I got this little circle-making attachment in an after-holiday sale at A-1 Sewing, our local Husqvarna Viking store, and I’ve been trying to get some projects going, so I can make use of it.
First off, I used it to decorate some window coverings for a superadobe building. (If you want to see more about this particular building, go to this PlenitudPR website under the heading “Bio-construction.”)
You may see this photo and think, “But that looks like a pillow, not a curtain!” True! The proprietors (who happen to be very dear to us) mentioned that their superadobe house could sure use some window coverings, that the windows to be covered were like portholes, about 12 inches in diameter and some were more oval-shaped than round.
They were currently using pillows to stuff in the windows. We came up with some options that did not work, then a few that were more useable.
This was the first attempt: it looked like a big circular potholder. I used white blackout fabric for one side, batting in the middle, and fabric on the other side, and edged it with double-fold bias binding, with a little strap for pulling it out. Unfortunately, you can see here that it was not quite big enough to plug the hole.
For the second attempt, I tried out a new design, sketched here:
The diameter was increased to about 26 inches, the center circle was padded and sewn around, and the outer circle was supposed to slide into the cylinder of the wall thickness to be held in place. But again, this design didn’t work well, although they were able to fold it a certain way to keep it from falling out, so it was somewhat useable, see it in the next pics:
The third attempt included the brown dragonfly “pillow” shape shown above. Since they were already using pillows, and that worked…if it ain’t broke, don’t fix it, right? I increased the diameter to about 16 inches and added a lot more fleece padding. Since the diameter was larger than was usable for the circle-making gizmo (maximum diameter for that is 10 inches), I did snap it on anyway and sew some circular designs in the centers of the covers, to quilt the fabric and batting layers together in the middle. The attachment comes with templates to make circles, 4-petal flower shapes, or 6-petal flower shapes.
And I should be glad to mention that PlenitudPR is an organization that teaches and promotes sustainable living, so we kept that in mind and used fabric remnants for our window covers, and thus kept those leftover pieces of fabric from potentially clogging the landfill.
In a previous post, I referred to the multitude of quilt tops I had ready for quilting.
Since I got the Qnique and Grace Frame, I may have quilted about 5 or 10 items. I hoped to have acquired expert status with this set up by now, but it hasn’t been like riding a bicycle. The brain and muscle memories haven’t automatically renewed every time I tried a new project. Each project has its own set of peculiarities!
Since most of the pile (seven of them) consisted of table runners, I thought maybe I could pin several of them up to the Grace Frame, and quilt them all at the same time, and see how it went.
This frame is supposed to accommodate fabric to make a king-size quilt. I was able to comfortably fit 5 of the 7 table runners across the width, with a little space in between each. The backing is pinned (with the right side facing down) onto the first (top, furthest back) leader cloth, and to the second (center) leader cloth. I have marked on each leader cloth a mid-point. Normally I would fold the fabric of the top, bottom, and batting in half and pin that half-way point to the mid-point on the corresponding leader cloths. To match up the mid-points on all these separate fronts and backs of the table runners, I just counted the marks on the top leader cloths and lined them up with the marks on the bottom leader cloths. I realized later, that not all of the table runners were the exact same length, so that was one major problem with this set up!
A while back I bought 2 big rolls of batting on sale, anticipating that I would be making a whole bunch of quilts. I use one of them most of the time, for the smaller baby quilts and lap quilts. I can position the roll on the floor in front of the frame, and just roll out the batting up onto the frame as I am rolling out the fabric to be quilted. The one end of the batting layer is pinned to the backing, and then the quilt top is pinned to those two layers, forming the quilt sandwich. I actually purchased a fourth rail for the Grace frame, onto which the batting roll can be wound. One of these days I will find that fourth rail and install it. The second of the two batting rolls is for larger-sized quilts. The batting is folded double, and then wound onto the cardboard roll. So it doesn’t conveniently unwind from the roll like the first one does. You have to unroll the estimated length of batting, cut it off, and then unfold the large section of batting in half, and pin it to the backing.
One thing I enjoy about the Qnique and Grace Frame set up is that pinning the fabric layers to the frame takes significantly less time than pinning the layers of a quilt for quilting on a home sewing machine. You pin the selvedge edge of the backing to Leader #1, then the opposite end to Leader #2, then roll it up on the rails, smoothing it out with your hands. No need for fifty-thousand pins with the little foam bobbers, or safety pins, or clips. However, in this case, since all the table runners were not the same length, and there were so many separate edges above and underneath the batting layer, a bit of mayhem ensued.
All five pieces were conjoined in the batting layer, as seen above. But when the ruler base attached to the throat plate of the Qnique slid across to continue quilting the top next to it, it sometimes slipped the backing layer of its neighbor (underneath the throat plate) out of alignment, which wasn’t easily seen from the top side. And because all the tops and bottoms were of slightly different dimensions, some of the backing layers had a bit of slack, which wasn’t easily seen from the top, and which resulted in a few big puckers.
DH (Skip) suggested that next time, I sew the edges of each runner together prior to quilting them on the frame. I don’t like that idea, because I feel that the seam ripper should be used for ripping out undesirable stitches that occur by accident, not on purpose. But, if I ever do 5 at a time again, it might be worth a try to see if sewing them together causes less shifting of layers.
After the quilting, and cutting out the separate runners, and truing up the edges, I found that I would need to rip and redo several areas of quilting, due to puckers, overlaps, and other unsightly mistakes. In a couple of spots, when I slid the Qnique over to the next runner, the hopping foot got entangled in the edge of the top fabric and had to be cut loose with scissors. Sheesh.
The worst shifting and puckering occurred in the inner three table runners. The outer two turned out with the least amount of rework needed, perhaps because the bungee clips which hold the fabric taut, are attached to the two outside runners. This is the reason for DH’s suggestion that all the lengthwise edges be seamed together for quilting, so that the tops and bottoms are one continuous piece of fabric during the quilting step. But I also feel that these errors can be chalked up to overall unfamiliarity with the process. Perhaps they could be prevented in the future by smoothing all the fabric pieces, exercising extreme vigilance of the under layer, and perhaps installing the fourth rail and rolling the batting on it, thereby keeping the batting layer more taut and uniformly stretched out during quilting.
Next pass, I pinned up the last two table runners to the frame. These, too, were of slightly different lengths, so one of them had some slack in it during the quilting step.
I pinned them up closer together, practically touching, but I didn’t sew the edges together. I ended up with a couple of minor puckers and overlaps. But the one with the pink backing, because of its additional length compared to the other one, had about a 5-inch space at the end that couldn’t be passed over with the machine, because its neighbor was already at the end of its quiltable area.
So this last little bit, as well as several areas on the previously mentioned runners that had to be picked out and re-quilted, were done on the Brother SC9500 with the free-motion hopping foot installed. BTW, that Brother is an awesome little machine, and very affordable!
I did manage to get all the quilts (3) and table runners (7) finished, reworked if necessary, and bound. Here are a few pics of the finished items.
The last one is not bound yet, because I couldn’t find anything in the stash right away that would make it “pop.” But the cats love it already. This is a slippery, satiny fabric that is possibly meant to represent snowy winter camouflage. For a backing, I used a silvery hologram-looking knit fabric. I love all of the camo remnants!
Skip, who is somewhat tone deaf, was trying to tell me about the famous Halloween Song that they always sang when he was a youngster.
“You know, the song “On October 31?” he said.
” No, I’ve never heard of it.” I said.
“You know, this one…” and he started singing it. It went like this.
“Oh, yes, that one. I didn’t know it actually had words.” I said. “It’s from the Peer Gynt Suite by Grieg, right?”
“I don’t know,” he said.
Same famous melody, two totally different contexts!
“Music Time” at Meade Heights Elementary School in Ft. Meade, Maryland in the mid-60’s, was sitting in the same seats in our classroom and listening to LP’s played on a portable record player. There were no visuals. Perhaps, as first or second or third graders, the teacher would have us draw what we felt when we heard the music. But I was never introduced to those lyrics that were well-known to Skip. Wonder if it was a regional thing?
Thinking, on the last day of October, how quickly this month evaporated, and that soon it will be gone altogether.
Other October things:
Lately, October has been the month of Breast Cancer Awareness, and every year we have more friends and relatives to whom we dedicate our service and consideration. Here’s hoping for a cure!
As for crafting, it’s been a few weeks of machine embroidery on dish towels and future table runners. Designs from Embroidery Library.
Kokka is a Japanese fabric company. Every once in a while I’ll go to a sewing expo somewhere and find a vendor who has Kokka fabrics–usually in 1/2-yard packages that cost about as much as a yard of other fabrics, but they are so darn cool!
The red and green dish towels were machine embroidered on packaged sewn dish towels from JoAnn Fabric. They are sturdy cotton with a loop on one corner for hanging. The beige dish towels were also pre-made, but I forgot where they came from. The others were sewn from fabric. The table runner is a Realtree cotton duck cloth fabric remnant from JoAnn’s.
For Autumn table runner number 3, I’m doing a left brain sort of a project. Actually they’re all pretty left brain for me, because rather than offering a tutorial or a gallery of images, I tend to analyze everything that went into a project. To the nth degree.
This project looks pretty simple, but it was troublesome to pull off.
I had it in my head that I wanted to do some machine appliqué text letters. But nothing in my pattern files fit. Ditto for the two of my favorite sources for machine embroidery patterns, Embroidery Library site and Urban Threads. I found the appliqué font for this project, Sporty Script, at Rivermill. It was delivered in a zipped file, including several different sizes. I chose the biggest size, 7 inches, for this.
As this is the first sewing project featuring text as the main design element, that I’ve done in a while, I was experimenting. Just playing around, really, to get a feel for what I could do, how it would end up. My fabrics were remnants, of course, of about a yard each for the top and bottom. The top piece is Hoodie’s Collection for Michael Miller Daisy Drama in fall colors. The bottom is a mustard-colored Fabric Traditions NTT print with glitter shot through it. At first, I wanted the fabric of the text appliqués to be a yellow-orange or a sherbet-color, but I tried mocking that up, and didn’t like the resulting look much. In the end, I decided on the green batik. It picks up some of the color of the green and beige and yellow in the top fabric, but it’s more subtle than a solid orange or yellow would have been.
The thread for the satin stitch around the letters was a light gold Robison-Anton rayon, color Patricia. When I first bought an embroidery machine, I got several boxes of thread with it from the dealer. I didn’t realize this spool was from the special Marcia Pollard Elegance Collection, as I guess the free box was a sampler of various RA threads. But I liked the color, and have used it for a lot of machine embroidery. The machine’s embroidery software has a matching feature, so that if you don’t have a color your pattern calls for, it will bring up the closest color you have on hand, if you have entered all your inventory into the program’s database. Anyway, I forgot to search in the matching db, but took off for the sewing store thinking I could just grab another spool of “Patricia,” pay, and leave. Wrong. They didn’t have it. So to be on the safe side I got 3 spools of similar gold colors, hoping one of them would be a good match. One of them was ok, but it took some testing to determine that.
To do appliqué embroidery on a quilting cotton-type fabric, I hoop up the fabric and stabilizer(s), in this order: 1) tear-away stabilizer on bottom, 2) table runner top background fabric (the Daisy), 3) fabric of the text appliqués (the green batik), 4) possibly a transparent water-soluble stabilizer on top, but not always necessary. I didn’t break it down into a detailed mathematical placement here, so the lettering is somewhat haphazardly scattered. I did do some general arithmetic to make sure I had enough surface area to put 13 letters down, including 3 upper case ones, that were in a 7-inch font size. As I hooped and appliquéd the letters one or two at a time, I didn’t get the same amount of space in between them, like you would if you were hand-lettering from a Speedball chart. I will need more practice positioning with chalk or a disappearing marker, before trying to eyeball it next time.
Sorry to report that, weirdly enough, after many attempts, I could not get this photo, taken with an iPhone in the portrait position, to rotate into the correct position! A WordPress phenomenon! I’ve found since, that a workaround is to only use iPhone photos taken in the landscape position. Unless you know how to insert some code that will get the program not to automatically rotate your portrait photos, which I currently don’t.
I added some leaves and acorns cut with the Accuquilt Go! Big machine and Fall Medley template and applied with Steam-a-Seam 2. Then stitched around the shapes with a machine satin-stitch.
I loaded the top, bottom, and batting onto the quilting frame, with the long edges pinned to the leader cloths, in hopes that it would only take two passes to quilt with the Qnique. It did, but the bobbin stitches for about half of the runner were horrifically ugly.
Ugly bobbin stitches with obvious tension problem.
I briefly considered leaving this the way it is, because the top looks fine, and hopefully no one will come over for dinner and snoop underneath the runner, to see what the underside looks like. But dang! If they do, seeing this will ruin their appetite for sure. So I picked out all the ugly stitches while watching the Blacklist last night on TV.
Next, redid the meander stitch quilting using sewing machine with a free-motion spring foot, then squared up the corners and edges. For the binding, nothing I had in a package looked good, so I went into the scrap bin and cut up all the scraps of the green batik into 2-inch wide strips, sewed them together, folded the strips in half long-wise, and sewed the binding out of that.
The applique saying is “Happy Fall Y’all” and with a black cat and a velvet pumpkins on the table, it’s beginning to look like Halloween around here. Never mind about the digital photo orbs in the background.
This is the second autumn table runner post, the first one presented a few posts ago, here. That first one was pretty much general quilting, with a pieced top and a whole underneath side, with batting in between, quilted on the Qnique longarm, or “mid arm,” as some people designate it. The raw edges are bound with Wright’s Quilt Binding.
If you had to categorize this next one, the main descriptive word that comes up is “appliqué.” It is quilted, in that small pieces of fabric were put together on the top. But the underside is not pieced, unless you count that I ripped it in half length-wise and serged the two long halves together. And there is no batting in the center.
Naturally, the fabrics used in these projects are mostly remnants from the 50%-off bin at JoAnn Fabric Store. I had a couple of larger pieces of fabric, say, almost a yard each, for the top and bottom. The top is a plaid fabric with metallic orange-gold threads woven into the check pattern. The backing is a striped very low-pile flannel in yellow, tan, and tobacco-ey colors that wash together. You can see the center seam of the runner above, and I decided to make one side a maple motif, and the other side an oak motif. All the leaf, pumpkin, and blackbird appliqués were cut with the Accuquilt Go! Big machine and templates. I backed each appliqué piece with Steam-a-Seam 2 double-sided fusible web, also cut on the Accuquilt cutter, and then ironed them on to the runner top side.
After the appliqués were applied, I wanted to pull them all together with branches and tree motifs. I looked at lots of methods for yarn and textile couching, which is technically just laying down strands of yarn or string and then sewing over them. Looking through my box of sewing machine feet, AKA my Foot Stash, I found that I had a heretofore unused Yarn Couching Feet Set.
The two plastic feet each had a small hole (one was larger) through which the end of the yarn was to be threaded. You hold the end of the yarn in one hand and move it around, if in “free motion” mode, and then sew over it. (You can also use it with an embroidery hoop and software pattern.) The kit also contained two different types of hooks to mount on the back of your machine, to use as thread guides for the yarn, a device for threading thick yarn into small holes, and some sample yarn and a DVD and basic instruction sheet.
I found this process to be pretty interesting, but this yarn was very slubby and every so often I had to cut and re-thread, because the big slubs wouldn’t go through the hole.
Next, after couching, I needed to sew down the appliqués. Originally I wanted to do a big thread-art project, using different colors of thread to add shading to the pumpkins and also do the tree trunks and branches in embroidery thread. But since I used the thicker yarn, I decided to just basically outline the shapes in one color and not do a whole bunch of shading, and leave it as sort of “primitive” colors and shapes.
After going over all the appliqués with free-motion embroidery, I spray-starched the backing and ironed both top and back, making sure the back piece lined up with the top. Then I sewed all around the edges of the top with Wright’s Bias Tape Maxi Piping in black, with the piping facing inward, toward the center of the cloth. I then sewed the backing on, right side facing the appliquéd side of the top, and sewed the edges, leaving the piping sandwiched between, and leaving about a fist’s length of seam unsewn, for turning. After turning inside out, and hand-sewing the opening closed, I pressed the edges, making sure the piping was peeking out and at the very edge of the seams. Then I top-stitched around the edges, about 1/4 inch from the piping edge, using thread that matched the top (and back for the bobbin thread).
Sometimes people will comment on the nice stitching, so I wanted to come clean and say that it isn’t me who’s responsible for that, it’s my Foot Stash. I use a special see-through foot with a little groove in the bottom, for sewing piping, and another special see-through foot with a metal attachment, called an edge-stitching foot, for top-stitching. And the machine has a triple-stitch function that I use for pretty top-stitching, setting the length on a 5 or so (normally it’s more like a 2.5 for ordinary seams).
It was fun to make, and the cats definitely like it. Sigh. Cat people will understand.
While waiting to be caught up in the next project, I’ve been turning out a few interim FO’s (finished objects) that loosely fit into the category of “covers.”
The main thing they have in common is that they’ve used up larger pieces of fabric that have been lounging in the fabric stash.
These are mostly cotton lightweight lap quilts we sent to the non-profit organization that is closest to our hearts, plenitudpr.org .
The tops of the quilts are cotton flannel remnants pieced together, and the backs are cotton remnants in sizes of about 2 yards. The solid yellow one above possibly has some polyester in it. But the idea was to have a smooth, bedsheet-like side and a warm, flannel side. The edges of the backs extend over the tops, and are folded over and sewn down with a machine featherstitchto make borders.
This one is a lap quilt made from the selvedges of fleece fabrics. A few years back, I was making fleece blankets a lot, and trimming them with packaged Wright’s fleece binding. First, Wright’s discontinued the royal blue fleece binding that went perfectly with Florida Gator trademark pattern fabric. Now, you’ll be lucky if you can find fleece binding on eBay in any color other than black or white. Normal people, I guess, would trash the selvedges, but I threw them in a box, and this is the end result. This little quilt of sewn-together selvedges can also be turned around and used for light non-fiction reading if we get tired of watching TV in the La-Z-boy. Fun for the whole family.
Next, if you’ve seen my Pinterest page, you might find that I’ve gone nuts pinning tablerunners. These little projects are wonderful for expressing creativity, but not getting bogged down in a big, long, quagmire of obligation like you would get making a full-sized tablecloth or a queen-sized quilt. It’s just a little slice of a quilt, the slice with all the good stuff in it!
As soon as we put a covering of any size on a flat surface, a cat’s bohunkus is right on top of it.
This tablerunner was an experiment, using remnants. The top is 5-inch squares pieced together, and the back is one whole piece, about a yard of 44 or 45-inch wide cloth, cut in half lengthwise and pieced together on the short sides. I longarm quilted it, loading the short sides on the frame and rolling out the length. I used the meander stitch, and although I thought I had the tension right from the previous project, it came out with some of those spidery-looking ugly stitches on the back. When Lorraine came over and did a little project, we decided that one problem with the tension was the cheap-o thread I had loaded up. Without even thinking, I got a cone of thread that I normally use in the serger and threaded it up, bobbin too. Next time, we will try thread designated for machine quilting.
The display cabinet is finally (almost) finished! It’s been a long project, slowed down even further because of personal injuries, a hurricane, and multiple design changes during the construction, but we’re so happy with it.
We ordered the glass for the shelves and mirror, and originally planned to pick it up ourselves with the help of our friend Ray and his truck. Then Skip wrenched his ankle, and we decided carrying glass around might not be a good idea, so we rescheduled the delivery and asked for the Glass Company professionals to install it.
Then—wouldn’t you know it—Hurricane Hermine blew in, and the delivery was postponed again.
Once the mirror was epoxied in, we were able to mount the shelves on the brass rods.
We ordered the mirror backing to be 1/8 inch thick, and the glass shelves with a 1/2-inch bevel on the front edges.
We’re going to place felt dots on the undersides of the shelves at the points where they sit on the brass rods. And then Skip will add some molding to the outer perimeter of the mirror.
Shown above are some tentative display items. We’re enthused that we can vary the items we decide to display. According to proper fengshui, you shouldn’t place a mirror directly opposite a door, but I’m hoping that the friendly, creative, familial Qi of the objects we’ve chosen to feature on the shelves will be retained in the home. Currently, nothing is on the lower shelf, because the kittens have been jumping up there and lounging on the shelf with great delight. They are able to reach their little paws up into the next shelf, so we must favor kitten-proof display items there.
The lower shelf has two quilts my grandmother made, and an antique glass service plaque (see more about the origin of service banners and plaques here). BTW, we saw an awesome video recently about making a wooden service banner, from Opa’s Workshop (click to watch!). As for the two quilts, the one on the bottom is chronicled here in a prior post. The top one is a Dresden Plate quilt that was probably originally made in the 1950’s or 60’s. I can see places where my mom tried to mend it with fabric that I recognize from my own stash, part of which I inherited from her stash!
The middle shelf has an antique quilt that my great grandmother made (see a prior post on this quilt here) to the left, and a woven pine needle mat that was made by my grandmother, circa 1960.
The upper shelf has several quilt mats hand-sewn by my mother during the last few years of her life, when much of her precise quilting skills and abilities were stolen by Alzheimer’s disease. But it is heart-warming to me, that she enjoyed piecing beautiful fabrics together into practical projects, even up to the end.
Here’s the You-tube composite of the whole process.
When we had lots of family members descend for the Beach Weekend, we were dragging out bed linens from the closet to accommodate folks sleeping on the beds, couches and floors. I found this quilt my grandmother had made. Part of the crazy-quilt patches had come unsewn, so after everyone left, I took it to the sewing machine to mend and repair it as best I could.
I’d forgotten that my grandmother wrote on the back of it. She had a whole set of these little tubes of “embroidery paint” similar to this modern-day product (click the link to see). For a time period, she was very prolific with the embroidery paint, making pillow cases, sheets, all sorts of things. She had been in the habit of stamping a design or motif onto a piece of fabric, then embroidering (or drawing with the tube paint) over the stamped designs.
This is what she put on the back of this quilt:
Here, on the backing (which looks like it probably was an old sheet, so thin here it is almost transparent) you can see the underside of some heirloom quilt stitching, all hand-sewn. In the next photo, you can see the top side of the feather-stitching, probably done in a few strands of contrasting-color embroidery floss.
The quilt top itself is remarkable too.
It’s made of patches of double-knit fabric, which was an innovative fabric type for those of my grandmother’s era (she was born in 1906). See this article at Seamwork about the differences between the double knit fabrics available then vs. now. John said, “I remember it [the quilt] was really scratchy, the sort of polyester material that leisure suits were made from.” Hence, the soft cotton sheeting on the back of the quilt, which side would go next to the tender skin of a little 4 or 5 year-old great-grandchild.
I’d like to say that I matched the embroidery thread and repaired the blanket in the style and manner of the original–but for me to do that would involve quite a learning curve. I picked a decorative stitch on the sewing machine and put the pedal to the metal. For any curious posterity, it will show obvious mending by machine.
Meanwhile, how enlightening to have this information!
I like summer sewing projects to be quick, functional, colorful, and fun. These bags are for our family beach weekend this summer. For the past few years we’ve scheduled a beach (or, near-beach, or similar-to-a-beach) weekend for the kids and grandkids to all get together and have a party and relax before school starts up again.
We get motel rooms close to each other, so that the kids can go back and forth to be with their cousins, aunts, uncles, and us. We let them pick all their own activities except for one big family dinner during the weekend.
So far, it’s been fun and relaxing: no big expectations, they can go to nearby attractions if they want or just lounge, go from pool to beach and back, get grocery-store food and eat in their rooms or go to the restaurants they choose.
This year, we wanted to give them some little mementos and practical things for the stay, so we made up some simple beach bags for each child, couple, or family unit, so they can tote stuff around: pool toys, towels, wet bathing suits, groceries, or whatever.
I used up lots of stray bottom-weight fabrics from my fabric stash, as well as some wet-resistant fabrics that I’d bought to make diaper covers for some of the little grandkids (too little too late though, I think they’re all potty-trained now). Anyway, they are cute fabrics and came in handy for this project, to make lining for the bags. I was going to keep it simple and not line them, but I tried it on one and liked it a lot.
I had lots of remnants that could be used for straps: I bought a big roll of red, white and blue flag-motif (it looks like elastic but is not as stretchy as real elastic) at a close-out sale for about a buck. And got some other kinds, as each bag uses quite a length of strapping, like about 3 yards each.
They’re not the coolest but they are, at least, a functional souvenir of the 2016 family beach weekend.
You can see why it takes me so long to get something built, if you go back and see when I started this! Between teaching, grandchildren visits, woodworking merit badge stuff, etc., there just doesn’t seem to be enough time to make shavings.
Thus far, I have sanded the cabinet’s framework, given it several coats of wood conditioner and added a couple of applications of Minwax red mahogany stain. There is still some blotching I have to deal with, but the distressing I applied (not a lot) really is giving me the aged look I was hoping for. I have brought it back inside to gel a little while I work on the brass and leather components.
I cut the ¼ inch brass bar stock in the lengths required to span between the front and back frames to support the glass shelves. Using the golden rule, I laid out the shelf locations and made a drilling guide to help me locate and drill the holes in the frames for the bar stock. You can see in the picture where I dry-fitted one of the brass bars in the frame. I haven’t decided yet to round off the ends of the rods and let them stand proud on the front of the frame.
I cleaned all the leather panels with Dr. Jackson’s Leather Cleaner from the Tandy Leather Company and then conditioned the leather with Dr. Jackson’s Leather Conditioner. After the panels had dried overnight, I gathered together a tape measure, thick CA glue and some painter’s tape. I found the center of the larger panel and marked it with a pen. I measured the dragonfly applique and tried to outline the space on the leather for the applique with the painter’s tape. Bad idea… the painter’s tape would not stick to the leather! So I made a couple more dots on the leather with a pen to guide me to set the dragonfly by hand. I did get a little squeeze-out, which was hard to remove. Not sure how to deal with this. I’m going to take a waste piece of this leather, put some CA glue on it and see if acetone will take off the glue without taking the dye out of the leather. I am considering alternatives: 1. Don’t do anything (it will be almost impossible to see the glue squeeze-out in the foyer where this will be…a sleazy alternative), 2. If the acetone removes the glue and takes out some of the dye, touch up the spots with leather dye if Tandy has some to match, or 3. Pry the appliqué off, trying not to damage it so I don’t have to go crawling on hands and knees back to the sewing room to get a new one made. Then carefully apply the dragonfly to a square piece of the same leather, tool a border on the square and then glue the square over the damaged area of the panel.
In the next post, I’ll report on how all this leather stuff worked or didn’t work. I will joint, plane and glue up the mahogany panel for the bottom shelf, finish staining and clear coating the framework and install a bottom panel for the lower compartment of the cabinet.
I still have to install the leather panels, miter the ends of the brass rods to frame the leather panels, construct the top for the cabinet, cut and ebonize the glass stops for the sides of the cabinet, and begin working on the back of the cabinet.
Using current technology to create 19th Century crafts