It provides a slightly thicker cover over the butted seams of the batting.

The downside is that it uses slightly more fabric, although not much on these rather narrow strips. Also, if you don’t attach the raw edges straight, you won’t be able to adjust on the second side.

  1. Trim the 3” wide sashing strips to the height of your blocks. Fold each strip in half lengthwise, wrong sides together, and press lightly.
  2. Apply one sashing strip to the front and a second to the back aligning raw edges. Sew together using a 1/2” seam. Press the sashing open on both side
  3. Apply sashing to the right edges of all blocks except the right-most one in the row.

Create Rows

To sew blocks together into rows, butt the raw edges together on adjacent blocks. Pin the sashing down and top stitch from the front using any stitch of your choice. I used a blind hem stitch (#1-35 on the Baby Lock Ellisimo). I widened the stitch to 4.0 and shortened the length to 1.4. I used the same thread as used for the embroidery. Topstitch the other side of the sashing to match.

 

 

Attach Rows

Using the same technique you used to apply sashing to the individual blocks, sew the rows together to form the center of your quilt.

 

Add the Borders

 

1. Cut strips of batting the height of the sides and 1/4” narrower than the width of your side borders. Butt the raw edges of the batting border to the raw edges of the batting on the quilt sides. Using a multi-step zig-zag (#1-13) set to the widest width (7mm), attach the two strips together.

 

2. Stitch side border strips (unfolded) to the sides, one on top and one on bottom, right sides together, using 1/2” seam allowance. Press open over the batting.

3. Add the top and bottom batting strips and borders in the same method

4. Square up and trim off excess batting

 

Finishing

 

At this point, you can simply topstitch the side borders to match the sashing and bind in a traditional manner, or you can round off the corners, add a ruffle, and then topstitch.

When I made this quilt, the ruffle idea occurred to me after I had finished and topstitched the entire quilt and was ready to put on the binding. I had never attached a ruffle to a quilt done this way so my brilliant idea was to attach binding strips to the ruffle and then attach the binding in a typical manner. This proved to be quite a challenge since you must ease the curves to keep the quilt flat. After two less-than-satisfactory attempts of attaching by machine, I applied the entire binding by hand while I watched TV or listened to audio books. Knowing that most of you would rather not take this approach, I consulted my expert quilting friend, Jeanette Smith, who in turn consulted her expert quilting friend. Jeanette found an easier option in her extensive library and that’s what I’ll explain here. Note that it won’t look exactly like the sample but it will save you a lot of time!

 

1. Round off the corners of your quilt using a plate or similar object as a template. I used the border seams as starting and ending points for the curve.

 

2. Piece 5 or more 5” wide strips of color 1 end to end, then fold and press in half lengthwise.

 

3. Gather along raw edges. I used a ruffle attachment. Experiment with the different adjustments on your ruffler as well as varying stitch lengths to create the desired fullness. Gather enough fabric to encircle your quilt.

 

Although I don’t use it often, I love my ruffler attachment. It makes quick work of creating long ruffles evenly. Rather than gathering, it creates small pleats, which you can control by setting a lever on the foot itself and by controlling stitch length. While it looks like quite a complicated attachment, it is easy to use.

 

4. Measure out the edge of the quilt to determine how long to make the ruffle. Trim ruffle to size and sew raw ends together using 1/4” seam. The gathering on the ruffle adds a bit of fudge factor since you can easily redistribute some fullness as you near the end of attaching it to the quilt.

 

How I Did It

 

After gathering, I attached the binding strips to the gathered edge of the ruffle using 3/8” seam allowance (color 2 on front, color 1 on back), pressed the strips towards the seam and trimmed the seam allowances to 1/2”. I then hand basted the ruffle seam allowance to the outer edge of the quilt, (final top stitching on side borders was done prior), turned under a quarter inch seam allowance on the binding on the front and back and hand-stitched each side individually. If you’re not a fan of hand work, try the following finishing method, which skips the binding strips altogether.

 

Easier Method

  1. Attach the ruffle to the edge of the quilt matching raw edges sewing the ruffle to the front of the quilt through the front and batting layers only using 1/4” seam. Press open.
  2. On the back of the quilt, turn the back edges of the borders over the raw seam tucking under 1/4” and hand stitch in place. Or, use one of the no-sew methods of fusing the edge, if desired.
  3. Top stitch the side borders to match the sashing.

 

You will need to wash the quilt to remove all the washaway stabilizer and the adhesive in the batting if you used fusible batting.

 

Be sure that all the TESA has dissipated before wetting your quilt. To force dissipate, press with a dry iron.

 

Bobbin Work

Bobbin work allows you to embroider designs with beautiful textured threads and ribbon— threads that cannot be sewn through the needle. For best results, you not only need a specially digitized design but you need to modify your technique and make some machine adjustments.

 

Please note: Bobbin work requires some testing and adjusting of your machine tensions. Please refer to your machine manual or consult your sewing machine dealer for specific help with your machine.

 

Supplies

 

  • Design specifically digitized for bobbin work
  • Heavier threads such as Pearl Crown Rayon, 2mm silk ribbon, Madeira Decora 6, other decorative threads and fibers generally used for bobbin work. (Note: Heavier yarns are not recommended due to the short amount you will be able to wind on the bobbin.)
  • Monofilament invisible (polyester or nylon) upper thread
  • 70/10 or 75/11 embroidery needle
  • Specialty or second bobbin case
  • Screw driver for adjusting bobbin case tension
  • Fabric, stabilizer

 

Preparation: Filling the Bobbin

 

Bobbins can be wound by hand or by machine. If winding by machine, wind slowly. Since you probably will not be able to run the thread through the normal thread guides, use your fingers to control the winding tension. Be careful not to wind too tightly or too loosely.

 

Be sure to check the amount of thread on the bobbin each time you start a new design. If the bobbin runs out during stitching:

 

  • Remove the hoop
  • Thread the “tail” to the back (top side of hoop_ using the tapestry or chenille needle
  • Wind and insert a new bobbin
  • Replace the hoop
  • Reposition the needle to where the “tail” comes to the back
  • Bring the bobbin thread to the wrong side by hand as when beginning a design
  • Continue stitching the design

 

Avoid using heavier yarns as you will not be able to wind enough on the bobbin to complete a single design. I tried winding a textured knitting yarn and only got about 30” on the bobbin before it was full.

 

Preparation: Machine Tensions

 

Most home embroidery machines have automatic tensioning that cause the top (needle) thread to be pulled to the bottom side of the hooped fabric. This is perfect for traditional embroidery because under proper tensions, the bobbin thread will never be seen on the design side.

 

However, with bobbin work, the design will be sewn on the bobbin side using thread many times heavier than embroidery bobbin thread. Also, monofilament thread is quite thin and slips through the tensions easily. These three issues will require tension adjustments to accommodate the thread weights and to prevent the monofilament from pulling through to the design side.

 

Proper bobbin and needle thread tensions will take some trials. Use a small design and be sure to test with the same weight and type of thread you will be using in your project.

 

Using a separate bobbin case for bobbin work will make switching between specialty stitching and standard easier and more enjoyable. Be sure to label your bobbin cases if they do not look different. Be sure to read the manual for your machine; some threads may be so heavy that bypassing certain tensioners is the best route. I found that with Pearl Crown Rayon I had to loosen the tension screw on the bobbin case quite a bit (be careful not to unscrew it all the way!) and raise the needle thread tension for a good result.

 

How much should you loosen the tension? I suggest inserting embroidery bobbin thread in your regular case and feeling the tension of the thread as you pull it through the bobbin. This should give an idea for what the tension should feel like after adjusting for a heavier thread. If you have a front loading bobbin case, you might try the “bobbin drop test.” Hold the threaded bobbin in one hand by the thread tail with the other hand cupped a few inches below. Give a little jerk on the tail and see if the bobbin drops a bit. If the bobbin doesn’t drop, loosen some more; if it drops a lot, tighten a bit.

 

Allow plenty of time for testing since you can’t see the results until you remove the hoop from the machine because they are on the bottom. Chances are that you won’t be pulling these heavy threads to the back of the embroidery but you don’t want the needle thread pulled to the design side.

 

While you’re at your machine, turn off the automatic thread cutter if your machine has one and slow your machine down.

 

Preparation: Fabric

 

The only trick here is remembering that the right side of the fabric faces the bed of the machine and the stabilizer goes on top. In general, bobbin work designs are open and lower stitch count, which means a lower distortion type of design. Choose an appropriate stabilizer for the fabric. I prefer to use a light-weight, no-show cutaway when the stabilizer can stay in. Tearaways can be difficult to remove since these designs do not have a lot of needle penetrations to perforate this type of stabilizer. You may want to choose a water soluble product.

 

Embroidering the Design

 

Advance your machine to the first stitch in the design. Manually turn the hand wheel of the machine to pull the bobbin thread to the top. Many machines will sink the needle in the center of the design and then travel to the first stitch. If you pull the thread up here and the design doesn’t start in the center, you will probably end up embroidering over a long thread tail later in the design.

 

Hold both thread tails for the first couple of stitches; do not trim.

 

You may get better stitch formation if you slow your machine down.

 

When the design is finished, leave a bobbin thread tail several inches long. Pull the bobbin thread to the back or use a tapestry needle to inserted near the stitch to bring the tail to the wrong side. Tie off the starting and ending thread tail with a knot close to the fabric to secure if desired and trim threads to about one inch long.

 

Other Notes:

You will need to change the bobbin whenever you want to switch to a new color. Stop the machine, remove the hoop and follow the steps for running out of thread.

 

Piecing in the Hoop Basics
Piecing in the Hoop Basics

Piecing in the hoop replicates the process of foundation piecing, also known as paper piecing. If you’ve done foundation piecing with the sewing machine, you will immediately grasp the concept. While a little more intensive than regular embroidery, this technique really only requires attention to detail.

Use the patterns to pre-cut all your pieces. You can spray templates with TESA, swipe with a glue stick, or print on fusible paper and apply to the front of your fabric pieces for cutting. Be sure to keep the pattern piece attached until ready to place the fabric in the hoop to avoid using the wrong piece.

Skill Level

Basic embroidery and rotary cutting skills

All squares finish the same even though their dimensions may vary slightly due to some stitching lines extending beyond the finished seam line. Similarly, all small triangles finish to the same size and large triangles are the same size.

What You’ll Need

  • Suitable fabrics for blocks, pre-washed and pressed (Tip: If fabrics are especially soft, starching can reduce distortion when stitching.)
  • Printed block patterns and templates
  • Rotary cutter, quilting ruler, and mat
  • TESA (Temporary embroidery spray adhesive) or water-soluble fabric glue stick
  • Stabilizer—I used Sulky Soft n Sheer. You’ll be using heat to press the pieces in place and water-soluble fiber stabilizers can shrink with heat.
  • Appliqué tacking iron
  • Double curve appliqué scissors
  • An embroidery machine with a minimum sewing field of 5.75” x 5.75” for the blocks

 

What’s Included with the Collection

  • Twenty-two designs digitized for piecing in the hoop
  • Full size patterns and templates for each block
  • Color sequence PDF with images of sample block
  • This instructional PDF
  • Quilt-As-You-Go Basics ebook
  • PDF for making a journal cover
  • Basic notes for

Watch How-Tos on YouTube

If you’ve never done piece-in-the hoop or paper piecing before, the process can seem overly complicated.

You can watch me stitch the heart from this set in the following YouTube video:

    • How to Stitch Victorian Crazy Piecing In-the-Hoop
    • Also, please check the website for new projects using these designs as well as specials and informative blog posts. At the time of this writing, there are two blog posts on this set:
    • How To Embroider Victorian Crazy Patch In-The-Hoop
    • How To Make An Embroidered Journal Cover

Preliminary Notes

If you’ve done foundation or paper piecing, you’ll notice there are a few variations:

  1. In paper piecing, fabric is applied to the back side of the printed pattern and the sewing is done on the printed side. When embroidering pieced blocks, all sewing is done from the fabric side.
  2. In paper piecing, excess fabric is trimmed off as you go by folding back the pattern and rotary cutting. When embroidering pieced blocks, excess fabric is trimmed off as you go with double-curved appliqué scissors.

 

Understanding the Patterns

 

Each design in this set except the border has a PDF pattern sheet.

 

For the border, cut 22 pieces 8” x 1”; the pieces are applied from the top down.

 

All pattern pieces are numbered with an arrow pointing to the side that will be initially attached.

 

This number indicates what order the pieces will be applied.

 

The first piece has a reminder to place it face up; all other pieces will be placed face down (right sides together)

 

Exact cutting is not required but I recommend not getting too sloppy about it. The outer edges have a ½” seam allowance while all the inner seam lines are ¼”. This extra bit gives you some “fudge factor” around the outside.

 

There are no digital cutter files included with this set, only the PDF for hand cutting. Because of the variety of fabrics you’ll be using and the simple straight line shapes and the fact that these aren’t appliques that require precise cutting, I found it easier just to cut these pieces with a rotary cutter or scissors.

 

Understanding the Color Sequences

 

All the designs except the border sew in generally the same order:

 

  1. A placement line is sewn that indicates the seam line for the finished blocks. This line will only be seen from the back of the project.
  2. Color 2 sews a numbered guideline for the placement of all the pieces. The seam lines will be sewn directly over these lines.
  3. Color 3 is an “edge guide” to help you with placing the fabrics. This line is set at a 1/4” offset from the seam lines. This is a handy reference particularly if you aren’t very precise with cutting or placing your pieces as it can tell you right away if you’re fabric isn’t going to get caught in the next seam.
  4. Color 4 will tack down the first piece of fabric in the design. This piece is always placed face up.
  5. Before color 5, place piece 2 face down along the indicated line. (Refer to the included pattern guide.) Color 5 sews the seam line.
  6. Before color 6, flip the fabric over and finger press the fabric smooth and flat. You can hold the fabric in place with a bit of glue stick. Color 7 will sew a tack down that will get covered by subsequent pieces or be enclosed within the seam allowance.

Repeat steps 5 and 6 until all the pieces are placed. Although I’ve set different colors in the design, I typically sew all of this first part in 1 color. The extra colors are to force the machine to stop.

It’s totally possible to stop the design at this point; all the piecing is done and your block can be used as is (exception is the heart, which requires the next to last color to stitch the appliqué).

The remainder of the design is all the decorative stitching. I’ve used a variety of colors here for flexibility. Color stops not only make it easy for you to match threads to your fabrics, they also make it easy to skip or delete areas.

Refer to the included color sequence guide for additional color information.

All seams are double pass so there is no need to use construction thread for the piecing steps. You may want to use polyester embroidery thread instead of rayon for strength.

Preparation

1. Print the pattern pieces.

Open the corresponding design PDF in Acrobat and print the full size pattern and corresponding pattern templates. Make sure Acrobat does not scale the pattern. For your convenience, a 1” square is printed on the first page of each block’s templates for easy verification.

You might want to print 2 copies: 1 for cutting and 1 for placement reference while stitching.

 

 

 

2. Cut your fabrics.

Loosely cut out the patterns, swipe the back with a glue stick and press it to the front of your fabric. Cut out neatly.

While absolute precision is not required, avoid getting too careless with your cutting and making the pieces too large or too small.

3. Hoop the stabilizer.

Piecing in the hoop is a floated technique. Because of all the extra embellishments, a tearaway may break down during stitching in some areas. And, since the designs are relatively open and delicate, tearaways can be difficult to remove.

On similar projects I’ve used heat fusible to hold the pieces after stitching but I didn’t for these designs.

Hooping a thin stabilizer may not be secure in your hoop. If it isn’t use some method to make sure it won’t slip. I prefer duct tape for this.

4. Stitch the placement lines.

The first 3 colors are placement guides.

Color one outlines the seam line. Use this as a reference for cutting your finished pieces. Note that after stitching it may no longer be straight due to push and pull.

Color 2 defines the stitching lines along with sequence numbers and color 3 indicates a ¼” seam allowance.

Sew these in color that won’t bleed through your fabrics but can still be seen. The numbers are within seam allowances and will be covered by several layers of fabric. Indeed, they are likely to be covered by the time you have to place the corresponding piece to having a copy of the pattern by your side as you stitch is a handy reference.

Note that none of these colors are required and can be skipped, which is why they are all separate colors.

 

 

5. Place piece 1.

On all designs in this set, piece one is placed face up. On the border design only, piece 2 is also placed at this time, face down (noted on color sequence guide)

 

The next color will do a zigzag tack down to secure this piece in place

6. Place piece 2.

All subsequent pieces will be aligned, placed face down, and stitched along the seam.

 

After stitching, the piece will be flipped over, pressed into place and then secured by a tack-down stitch via the next color.

7. Continue with the remainder of the pieces.

All remaining pieces are applied in the exact same manner: check alignment, place face down, stitch, flip, press, and tack down.

 

 

8. Sew the decorative stitches.

Once again you’ll have many color changes. Choose colors that work well with your fabrics.

Extra color changes mean more flexibility. It’s easy to skip one at the machine delete them in software.

9. Trim to size.

When the design is complete, remove from hoop, place face down on a cutting mat and trim to size using the seam reference (color 1) as a guide.

Exceptions

The first and last design have a few differences.

The first design is a heart and is finished as an appliqué. The last two colors of the design are the finishing edge around the heart. Before those colors sew, remove the hoop from the machine and trim off any fabric beyond the tack down.

The last design in the set creates the striped border. All the pieces are identical and numbered placement guide is omitted. The guides for this design are the raw edge of the seam allowance.

Because this design is simpler, pieces one and two are placed together with piece on the bottom face up and piece two on the top face down. Only the seams are stitched and are double pass as in the other blocks.

 

Project Notes

Full instructions are included for the journal covers.

For the quilt, I stitched all 5 of the squares, the 4 large triangles and 4 small triangles. I stitched each one through the batting.

For the borders, I stitched two hoops of the border, stitched them together on the sewing machine to form one long strip and then rotary cut them in four 1¾” strips.

The blocks were pieced together using a quilt-as-you-go method with 1” strips of sashing (½” finished) using the twin sashing strip method after adding a backing fabric to each block. See the included Quilt-As-You-Go Basics ebook for more details.

(Some items included with the set art not available with individual design purchases.)

 

 

 

Summary

Piecing in the hoop produces a highly consistent and accurate result provided you follow the steps precisely!

Sewing Continuous Hoop Designs
Sewing Continuous Hoop Designs

Endless or continuous hoop designs are specially digitized for creating borders and other long connected designs seamlessly. Some collections may have corner connectors included to permit easier continuous borders around a corner.

 

Sewing these designs is quite easy, especially when using one of the specialty hoops that are available for most home embroidery machines with a minimum 5” x 7” sewing field. This How To covers tips for getting good results with specially digitized continuous designs and an appropriate hoop.

 

Many embroidery programs provide tools for building continuous designs. These instructions only cover working with pre-made designs intended for this use.

 

Supplies

  • Design specifically digitized for continuous hooping by Lindee G Embroidery
  • Appropriate hoop
  • General embroidery supplies
  • Fabric cut into strips and pieced if necessary
  • Suitable stabilizer
  • Starch (optional)

 

Design Notes

 

Continuous designs are easier to align when a registration stitch is included. I’ve found a line of basting stitches in the form of a “Z” is much more accurate than a single stitch point. The Z provides more stitches to verify placement, while a single point only provides a start point that is also a pivot point allowing the design to more easily get off track.

 

Each continuous design has a starting Z stitch and an ending Z stitch to make perfect connections easy. Some designs may have a pair of Z stitches at each end. These registration marks are longer, set as a separate color change, with one at the beginning of the design and a second at the end of the design. These stitches are meant to be temporary and removed after the embroidery is complete.

 

These stitches also make it easy to combine elements in software if you have a larger sewing field. The Z stitches are set in a different color for utility reasons. A color change will force the machine to stop and it makes it easy to skip these stitches or delete them in editing software, if desired.

 

I usually just sew the first registration stitches using the first color of the design (color #2) and the last set of registration stitches using the last color of the design.

 

While these designs are intended for a specialty border hoop, they can also be used with standard hoops. With standard hoops, you’ll need to pay a little more attention to hoop and aligning.

 

About the Hoop

Most specialty border hoops use a clamping mechanism to allow for easy rehooping. Simply release the clamp, slide the fabric to the next place, align the needle, and sew. Due to the clamp mechanics, it’s important to understand where you can place the embroidery—and that is within a few inches of the hoop side where the clamp hinges.

 

Fabric Preparation

 

When cutting your fabric, you’ll need to allow a few extra inches at each end to allow for hooping. Depending on your project, you may want to piece strips together either before or after embroidering.

For best results, plan your design to sew from one end to the other. If you try sewing from the center out, you’ll need to mirror one half for the pattern to match.

 

You also need to consider how you will stabilize the fabric. On washable fabrics, starching the fabric helps tremendously. For backing, I prefer to use a softer stabilizer like fusible mesh cutaway or wash-away fiber. Crisp tearaways will be creased by the hoop making it harder to rehoop without pressing. If a tear-away is needed, slide a smaller piece under the hooped and stabilized fabric.

 

When using a non-fusible stabilizer, I sometimes machine baste strips of stabilizer to the fabric (using a sewing machine, not a baste in the hoop feature), especially when working on extra long pieces or strips that will require a long period to embroider.

 

 

I also like to mark guide lines on the fabric using dressmaker’s chalk to keep the design from skewing over multiple repeats. I generally draw these guides to align with the Z stitches rather than the actual design center. Test any marking aid you use to make sure it can be completely removed.

 

If the strip is quite long, roll the fabric around a cardboard tube and use clips or pins to secure the tail around the tube. This keeps the fabric clean and reduces additional wrinkling. It will also reduce the possibility of the fabric tails becoming caught while sewing.

 

Sewing

 

Sew from the top of the strip to the bottom. When rehooping, the bottom of the previous design needs to be just within the upper edge of the sewing field so that the Z stitches can be aligned. This means the upper edge of the hoop will be over an embroidered area, which translates to uneven hoop tension all the way around. If you are using a standard hoop, make sure it is not too tight to avoid damaging the embroidery.

 

You can skip the first Z on the first pattern and the last Z on the last pattern unless you plan to connect the ends to each other. When the embroidery is complete, remove the Z stitches and stabilizer.

 

Other Notes:

 

If you want to mirror designs, be sure to test first to make sure they will connect properly. Also, you may need to edit the designs to add extra registration stitches.

 

SEW SIMPLE IN-THE-HOOP ZIPPERED BAGS
SEW SIMPLE IN-THE-HOOP ZIPPERED BAGS

 

Detailed instructions and patterns are not included with individual design fle downloads. Please refer to the color sequence information for a basic guideline for stitching. You can print the design using any embroidery software to make a template. For a fully illustrated step-by-step tutorial formatted for printing along with actual size printable patterns, please purchase the full collection. Free instructions can be found in the following blog posts:

 

  • One Hoop Wonder: An In-the-Hoop Zippered Accessory Bag
  • How to Make a Quick & Easy ITH Mini-Zip Bag
  • How to Customize A Basic In-the-Hoop Project to Make Your Own Designer Bag

 

HOW TO DETERMINE FABRIC SIZES FOR ANY BAG IN THIS SERIES

 

1. Using your embroidery software, print the design at the actual size. You’ll use this as a pattern to cut all your pieces.

2. If you don’t have any software, then stitch out color 1 on the cutaway to use as a template and add the same seam allowances.

3. I added an extra quarter inch to the sides and top and an extra half inch along the bottom for seam allowances. Precision cutting is not required, just don’t make them too small

4. The outer line is the initial placement line, and the final seam allowance is a mere 2mm inside this line so cutting them larger than I did for the photo sequence makes the final steps easier. The measurements listed here and shown on the cut-out pattern pieces to the right are sufficient and will work for the other bags that use this construction technique.

5. Batting may be cut slightly smaller than the placement lines to reduce bulk in seam allowances. Batting is only cut for the front pieces and as a single layer (not on the fold)

 

Baltimore Birth Month Flowers of the Year Quilt
Baltimore Birth Month Flowers of the Year Quilt

This striking quilt showcases the twelve Australian birth month flowers of the year. I’ve used a black background fabric and chosen brightly colored batiks for the flowers for contemporary appeal. Each block has been sashed with a 2¼” (5.7cm) wide band composed of a strip of red sandwiched between two bands of black. Cornerstones are appliquéd with an edited version from the October Marigold (included with the collection). The quilt is finished with a 4½” (11.4cm) wide black border and black bias binding.

 

This quilt was designed, embroidered, and pieced by Lindee Goodall and quilted by a Tucson quilter, Barbara Angerhoffer.

 

Throughout the last twelve months via the Echidna P.I.E. program, we’ve used designs from the Australian Birth Month Flowers of the Year series, five of which are also included in the U.S. group, to learn embroidery skills and create a project. Now we’ll use the appliqué versions to make a quilt

 

 

I’ve created two versions of the Baltimore Birth Month Flowers of the Year quilt. For the U.S. quilt, I’ve used a white background fabric and chosen softer colored batiks for the flowers for a romantic, vintage look. Each block has been sashed with 1” (2.5cm) wide white strips set off with coral cornerstones. A narrow border of small green squares set on point frames the sashed blocks. The outer mitered corner border is scalloped and adorned in opposing corners with a trailing vine composed of single elements from various blocks, most of which were edited slightly.

 

If you’d like something more involved and challenging, you might prefer that one and instructions are available separately.

 

Echidna PIE was a series of monthly embroidery lessons based on the designs used in this quilt and was active from July 2014 through July 2015. Lessons and associated content are still available at EchidnaClub.com.au. If you’re brand new to embroidery, you may find them helpful for completing this quilt; they are not required.

 

These instructions are to complete the quilt and assume some basic embroidery skills. If you need more help, you can also visit LindeeGEmbroidery.com or my YouTube channel for a growing body of free content.

 

Skill Level

These instructions assume that you know how to do the following tasks:

 

  • How to piece a quilt
  • How to bind a quilt
  • How to stitch machine embroidered appliqué using precut fabric (See included PDF, Apppliqué Basics)
  • If you have a sewing field smaller than 200 x 200mm, how to rehoop for precise design placement. (For a full lesson on this, check out Echidna PIE Lesson 2, Perfect Placement Pointers, August 2014)

 

What’s Included

  • Instructions to complete the quilt as shown
  • Cornerstone design with appliqué templates
  • Applique Basics PDF

 

A Word About Measurements

I measure stitches in metric (millimeters for density and stitch length or width) and most other measurements in imperial (inches, feet, and yards). Many of you work entirely in metric. For this project, I’ll put the measurements I actually used first and then the converted metric versions in parentheses.

 

For example, all my quilting rulers measure in inches so that’s what I use and my machine and embroidery software measures stitch lengths in millimeters. So, the instructions might read:

 

Cut strips to 2” (5.1cm) wide and stitch using a ¼” (6mm) seam with a 2.0mm stitch length.

 

Since meters are longer than yards by slightly more than 3” (8.6cm), I’ll simply round them off as even and the measurement will read “½ yd/m.”

 

Note About Links

In some cases, links to external web sites are included for more information on a technique or product. All the links were active at the time of writing but web sites can vanish and pages can change. If a link is no longer working, please let me know and then just use a search tool to see if the information can be found elsewhere.

 

Please read through all instructions before starting your project!

 

Baltimore Birth Month Flowers Quilt

Finished quilt size: approximately 48 x 60” (122 x 152cm)

Finished block size: 8 x 8” (20 x 20cm)

Feel free to adapt this pattern to your own tastes and quilting styles. If you want a larger quilt, consider setting the blocks on point or adding more or wider borders. The redwork versions of the design can quickly create additional blocks that can expand the size of your quilt with minimal effort.

 

Fabric

Yardage is based on 42” (107cm) wide fabric unless otherwise stated.

WOF=width of fabric

  • Blocks: You’ll need to do some calculations

Although each embroidered block is trimmed to a 9” (22.8cm) square, you will need extra fabric to allow for hooping. How much extra depends on the size of your hoop and your hooping method; you may need to allow as much as 18” (45.7cm) for each block. Do not precut your blocks smaller than 10” (25.4cm) before embroidering. This extra fabric may be needed if your design is sewn off center or crooked. Also, embroidery itself tends to shrink and distort the fabric; you will still need to true up your block no matter how carefully you embroider. By trimming your blocks when you are ready to piece your quilt, you can preserve a crisp edge on your fabrics. To make the quilt as shown, you’ll need enough fabric for 12 blocks plus any practice or replacement blocks.

  • Appliqués: Fat quarters or scraps in your choice of colors
  • Cornerstones: ¼ yd/m (black) While you don’t actually need this much fabric for the 20 cornerstones, you will need enough fabric to hoop.
  • Pieced sashing:
  • ¼ yd/m for center strip (red)
  • ½ yd/m for background (black)
  • Border: 2 yd/m (black) I prefer to cut my borders along the length of the fabric rather than across.
  • Binding: ⅝ yd/m (black)
  • Backing: 4 yd/m

Cutting

  • Cornerstones: If appliquéing the cornerstones, cut after embroidering—20 squares 2¾ x 2¾” (7 x 7cm) (black)
  • Pieced sashing:
  • 9 strips, 1¼” (3.2cm) x WOF for the center strip (red)
  • 18 strips, 1¼” (3.2cm) x WOF for the outer strips (black)
  • Outer border: 4 strips measured to your quilt. Add extra width as required for quilting and squaring. My final borders were trimmed to 4½”.
  • Binding: Bias strips 2½” (6.35cm) x length of the perimeter plus 12” (30.5cm) (black)

Supplies

 

All the Birth Month Flowers of the Year blocks are interchangeable for size. Some flowers are designated for both the U.S. and Australia (March, April, June, November, December). Also, some of the flowers designated for Australia are alternates for the U.S. When I originally designed this quilt, it was for the U.S. and I chose flowers that would work well as appliqués and not look too much the same, such as Aster and Daisy.

 

 

Fabric Preparation

All fabrics were washed and dried before cutting or stitching to preshrink.

 

Tips For Stitching Blocks

To conserve fabric—I would have needed to cut a 16” (40.6cm) square for each block for normal between-the-rings hooping—I cut my blocks to 10” (25.4cm) and heavily starched each block by dipping the cut blocks into full strength liquid starch and then smoothing each block out squarely and wrinkle-free on my cutting table to dry.

 

When “floating” projects rather than hooping, the fabric and stabilizer must be made as stable as possible. For stabilizer, I chose a wash-away product, which can either be something like Wash-Away (two layers) or a wash-away tear-away (one layer). Large straight sides on hoops allow for more slippage to occur. If your hoop does not securely hold the stabilizer when hooped by itself, an extra measure of security can be added with duct tape.

 

Simply tear some lengths of duct tape in half lengthwise and press onto the stabilizer on the back near the hoop edge then wrap up over the bottom and side of the hoop. As long as your hoop is clean, no sticky residue will remain.

 

 

For the fabric, starching stiffly is one measure I take, the second is basting. To get an accurate placement, I do a double-basting box process. The first baste is stitched directly onto the stabilizer as a placement guide. The second attaches the block to the stabilizer. I didn’t use any spray adhesives.

 

If your machine has a baste-in-the-hoop feature, now’s a great time to use it. If it doesn’t, then basting boxes can be added in a program like Embrilliance Essentials—just make each one a different color or program in a stop at your machine so that you can place the fabric after the first one sews.

 

I prefer adding basting boxes in software because I often make the box a different size when using it as a placement reference. When basting at the machine, it optimizes the baste to the bounding box perimeter of the design.

 

If you don’t have a large enough hoop to stitch the full-size block design, you’ll need to use one of the split versions to create the block. When doing multiple hoopings, I try to use a piece of stabilizer that will accommodate all of the hoopings rather than use multiple pieces of stabilizer. Press after each hooping to smooth out any creases.

 

Design Preparation

There’s really no preparation for the blocks themselves.

For the appliquéd cornerstones, open the included design, lgq015186. This is the same design that was included with the October Marigold, I’ve just added a basting box to it. The basting box is a scant 3mm larger than the actual cut block size. You can combine this design in your hoop as many times as will fit leaving a few millimeters between each shape. I have a hoop that was large enough to accommodate 9 blocks; which meant I could get all but 2 blocks done in just two hoopings.

 

After stitching, simply cut to size. Basting boxes are quite useful, especially when created in software that lets you resize them!

 

Assembly Instructions

 

Scant ¼” (6mm) seams used throughout for construction.

1. Embroider the blocks.

 

Embroider all the blocks and trim to size (9”/22.8cm square) making sure the design is centered.

 

2. Embroider the cornerstones.

 

Preparing the designs as previously described will make stitching the cornerstones quicker and easier. You’ll need a total of 20. Trim to size after stitching (2¾” or 7cm square).

 

3. Prepare the sashing strips.

 

The sashing strips are composed of a narrow red strip bounded by a black one on each side. The finished strips are ¾” (1.9cm) wide with a finished sashing width of 2¼” (5.7cm). While you could sew long WOF strips together and cut afterwards, it can be easier to get a more even seam on shorter lengths. In either case, you’ll need thirty-five 9” (22.8cm) long sashing strip sets

 

 

4. Piece the blocks and sashing.

  • Alternating the cornerstones with the sashing strips, assemble and stitch five horizontal sashing rows

     
  • Join appliqué blocks into four rows of three blocks alternating each block with the remaining sashing strips

5. Add the outer borders

  • Measure the vertical center of the quilt to get the measurement for the two side borders. Cut two strips to that length and of the desired width, making sure to add some to the width for quilting and squaring. Sew one strip to each side.
  •  
  • Measure the horizontal center of the quilt to get the length for the top and bottom pieced border. Cut two strips to that length and of the same width as the side borders. Sew one strip to the top and the other to the bottom.

6. Quilt as desired.

I confess to being a chicken when it comes to the actual quilting and when I want a professional look, I send it to a professional. Fortunately we have quite a few good long arm quilters locally. To keep the two versions of the quilt as different as possible, I sent each one to a different quilter. I sent this one to Barbara Angerhoffer, who has quilted a number of my quilts. She used a stipple pattern in black around the appliquéd blocks and a vining leaf design in green on the borders.

 

7. Create a label.

My favorite font for creating quilt labels is  Adine Script, which is available as a BX font for convenient use. You are creating an heirloom so let those who come in the future know who created it and when!

 

8. Add a hanging sleeve if desired.

 

9. Bind.

 

I prefer to stitch my binding to the front of my quilt, fold to the back and then hand stitch.

I find this relaxing but feel free to use your own favorite technique.

 

Summary

Quilts don’t have to be massive. Smaller wall-hanging sizes like this one are more easily completed before the boredom or overwhelm sets in. Obviously this is not a one day or even a weekend project even though it is considerably less involved than the U.S. version. Set aside planning time to choose fabrics that you love and will work well together. Don’t rush, enjoy the process!

 

It’s a Wrap!

One thing I love about this hobby is that there’s always something new to learn, some new technique, some new gadget. Discovering those things is what keeps the hobby new, fresh, and interesting. Plus, embroidery is just more fun when you know the tricks to getting good results!

Free Design Warnings

3 free designs per week with no purchase,

6 free designs per week with $35 purchase, or

9 free designs per week with $75 purchase.

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