Blog posts tagged with 'machine embroidery'

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.

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

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!

Baby Quilt

Quilted Baby Animals uses a quilt-as-you-go technique that I’ve used in quite a few quilts. If you have a need to whip up an adorably cute quilt in just one day, this is the one!

A comprehensive guide to making QAYG quilts is included separately. This document provides a list of the materials I used and a cutting guide layout as a reference to recreate this project in the fabrics of your choice.

Project Notes

I used the 150mm (6”) versions for this quilt and floated precut blocks in a large (240x240mm) hoop. Embroidered blocks are trimmed to 9” for a 7½” finished block. Finished sashing is 1½” wide and the border is 2¾” wide. Finished quilt size is 30½” x 39.”

For the front, I used a pale golden yellow for the blocks and a medium gray for the sashing and borders. Both have a random dot pattern.

I used one fabric for the back, which is a busy, mini floral white on medium gray to camouflage the embroidery.

For batting, I used Quilter’s Select Soft Machine Batting (Floriani).

Thread is Hemingworth polyester #1076 Nautical Blue and the bobbin is a standard white prewound polyester embroidery bobbin. Stabilizer is Sulky Soft n Sheer.

Fabric Requirements

You’ll need to do some planning for yourself here because it will depend on what size blocks you’re using and how you hoop as well as how many different fabrics you use. (Planning and calculation tips are covered in QAYG Basics.)

Using 42-44” wide fabric, you can get 4 blocks out of 10” long WOF strip. Theoretically, you could get all 12 blocks out of 1 yard using precut 10” blocks BUT—there’s no extra if you mess up a block.

For the sashing and borders, I cut them on the length of the fabric rather than across. I planned my longest border and added a few inches and it was plenty for the front. You can just get that out of 1 yard of fabric if you don’t make any mistakes. (See layout guide following.)

I allocated 1/2 yard for the binding.

The back is all one fabric but due to the construction technique, you’ll need another set of blocks, borders, and sashing. So yes, you could get by with 2 yards for the back but…

I’m not worried about cutting my measurements as close as possible. I do a lot of applique and leftovers aren’t an issue for me. I’d rather have leftovers than run short

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

This project collection includes several in-the-hoop sewing organizer variations. Choose from a full in-the-hoop version with open quilting and tie closure for a full no-sew project or a mostly in-the-hoop with self-fabric button loop and bound edges or a combination in between!

The sample with the bound edges skips the last 2 colors of the last hooping (ITH lining) and is finished with a bias binding sewn in a more “traditional” manner. Personally, I prefer the look of bound ones rather than a turned edge, especially when bulky techniques like quilting are involved. This version also has a few other enhancements, some of which require just a few minutes of straight stitching. The double zipper pouch was made by making two of the zipper designs and varying how the pieces are assembled. Instructions are included.

The full in-the-hoop project is not at all difficult as all the intricate stitching is done by your embroidery machine. It’s a great project to use up scraps from your stash. If you need to purchase fabrics, fat quarters can get you going without a large investment in yardage.

If this is your first in-the-hoop project, I recommend starting with the easiest versions first. Once you see how I adapted the inside of the bound edge version, you can go crazy customizing your own. You can also use the plain quilted cover design to make quick organizers for other uses, not just sewing, perhaps with custom monograms for a special gift.

Featured Techniques

• In-the-Hoop Zipper
• Trapunto
• Programmed stippling and quilting

Please read all instructions before beginning!

Overview

The designs are set up so you can complete the project in the hoop by choosing to attach the front and back together in the hoop, if desired. If you plan to do that, choose a softer batting and stabilizer for the cover. Also, it is recommended that you use one of the covers with the lighter quilting rather than the stippled version.

In-the-hoop projects are great for those who don’t know how—or don’t like—to sew. Feel free to just embroider the outer section and customize the inside to suit your own needs!

Note that color changes are included on some design files simply to create a stop; please use a thread color that coordinates with your project—in most cases you can use the same color for all the color stops of both the zipper and the lining. If you are sewing on a multi-needle machine, please be aware and program your color changes accordingly.

For added durability, you may wish to sew the construction steps with a sturdier thread than Rayon embroidery thread. I didn’t do this as these areas are double stitched and often top-stitched as well so they are plenty sturdy.

If your fabrics are particularly soft and don’t have a lot of body, starching them can help make assembly easier. You may wish to lightly mist TESA onto pocket pieces to keep them in position during tack down stitching or just use a few pins or cellophane tape outside the sew lines. Do what you feel is necessary to achieve a good result.

This project requires an embroidery machine with a minimum 200 x 300mm sewing field. It is not split for smaller hoops and it is not recommended that you shrink the designs to fit a smaller hoop.

Abbreviations

• TESA - Temporary Embroidery Spray Adhesive
• ITH - In-the-Hoop

Supplies for Basic Version

• Cover with matching lining: 5/8 yd
• Inside pockets: small scraps or fat quarters

Outer cover

• 1 piece of neutral fabric for the cover (I chose a white on beige print) (10” x 14”)
• 1 piece of fusible batting, low loft batting, or fleece (8” x 12”)
• 1 9” nylon zipper to coordinate with fabric (can be longer; excess will be cut off)

Zippered pocket

From coordinating fabric cut:

• 1 piece 8.5” x 1.75” for top section
• 1 piece 8.5” x 4.5” for larger pocket section

Slotted open pockets

From coordinating fabrics cut:

• 1 piece 8.5” x 8” for front pocket section, folded in half to 8.5” x 4”
• 1 piece 8.5” x 9.5” for back pocket section, folded in half to 8.5” x 4.75”

These measurements are for pockets folded in half with the fold along the open end.

Lining fabric

For full ITH project

• 1 piece (8.5” x 6”) of coordinating fabric for upper lining piece, folded in half to 8.5” x 3”
• 1 piece (8.5” x 19.5”) of coordinating fabric for lower lining piece, folded in half to 8.5” x 9.75”

For bound edge project

• 1 piece (8.5” x 12.5”) of coordinating fabric for the cover (not folded) Stabilizer
• 1 hoop size piece cutaway • Use a heavy cutaway for outer cover for a sturdy product (may not be suitable if you plan to finish in the hoop)
• Use a no show mesh for a softer version or if planning to complete the entire project in the hoop
• Stabilizer for lining & zipper (no show mesh cutaway preferred) Other supplies
• Large button or ribbon for tied version of the project
• Short piece of gros grain ribbon, narrow fabric tube, or elastic for button loop closure
• Short piece of ribbon or cord for zipper pull, optional
• Optional: Fabric for bias binding if finishing with this method

Other Notions

• Embroidery thread
• Sewing thread
• Double stick embroidery tape
• Collins Washaway Wonder Tape
• Cellophane tape (shown in photos as gray duct tape for visibility purposes)
• Straight pins
• TESA
• Rotary cutter, ruler, cutting mat
• Basic sewing supplies Nice to Have
• Fast Turn tube turners, if making the self-fabric button loop

The Designs

This collection includes 5 design files, which are numbered in the approximate sewing order:

• lgp00401 - Fully stippled cover design with trapunto “Love to Sew” in relief on back
• lgp00402 - Simplified cover for faster sewing and easier turning
• lgp00403 - Quilted plain cover for your own customizing
• lgp00404 - ITH zipper design for zippered pockets
• lgp00405 - ITH interior to stitch all the pockets in place, button closure, and attach to outer cover

Worksheets are included for the various files in this project. Please note that the colors on the worksheets will likely not match what you see in your files. Use colors that work with your fabrics.

Instructions

Preliminaries

I’m a fan of prewashing/preshrinking fabrics before sewing. All fabrics were pre-washed and pressed before cutting for the samples shown here. I did not notice a significant difference working with starched versus unstarched pieces.

If you have multiple machines with sufficient sewing fields, you can sew the cover on one machine while working on the interior on another.

Process Overview

1. Choose finishing method (full ITH or partial) and based on that, select a suitable cover.

2. Prepare fabrics: cut and press. Press zipper smooth.

3. Embroider an outer cover.

4. Embroider ITH zipper.

5. Construct the button loop if using a self-fabric closure as shown in the samples.

6. Embroider ITH lining.

7. Attach outer cover to lining.

8. Hand sew button into place if using button closure

Step 1: Preparations

Start by choosing your finishing method. If you want a full ITH project, cover 1 with the intense stippling and trapunto’d “Love to Sew” lettering is not the best choice. Due to the heavy stitching, this cover is much harder to turn right side out. Covers 2 and 3 work best (and sew the fastest) for finishing ITH.

The second choice is to decide on a closure style. The tied sample shown here can be finished completely in the hoop with absolutely no hand sewing. The button loop shown could be replaced with a strip of elastic or ribbon.

Note when cutting fabrics that the full ITH version requires more fabric for the lining; this is due to the turning method used. Cutting, folding (as needed), and pressing all fabrics before hand will speed the sewing process. Feel free to use fabrics of your choice; quilt weight wovens work well.

Step 2/Hooping 1: Outer cover

1. If using a fusible fleece or batting, press fabric smooth and fuse batting to center of fabric using a teflon press cloth to protect your ironing surface.

Fusible batting will feel quite stiff until laundered. I used fusible on the bound edge version and polar fleece for the tied version.

2. Hoop the stabilizer and sew placement stitch directly on the stabilizer.

3. Remove hoop from machine and smooth double stick embroidery outside placement guides or pin fabric to stabilizer outside of stitching lines. Press fabric into place making sure batting extends slightly beyond the placement stitching on all sides.

4. Color 2 bastes the fabric into position; color 3 stitches the redwork, and color 4 quilting and zigzagging the outer edge. Colors 1 - 3 may be sewn with the same thread color

5. Remove from hoop and trim away excess stabilizer. Using the edge formed by the stipple stitching as a guide, trim allowing 1/2” seam allowance for ITH version or 1/4” for bound edge version. Set aside

Step 3/Hooping 2: Zipper Pocket
1. Hoop stabilizer and sew placement stitch directly on the stabilizer

2. Smooth down strips of Wonder Tape or other washaway sewable tape to hold zipper in 
place.

3. Align closed zipper right side up along sewn guidelines, extending excess zipper length 
at both ends. Zipper pull and metal end should be at least 1/2” away from any sew lines. I 
prefer to place the zipper so it opens from left to right.

4. Secure zipper in place with tape outside of sewing area over the zipper ends

5. Place the upper zipper pocket fabric right side down over the zipper aligning fabric raw 
edge just over finished zipper tape edge. (Fabric should cover zipper.)

6. Return hoop to machine and sew next color which sews seam and zigzags raw edge to 
zipper tape (next color).

7. Fold over fabric away from zipper teeth and finger press into place.

8. Sew the topstitching.

9. Repeat steps 3-6 for the opposite side of the zipper pocket.

10. Remove from hoop. Trim away stabilizer taking care not to cut any seams. Test the zipper to verify it opens and closes.

11. Close zipper and square up section so that there is 3 3/4” of fabric from folded edge of 
bottom section to bottom. Any excess on top will be trimmed off at the end.

12. Move zipper pull to center. Set aside.

Step 4: Button Loop

Choose a button and make a loop that can easily loop around the button plus 1” for 1/2” seam allowance on each end. Your loop can be made of elastic, ribbon, fabric tube, cording or whatever you desire.

To make the one shown on the sample, cut a 2” x 6.5” piece of fabric (loop will be cut to size later), fold in half lengthwise, right sides together and stitch along raw edge using a 1/4” seam allowance. Use a tube turner to quickly turn inside out. Press with seam allowance on one edge. Fold as shown (seam allowances on inside edge) and top stitch pointed end to hold in place.

Determine the vertical placement of your button loop by finding out how much of an opening you need for your button. It is better to err on the side of slightly too long than too snug!

If you prefer not to deal with a button closure, you can place a single piece of ribbon at each end or skip the closure altogether.

Step 5/Hooping 3: Caddy inside

1. Hoop stabilizer and sew placement stitch directly on the stabilizer (color 1)

2. For Full ITH version: The two notches near the top show the placement guides for the folded lining pieces.

Position the bottom section first, aligning the top folded edge with the top notches. Then place the upper section, aligning the bottom folded edge with the bottom notches. This opening will end up under the upper zipper pocket and is where you will turn your ITH project right side out.

Secure the pieces in place with pins placed well with basting guides or TESA to hold. On the right side where the top piece overlaps the bottom, take extra care to ensure that the fabric is smooth, flat and won’t trip the presser foot during tack down.

For bound version: Position 8’ x 12” lining fabric right side up and secure as needed.

3. Return the hoop to the machine and sew color 2.

Place & Stitch Open Pockets

4. Align folded edge of back pocket with notches A, aligning raw edges slightly beyond basted guide at bottom edge of the lining. (Refer to pattern guide if you have rotated the design for your machine.) You may wish to lightly TESA pockets in place.

5. Align folded edge of front pocket with notches B or as desired, aligning raw edges with basted guide at bottom edge of the lining. (Refer to pattern guide if you have rotated the design for your machine.)

Notch B is a suggested placement. As long as this pocket is shorter than the back pocket and the raw bottom edges extend to the bottom placement guide, you can adjust this pocket to suit your taste/need.

If your rear pocket raw edges do not reach to the basted guide line, either recut your fabric pockets or move the pocket down to meet the basted guide. If you choose the latter, your pocket divider stitching may extend off the top of the pocket but this is not a big deal.

6. Sew color 3 to attach pockets

Place & Stitch Zipper Pocket

Be sure zipper pull is at the 1/3 zipped point (2/3 open) point! This will make your project easier to turn and prevent the foot from getting caught on the zipper pull as it travels.

7.

Appliqué is a very versatile machine embroidery technique. Creating free-standing ornaments and gift tags is fun and easy! With a basic appliqué tag design, you can add your own lettering or merge in other designs to create exactly what you want.

Skill Level

Basic embroidery skills. Novice or beginner skills with customizing software.

These instructions assume that you already know how to work with templates printed on fusible tearaway, a method I use most often for machine embroidered appliqué. If you’ve never used this technique, detailed instructions are included in the Appliqué Basics pdf that is included with most Lindee G Embroidery appliqué collections.

What You’ll Learn

• How to use simple yet creative techniques to expand your embroidery options
• How to make double-sided free-standing designs with appliqués
• How to customize designs with lettering
• How to resequence a design in customizing software to better suit your project

Selecting a Design

This technique works best when the satin cover stitching that finishes the appliqué sews last, as it so happens in the gingerbread designs on Gingery Christmas and is almost the case with this design. However, if we customize the tag with lettering, we’ll need to do a little extra work if we want a nice clean finished back with a satin stitched edge.

For this project, you’ll use the Gift Tag (lg002016) and add some lettering. There are two lettering designs in the collection that work perfectly. One is “Santa” (lg002025) and the second is “Holiday Greetings” (lg002017). Or, you can choose to add in your own lettering.

What You’ll Need

• Small scraps of fabric for front and back of appliqué
• Cutaway stabilizer (medium to heavy weight)
• Washaway stabilizer (fiber, not film)
• Light-weight tearaway stabilizer for printing templates
• Double-stick (pressure sensitive) fusible web for appliqué (Steam-A-Seam II or Pellon Easy Steam II)
• Gift tag design from Gingery Christmas by Lindee G Embroidery with templates
• One of the lettering designs or add your own
• Suitable embroidery threads
• Regular embroidery bobbin thread
• Bobbin of matching thread for the outer gingerbread color (last color in these designs)
• Temporary embroidery spray adhesive (“TESA”)
• Short length of ribbon or cord
• Eyelet cutter
• Customizing/Editing software (I used Embrilliance Enthusiast; it will also work in Embrilliance Essentials.)

Edit the design.

Open the design in customizing.

Merge in another design or create your own lettering.

2. Resequence the design

In this program, objects can be dragged to the order you like or you can right click on a object and choose from the menu

Save the file for your machine.

3. Alternative method.

Simple resequencing such as we just did in software is not difficult to do at your machine and works best with machines that have visual displays.

Load the gift tag into memory and then merge in the lettering design. Sew the gift tag up through color 8, then advance 2 color stops and sew the lettering. Finally, back up 2 color stops and sew the tag’s last 2 colors. Don’t forget to stop sewing after the tag’s last color!

I’ve seen people do amazingly complex resequencing at the machine to avoid using a computer. It requires close attention to keep track of what you’re doing. Me? Give me software!

4. Prepare templates

Print templates onto fusible tearaway and loosely cut around shapes to separate. (See technique in the Appliqué Basics instructions if aren’t familiar with this process.

5. Prepare fabric

Fuse a piece of cutaway to the back of each piece of appliqué fabric using fusible web. Press one template to front of one fabric and one to cutaway of other fabric to make a reversible ornament.

While the cutaway isn’t strictly necessary, it adds extra body and dimension to the design.

Cut out appliqués just to the outside edge of the pattern lines

At some point you’ll need to use the eyelet punch to cut out the hole in the tag. The first 
sample I made my punched eyelet lined up perfectly. The second time it didn’t. Because 
the satin stitching was designed to go over the punched edge, if you punch afterwards, 
you will be cutting thread. You can still make the hole later, but you’ll need to use some 
other method.

A better method is to slow down the machine when it gets to the eyelet. A running stitch 
sews just before the satin and you can manually stop the machine, remove the hoop, and 
punch the hole at that time.

6. Set up to sew

Hoop 2 pieces of washaway stabilizer. Sew the first color of the design (placement outline).

7. Place top appliqué.

Mist back of top piece with TESA. Remove the template from piece and position in the hoop 
within outline

8. Sew the tack down (zigzag) stitch and stop the machine.

Inspect the design to see if any areas extend beyond the tack down and trim off.

9. Sew design up until next to last color

Don’t sew last two colors! These two colors attach the back of the ornament

10. Place back appliqué

Remove the hoop from machine. Spray cutaway side of back appliqué with TESA, remove paper template, position appliqué in place, reset the hoop, replace the bobbin with the matching thread, and sew last color

11. Remove project from hoop and finish.

Trim off excess stabilizer close to the stitching. Remove remaining bits with damp paint 
brush or sponge. It is not necessary to soak out the remaining stabilizer

You’ll notice that the eyelet hole on the back is not satin stitched. This design was 
digitized well before the project was conceived. While I could have redigitized it, the intent 
of the projects is to show how to work with stock designs that are already digitized. Could 
you resequence in editing software? Absolutely! Is it worth the effort? That depends.

Looking for More Tag Style Designs?

Look for designs for badges and borders. These are often digitized as appliqué and work well 
with the techniques described here. Two collections you might look at are:

• Monogram Frames, which include some frames along with some coordinating borders. 
  Look for the designs that include appliqué.
• Badges, a collection of 40 appliqué-style “patch” designs that all work well for combining 
  with other designs.

If you want an eyelet, just extract those parts from the gift tag design in your editing program, 
paste into the badge or border design and resequence as we’ve done in this project.

Begin to look at your designs as elements that can be taken apart and recombined in new and creative ways

These cute little ornaments are quick and easy to make. They’re perfect little extras to stuff into a greeting card or use as a package tie. They’ll fit a 100mm square sewing field and can also be used as direct embroidery.

Skill Level

Simple. Just follow the steps!

Please read through all instructions before starting your project! This project has multiple steps that must be done in a certain order.

Getting Started:

Print the worksheet. It has full instructions that will make more sense after you make just one.

What You’ll Need:

• Good quality white felt
• NOTE: this deisgn is not recommended for vinyl (too dense)
• Stabilizer: ( I tested with cutaway and washaway tearaway)
• Opalescent Mylar film
• Coordinating embroidery threads
• Ribbon for hanging (I cut mine to 5”)
• NOTE: the last stitch is a triple stitch and may not secure really thin cords well. Knotted the end of the cord will minimize the chance of it pulling out.

Instructions:

These designs are digitized to be used with Mylar behind the white areas. They can be stitched as free-standing ornaments or used as “normal” direct embroidery.

The process is similar for all designs in this set. Individualized steps can be found on the design’s worksheet.

Stitching:

• Only the last color is visible on the back if you want a matching bobbin color.
• Not all designs have placement line as the first color
• Some designs have fringed pompoms

• For direct embroidery, stitch up to the stop before the last color. The last color attaches the back to the front for a clean finish

Finishing

1. Remove from hoop and tear off stabilizer carefully right up to the design outline.
2. Carefully trim around the design taking care not to cut through the hanging loop.

This lovely lace angel is a masterpiece of creativity and with a little bit of time, you can easily make one for yourself! The angel is approximately 8.5” tall and will stand without support or grace the top of your Christmas tree.

Supplies

• Designs
• Minimum 13x180mm (5x7”) sewing field
• Embroidery thread (I prefer Rayon for lace but polyester, cotton, or even metallics can be used)
• Wash-Away stabilizer (non-woven fiber based)
• TESA (temporary embroidery spray adhesive, I prefer KK2000)
• Double-stick embroidery tape
• Sewing machine, hand needle and thread, or glue for final assembly
• Twist ties
• Styrofoam cone wrapped with plastic wrap (I trimmed off the top and bottom sections)
• Wire cookie cooling rack

Please read all instructions before beginning

The Designs

You’ll notice this lace angel 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. This angel more closely reproduces that old-style look.

Don’t let the open, airy look deceive you! This project is high stitch count—well over 200,000 total stitches depending on how you choose to make her. On the other hand, she has no jumps, no trims, and is sewn in only one color. So while the machine time is long, your interaction is minimal until assembly time. Plan on this as a two day project: one day to embroider, overnight to dry, and a little time the following day to assemble.

There are several versions of this design. If you have a machine with a 200x300 sewing field, you’ll be able to sew the design in two pieces:

• Skirt (200x300 hoop) [lgp00102]
• Wings and head (200x200 hoop) [lgp00101]

If you have a 130x180mm sewing field, you’ll have the following:

• Head (fits 100x100mm hoop) [lgp00103]
• Left wing (mirror for the right wing) [lgp00104]
• Interlocking skirt panel [lgp00105]
• Left skirt panel [lgp00106]
• Inside skirt panel [lgp00107]
• Right skirt panel [lgp00108]

I’ve provided two ways to create the skirt for these smaller sewing fields, which I’ll cover in a bit.

General Instructions

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.

For optimum results, hoop two layers of wash-away in the hoop. Make sure both layers are smooth, taut and fully gripped between the rings of the hoop.

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!</p<>

For added security and slippage prevention, I used duct tape on the bottom side. Cut long strips of tape and rip them in half lengthwise. Tape along the edges of the stabilizer and wrap over the hoop. Use the smallest hoop that will accommodate each design. Slippage and push/ pull problems are the greatest in the largest designs and in larger hoops (no matter the design size).

Test your process by sewing the interlocking skirt panel in a 5x7 hoop. Rinse and dry and check for exposed underlay or any places that are not holding together. I have noticed that on some machines, the underlay is exposed on inner curves only in one area of the curve, say from 1:00 to 3:00 position. If the design is mirrored, and the underlay is still exposed in the 1-3 o’clock position. This would indicate a machine issue.

After sewing, cut away stabilizer close to the design and then rinse out excess stabilizer in warm water. Simply rinse until you don’t see any stabilizer remaining, the extra remaining stabilizer will help your angel keep her girlish figure.

Lay out wet lace on a thick towel and roll towel to soak up excess moisture. Do not wring the lace. I let my lace dry flat until just slight damp before shaping. Refer to shaping and assembly further on.

Sewing Instructions

Machines with 200x300mm sewing fields

Sew the skirt design in a 200x300 hoop and the wings and head design in a 200x200 hoop. It is particularly critical to hoop and stabilize securely for the skirt!

If you want to adjust the angle or placement of the wings, you may want to use the separate pieces designed for the smaller sewing field.

Machines with 130x180mm (5x7”) sewing fields

The easiest sewing method is to simply sew five of the interlocking panels. A second advantage is that this allows you to sew more manageable pieces and if you goof one up, you haven’t messed up the entire skirt. This is also a good way to get a multi-colored skirt, if desired.

This was my original method and while it requires no multi-piece alignment during sewing, it is a little harder to assemble and results in a higher stitch count project. Furthermore, the interlocking connector buttons make the angel bulkier.

The second method is to sew the multi-piece skirt. Here you’ll sew the left skirt panel first and trim away stabilizer closely. Next, load the inside skirt panel and sew to the applique stop. Align the first panel along the left side matching the connector stitches. Hold the first piece in place with double stick embroidery tape outside the range of the needle. You may wish to hold the connectors in place with a light mist of TESA.

When the second panel is finished, you’ll repeat the process. Ultimately you will sew one left panel, three center panels, and finally the right panel. This process requires patience and attention to detail!

The wings and head are all sewn individually and are assembled afterwards.]

You may find that you get significantly better results with the smaller pieces in smaller hoops than sewing the full size pieces in a large hoop. There is less distortion when sewing the smaller pieces. The trade off is your time. Only you can decide what works best for you.

Shaping & Assembly

Before your angel dries into a stiff flat form, do a little shaping. Refer to the full-size versions to see how the pieces should look if you’ve sewn them in smaller segments.

You’ll notice the skirt is designed so that it bells out slightly a little ways below the neck. The openings near the top allow the wings and head to fit into the body/skirt section. I found it easiest to form the skirt around a cut-off styrofoam cone. Interlock the connectors on the skirt back (connector will be on the inside of the skirt). Although the connectors are floppy and difficult to keep connected when damp, they will be quite sturdy when dry. I looped twist ties through the upper sections to shape the skirt as it dried.

If you sewed the individual interlocking panels, it will be easier to form the skirt when the sections have dried. Then, interlock the connectors, slip it over the cone, and if shaping is necessary, mist with a water bottle until damp enough to form. Pins are also helpful for shaping and can be pushed easily into the styrofoam.

If you find you are fighting with the connectors in the upper section of the skirt, just cut them off to match the full size skirt and hand sew. Alternatively, you can glue the connectors along the neck edge.

If you sewed skirt as one piece, once it is dry, the middle three upper sections can be sewn together. Leave the end segments open at the top to attach the wings. You can sew the segments together by abutting the edges and hand stitching or machine multi-step zigzag. I found it easier to do this stitching by hand.

The head on the smaller version is attached to a “shoulder.” The wings are attached to the front side of the shoulder ends on the front and behind the hair on the angel. This design is to allow more support for the head to keep it from flopping over. These pieces can be attached with glue, hand stitches, or on the sewing machine. Before attaching, do a little fitting on your skirt piece to make sure you like the shape and placement.

The wings and head are set into the space between the first and second skirt panels on the left (as you look at the angel) and the fourth and fifth panels on the right. You may be able to just leave these panels open or you may need to add a few hand stitches to keep your angel together. If you can avoid the stitches, it will make it much easier to store your angel since she’ll unfold to almost flat. For the sample shown on the first page, I simply set the wings into place— probably not a smart thing if I leave it within kitty reach!

Other Notes:

Although I sewed my angel in a traditional white, she would look lovely in other colors as well. I do not recommend trying to scale these designs to fit smaller sewing fields.

Looking for a small wallhanging project you can update each month? How about this quilted and pieced in-the-hoop calendar block?

I designed this calendar block to just ft my max square stitching area on my machine and to work with the 175mm blocks from some recently digitized sets, Halloween Scenes 1 and Halloween Scenes 2. I’m just wrapping up a few more sets that will also work for Thanksgiving and winter months (snowmen) that are similarly designed.

I haven’t found suitable designs for every month yet but do have November and December plus a couple of spring blocks. Of course, you can work in any design you choose simply by inserting it after color 5.

For October, I chose the multi-color Kitten and Pumpkins design from Halloween Scenes 1. There are two sets of Halloween scenes that will work perfectly for this project.

Each set has 10 designs in multi-color and 10 as single color and each one of those is available in multiple sizes. I used the 175mm version so I could stitch the month name onto the attached borders without rehooping.

I stitched through the batting but not the backing for this project. It fnishes out at about 12” square. The center is stitched frst, then the side borders are pieced on and embroidered, and fnally the top and bottom borders are pieced on and embroidered.

I foated all the pieces onto hooped stabilizer. I chose to color in the center embroidery with InkTense colored pencils for additional interest.

SKILL LEVEL

Basic embroidery and customizing skills. If you’re working with one of the calendar blanks to create your own version, you’ll need to know how to combine designs by inserting a design after a specifc color change.

WHAT YOU’LL NEED

• Suitable fabrics for blocks, pre-washed and pressed (Tip: If fabrics are especially soft, starching can reduce distortion when stitching. Rotary cutter, quilting ruler and mat
• Stabilizer: I used Sulky Soft ‘n Sheer. Other suitable choices are washaway backing and washaway tearaway.
• Appliqué tacking iron
• An embroidery machine with a minimum sewing feld of 11½” x 9¾” for the blocks
• Suitable embroidery threads and sewing threads
• Optional: InkTense colored pencils or other media for coloring

WHAT’S INCLUDED WITH THE COLLECTION

• Twelve ITH “calendar blanks” digitized for piecing in the hoop (preset for each month)
• One block with a ready-made design already inserted (Halloween block for October)
• 12 “month name” designs
• This instructional PDF

SUPPLIES

I worked from various fat quarters in my fabric stash. The measurements listed below are for the calendar block designs in this set; adjust accordingly for how the sizes you’ll be using and the hoop(s) you’ll be using if they vary.

• Batting: 14” square (I used Floriani’s Quilter Select)
• Fusible Fleece: 14” square, optional (I used Pellon Fusible Fleece)
• Center block: 8” square (I used white Kona Cotton)
• Sashing: 2 strips 2¾” x 8” (Sides) + 2 strips ) 2¾” x 13” (top & bottom)
• Backing: 13” square
• Binding: I cut mine on the bias at 2¼” wide.

SETTING UP THE DESIGN

If you’re stitching this bonus October Halloween block, just load the design to your machine.

Otherwise, use one of the 12 calendar block “blanks,” which includes the basic ITH steps for each month and insert the design of your choice after color #5, which can be done either in software or at your machine. The center area is designed for a 175mm square design.

The month names are also included separately in case you have a smaller hoop and are unable to do the project in the hoop. You’re on your own for working that out.

WHY AREN’T THERE DESIGNS FOR EVERY MONTH?

This set is designed to make it easy for you to select your own monthly designs. Not everyone celebrates the same holidays and while we in the northern hemisphere experience winter in December, my Aussie friends are enjoying summer.

Another reason there aren’t designs for every month is I haven’t found artwork for every month yet. I will be posting similarly styled designs as I fnd them and get them done. In the meantime, you’re able to create your own calendar blocks with your own designs.

HOW TO SEW

Start by hooping the stabilizer. I used Sulky Soft ‘n Sheer. Other good choices would be washaway fber or wash-away tear-away. Because I’m using a large hoop and my stabilizer is thin, I used duct tape on the back to prevent slippage between the rings.

I foated the batting for this project because I didn’t have enough to hoop all the away around. Hooping would have made the top and bottom month names easier to stitch.

The first color sews the placement guide for the center area. Use any color for this step; it will be covered by batting and won’t be visible. You can use the same color for the frst 5 color changes if it works with your center block fabric.

Center the batting over this guide. I layered on a piece of fusible feece, fusible side up on top of that. Sew the tack down stitch.

Layer the center fabric so that it extends evenly on all sides of the tack down stitch and press lightly to tack it to the fusible feece. Sew the second tack-down stitch.

When I was testing this design, I found it easier to accurately place the center block in a separate step rather than with the batting.

Sew the central design.

Attach the Side Borders

Using the tack-down stitches as a reference, align your side borders right side down making sure they extend beyond the tack-down stitches about ¼”.

Sew the side seams. Trim seam allowances if needed, fip the borders open, fnger press the seam and then press in place to tack to fusible feece. Pins can also help secure the side borders. Stitch the month names for the side borders.

Attach the Top and Bottom Borders

Repeat the process to add the top and borders. Make sure the borders extend to the outer edges of the side borders. Stitch in place, trim seams if needed, press open, stitch month names.

Remove from the hoop. Square up the block and trim borders to size. Mine are trimmed to 2¼”.

COLORING THE CENTER AREA (OPTIONAL)

One of the reasons I love redwork and color line designs is that I can embellish them with other media. For this project, I used InkTense colored pencils. I’ve tried a variety of media and these are by far the easiest, no mess, and most permanent media I’ve found that still leaves the fabric soft.

I lightly colored in areas and then used clear aloe vera gel thinned with water to a bit thinner than egg whites to blend and activate the ink in these pencils. The aloe vera will prevent the water from wicking into other areas causing the ink to bleed. When dry, the color is permanent.

Do apply the liquid carefully, brushing by area. If you get sloppy, colors can run together. Colors can be blended until they are set after drying.

FINISHING

I chose a fall print for the back, created a label using Adine Script, added a sleeve for a hanging rod, and fnished with a bias binding. Most quilters know how to do these things. If you don’t, do a search on YouTube for video step-by-steps.

EXTRA TIPS

If you don’t have a large enough hoop to complete the full project, hoop your center fabric, batting, and stabilizer and manually attach the borders. You’ll need to rehoop for the month names. You may need to cut your stabilizer and batting larger to allow for adequate hooping area for the month names.

USING OTHER DESIGNS

Another good choice for a monthly calendar project are the Birth Month Flowers of the Year. These designs come in filled, appliqué, and redwork versions and while optimized for a 200mm square sewing feld, these designs have been split and can be multi-hooped using a minimum 5x7” hoop. Just use the month names to create your own version.

SUMMARY

Projects don’t have to be elaborate. Yes, you could make a huge king-size quilt but small individual blocks like these are easy to turn into a seasonal mini-wallhanging or pillow covers.

Also, small projects like these make it easy to experiment with different media and techniques without a large investment in fabric, supplies, and time

This vibrant southwest quilt showcases 5 machine embroidered appliqués designed digitized by Lindee Goodall. The quilt was designed, pieced and embroidered by Lindee and quilted by Barbara Angerhoffer. The central piecing is framed with a turquoise 1” border surrounded by a dark 3” border of mini Kokopelli black on brown print and finally set off with a solid black binding. Finished size is approximately 36 x 36”

Skill Level

• Basic embroidery and computer skills
• Basic quilting skills (rotary cutting, piecing, applying borders, binding)

What You’ll Learn

• How to create professional looking appliqué using precut pieces and your embroidery machine
• How to quickly make perfect half-square triangles in the hoop

What’s Included

• Designs for appliqués and two sizes of half square triangles in the hoop
• Templates for hand or machine cutting appliqués
• Instructions for machine embroidered appliqué
• Project instructions (this document). Cutting and quilt assembly diagrams are at the end.

About the Pattern

The five machine embroidered appliqué designs were originally created to fulfill a request by my friend James Raymer at Dalco Home Sew. After researching many southwest designs, I drew the artwork to represent common elements in native artwork then digitized them. I was so pleased with them (I have a southwest decor theme in my home) that I decided I’d make a wall hanging to showcase them. I designed the quilt in Adobe Illustrator and with the help of my quilter friend, Jeanette Smith, we picked fabrics. Once I started printing out the pieces at actual size, I realized just how tiny some of those little triangles were! So to maintain accuracy, I digitized a grid for sewing half-square triangles with the embroidery machine. These designs are included with this pattern.

I didn’t start out with the idea that I would publish the pattern but after numerous requests, I dug out my Illustrator files, and here we are! The yardages are approximate but on the generous side; I mostly worked from my stash and pieces contributed by Jeanette.

Now that the license agreement with Dalco has expired, the appliqués are united with the quilt pattern and half-square in-the-hoop triangles as one project.

Foolish Assumptions

This pattern provides quantities and dimensions for the individual pieces and a visual guide for assembling.

Borders

These instructions assume basic quilting and embroidery knowledge. You should know how to rotary cut, piece, apply borders, and bind a quilt. No details are provided for quilting. Details are provided for machine embroidered appliqué in a separate document.

Seam Allowance

Scant quarter inch throughout.

Seam lines marked on pattern pieces are 1/4 inch, seam lines marked on grids are scant quarter inch.

Supplies

• Fabrics for quilt and appliqué (I used all cottons)
• Embroidery threads
• Stabilizer
• Wash-away fiber stabilizer or tear away
• Temporary embroidery spray adhesive (TESA)
• Heavy duty spray starch
• Construction thread
• Batting
• Supplies for appliqué (fusible web, tacking iron)

Appliqué Embroidery

Machine embroider blocks before piecing quilt. If you haven’t done machine embroidered appliqué before or haven’t done it using precut appliqué pieces, please refer to the separate instructions PDF, Appliqué Basics.

I recommend prewashing all fabrics used for the quilt and appliqués. I also like to prep them with starch to improve stability for both embroidering and piecing. Spray the fabric but don’t saturate, turn the fabric over and press until dry with a hot dry iron. Repeat with at least two sprays on each side always pressing from the side opposite of the one you sprayed. This will force the starch into the fabric fibers making them more stable.

I prefer hooping fabric so that it is secured between the rings of the hoop with the stabilizer. If you are cutting squares of fabric and basting them to the stabilizer for embroidery, be sure to cut them at least 1” larger. Embroidery tends to distort the fabric even when properly stabilized. Hoop the stabilizer, baste in the hoop directly onto the stabilizer, then smooth down your block securing with TESA and a second basting stitch. Hoop carefully so that embroidery is centered in the block. After embroidering, remove excess stabilizer and trim block to size, keeping design centered in block.

Half Square Triangles

There are many ways to piece half square triangles. If you have a favorite method, then use that one. This wall hanging has 24 very small ones (finished size 1 1/8”) and 32 small ones (2 5/8” finished size). Handling tiny pieces can be cumbersome so you may wish to try one of the grid methods explained below.

Grid Method, Automated: Half Square Triangles in the Hoop

If you have an embroidery machine with a larger hoop, this method is fast and accurate. Two embroidery designs are included for doing half square triangles in the hoop. The smaller half square triangles (lgp01006.*) can all be done in a 5 x 7 hoop at one time. The larger blocks (lgp01007.*) require a larger hoop (175 x 175mm). Each of these has 3 color stops:

1. Placement guideline for positioning fabrics in the hoop
2. Fabric tack down and cut lines for quilt pieces (this is a longer running stitch)
3. Seams (use regular sewing thread instead of embroidery thread

Embroidery Instructions

For stronger seams, use sewing thread instead of embroidery thread for needle and bobbin. You may also wish to adjust the tensions for a more balanced sewing type stitch rather than embroidery, where the top thread is pulled to the back. Although the entire design can be sewn in one thread color, you may find it easier to cut the pieces apart if you use a different color for the cut lines. DO NOT SCALE THE EMBROIDERY DESIGN OR IT WON’T WORK FOR THIS QUILT!

Do not scale the embroidery design or it won’t work for this quilt!

1. Hoop tear away or wash-away stabilizer.
2. Sew color one, placement. This placement line is slightly outside the cutting line.
3. Cut two pieces of fabric to the size of the cutting line. With right sides together, TESA the two pieces, TESA one side of the fabric sandwich and smooth into place within stitched guideline. It doesn’t matter if the fabric extends beyond the line but it must at least meet the line. Color 2 can stay the same as color 1. Color 2 will zigzag tack the fabric to the stabilizer outside the cutting line. Then the cutting lines will sew. The cutting line may not entirely trace the perimeter of the design but there will be enough of an edge to align your ruler for rotary cutting.
4. Color change 3 sews the seam lines. Choose a color that you would use for piecing.
5. Finish sewing the design.
6. Remove from hoop and use a quilting ruler and rotary cutter to cut along stitching lines of color number change 2 (make sure not to cut the seam lines…).
7. Press seams open or to one side as desired for project. Trim off points.

Half Square Triangles, Grid Method 2

Using the provided templates as a pattern, mark a grid on the wrong side of one of the fabrics you’ll be using.

Print the template pages at actual size for an accurate pattern. Acrobat may set the default Page Scaling to Shrink to Fit. Make sure to change it to None in the print dialog box.

Print on light-weight fusible tear away lightly fused to a piece of printer paper in an ink jet. Fuse pattern to back of fabric, sew on stitching lines, tear off stabilizer.

For the smaller half square triangles, the pattern will make all 24 pieces at once. Place fabric A and fabric B right sides together, sew as indicated by the dotted sewing line and then rotary cut on the solid lines. Press open and trim off points.

Use a light mist of TESA to hold the two fabrics together without shifting.

For the larger half square triangles, the pattern will make 8 blocks. Make 3 sets of color C with color D for 24 blocks. Make 1 set of color B with color C for 8 blocks. Cut, press, and trim as with the smaller blocks.

Assembling

Refer to the layout on the following pages for a visual guide to assembling the quilt.

Borders

Cut strips for inner narrow border 1 1/2” wide. Cut strips for wider border 3 1/2” wide. Measure the vertical center of the pieced top and cut the inner side borders to that length. Attach side borders. Now measure the horizontal center of the pieced top and cut the top and bottom inner border to that length and attach to top. Repeat in a similar fashion for the outer borders.

Once borders are attached, your quilt top is now ready to be quilted. After quilting, add a hanging pocket if desired, and bind. Remember to add a label!

Usage of this Pattern

You may sell sewn versions of this quilt as you wish. The copyright applies to sharing, selling, or otherwise distributing printed or digital copies of this pattern or the embroidery designs—don’t do it! You may also teach this pattern as long as each student buys their own copy of the pattern. All attempts have been made to ensure these instructions are accurate. These are the pieces I used to make the quilt shown on the cover. Never the less, no guarantees are made.

Add Borders

Grid Pattern for Small Half Square Triangles

Instructions

Layer fabric A and fabric B right sides together. Trace template onto fabric. Sew on the dotted lines. Cut on solid lines, press open, trim off points. This pattern will make all 24 of the small half square triangles.

If you print this page at actual size, the template is accurate. Measure the small squares. They should exactly 1 5/8” (1.625”).

Journal and book covers are quick and easy projects and are perfect for showing of your embroidery! They also make great gifts and can be customized for almost anyone of any age.

PROJECT NOTES

For these samples, I used designs from Victorian Crazy Patch in the Hoop. Related YouTube videos are available for stitching the designs and making the cover:

• How to Sew a Journal Cover
• How to Stitch Victorian Crazy Piecing In-the-Hoop

These links were correct at the time of this writing. If they don’t work, please visit my YouTube channel to locate them: https://www.youtube.com/ lindeegvideos

These covers were made for standard composition books but you can make them for just about any book by changing the measurements.

Mine are just basic covers with sleeves on the inside to secure the book covers. I’ve added a ribbon for a book mark, a narrow elastic to secure the book closed, and a wider elastic loop to hold a pen.

The inside sleeves ofer more real estate for extra pockets and personalizing. Plan for any extra embroidery because you may need to complete that before final cutting to size.

SUPPLIES

• Fabrics for project (you’ll need to determine what you need based on how many fabrics you use and how large your book is)
• Cove
• Lining
• Sleeves
• Pockets
• Interfacing. I just used Pellon ShirTailor for mine but you may want something stifer.
• ¾” wide elastic (or a fabric loop) for the pen holder (~2½” or circumference of your pen plus ⅝”)
• ¼” wide elastic to hold the journal closed (height of book + 1”)
• Ribbon for book mark (about 3” longer than height of book)
• Optional: charm for bottom of ribbon
• Basic sewing supplies

START BY MEASURING

You’ll need several measurements:

• Height of your book cover
• Width of book measured around the circumference of the closed book from front edge around the spine to the back edge (not a full circumference)

This book is 9¾” tall by 15½” wide. Add 1” to both the height and width for your cutting size. Cut one piece for the cover and a second one for the lining.

Although we’ll only be using ¼” seams, we’ll need a little extra room for ease. When cutting the front cover fabric, I added a 2” extension to the right side for hooping and an extra ½” on the other sides for squaring up after stitching.

• Inside sleeve depth, which will depend somewhat on how wide your book can open and how thick your book is. The wider your sleeves, the more difcult it will be to get the cover on your book. Also, you need at least a 3” space between the sleeves along the spine to turn the project right side out. (More if your fabrics are thick or heavily interfaced.)

I cut my sleeves to 14” wide by 10¾” tall. Fold each sleeve in half, wrong sides together for a 7” x 10¾ size, then edge stitch along the folded edge.

INTERFACING

While not strictly required, interfacing will make your project look more professional by adding structure and will help it wear longer.

Fusible interfacings are easy to use. Be sure to follow the pressing directions included with your project.

I interfaced the outer cover with Pellon ShirTailor, which is a medium light interfacing, before embroidering. I also interfaced the lining piece and one side of each sleeve. I didn’t interface any of my pockets.

The striped pocket was cut 10” wide and folded just like the sleeve and top stitched along the edge. The top pocket is narrower and was stitched to the striped pocket to form several smaller pockets. (Pockets weren’t interfaced.)

On other journal covers, I’ve just placed one small pocket for business cards. Consider making a larger, clear vinyl pocket for an ID pocket if you’re making a cover for a student.

PREPARING TO SEW

Cut all your pieces to size, interfacing as desired. As mentioned earlier, you’ll want to complete any embroidery before cutting to make sure you have enough fabric for proper hooping. Also, embroidery can distort your fabric so having extra fabric to square up is a good idea.

Sleeves and long pockets are folded in half right sides together and edge stitched along fold. Attach any pockets to the sleeve panels.

Patch pockets are edge stitched in place. Pockets that extend into the seam allowances can be stay-stitched into place.

If you want curved corners, use your book to trace the corners in place. Remember to trace them on the seam line and not just around the book itself.

ASSEMBLING

When I took these step-by-step photos, I was working from the front cover. However, in the video, you’ll see me working from the lining side.

Working from the lining side seems a little easier because you are layering all the elements face up with only the outer cover face down. Plus, you can do all the stay stitching in just one pass. It really makes no diference to the fnal project which way you work.

STAY STITCHING

Stay stitching is another thing the pros do to reinforce various areas that are likely to get more abuse, such as the bookmark ribbon, elastics and pockets.

Stay stitching is done within the seam allowance. On the ribbon and elastics, I stitched forward, back and then forward again for extra security. On the pockets I just stitched them down once Stay stitching in this manner has the added beneft of holding everything in place when you have so many layers to stitch through.

Place your ribbon pretty side face down if applying to the front, face up if working from the lining side.

I only inserted one piece of elastic to hold the book closed. However, you could add a second to the back and then use the elastics to hold the book open to a specifc page.

Finally, layer on the lining, face down and then stitch around the outside edge using a ¼” seam allowance, leaving an opening on the bottom edge between the sleeves for turning.

Trim the corner seam allowances to reduce bulk. Turn right side out through the opening, taking care to push out the corners smoothly. Press well, tucking in the seam allowances at the opening; edge stitch closed.

WHOOPS!

Did your sleeves or pockets end up on the outside instead of the inside? Don’t panic! This can happen during turning. Simply flip them over to the inside.

OPTIONAL

Add a small charm or bead or just tie a knot at the end of the ribbon.

THE MOMENT OF TRUTH!

Now all we need to do is dress our book. Fold back the covers and slide them into the sleeves, then pull on the cover.

NOW THAT YOU’VE MADE ONE, MAKE ANOTHER!

Once you’ve got your measurements worked out, making multiples for books of the same size is pretty speedy.

Having an embroidery machine along with some basic sewing skills makes it easy to make a gift stash so that you always have some little something on hand. Finger tip towels, kitchen towels, and journal covers are perfect for stocking that stash because they’re small, quick and easy to make, and can appeal to a wide range of people without having to deal with sizes!