College football got off to a slow start this year, thanks to hurricane season showing out at the same time. But a few of the games Florida has played so far, we managed to win! Amazing, considering…considering…well, you know about the things everyone is saying about the Gators.
Curiously, one armchair quarterback we know (who shall remain nameless) sustained an injury in the armchair region that we noticed about the time of the Tennessee game. Not sure if it was before or after the fracas* during that legendary Hail Mary play in the last few seconds of the game.
But the large cranium (which is full of knowledge, I admit) that usually resides on the breach of leather seen above, sure seemed to expand with happiness at the outcome of the next game!
We had to do something because a bad case of the bighead was making a hole in the furniture around here. For a craft project, I could have made a doily to drape over the chair…but that would make us look like old people who sit in the house all the time watching TV with their cats….Hey, wait a minute…
But also, crocheting a doily takes time. I wanted something quick, that would be ready by game time next week. Which is…today!
I used cotton batting, one thin layer, sandwiched between two layers of blue cotton fabric, and quilted together with Superior Threads’ New Brytes in a day-glo orange color. This thread is thicker than the average thread, #30 3-ply, it says on the label, which I thought might be a good thing. But when I ran a bobbin, it started rolling rough-shod onto the spool, which I know from experience, is not a good start.
I decided to do free-motion machine quilting, since they were little projects. It’s been such a long time since I’ve done machine quilting, I had to live through a learning curve.
When this happens, I go through all the possible reasons for it: rethread the top thread, check the bobbin tension, wind a new bobbin, install a new needle, but ultimately, I just have to turn off the machine, then turn it back on.
Ironically, I had recently read an article by Superior Threads about tension. The graphic included in the article was very informative, but ultimately, turning the machine off, then back on, worked.
After many rippings and re-doing of the quilting, I squared up the corners and added shiny orange blanket binding. The iron-on decals were purchased. Yes, I did break a few needles while quilting through the thick decal patches. The teensy quilts are attached to the backs of the La-Z-Boy chair head rests with Velcro tape from the hardware store.
* Fracas is a funny word. I can only picture it being uttered by a big, burly hard-boiled detective in a crime novel. The American pronunciation rhymes with “rake us.” But, I was watching something British on TV, when I heard them say “fracas” in British, which is pronounced “frah-cah.” Which rhymes with ha, ha!
Been busy and my little projects are humble! But I’ve had other things to do.
This red satin (polyester) comforter was old and the batting inside had gotten all bunched up. I was going to throw it away, but the top of it was really a very savory huge piece of fabric. The bottom layer was a nasty old threadbare rag covered with fabric pills; if the skin of my foot ever accidentally touched the backing during the night, I would wake up recoiling in disgust. (My feet are very sensitive to substandard fabric!)
While shopping at JoAnn’s, I spotted a bolt of that extra-wide (108″) fabric that can be used as backings for large quilts, without having a seam. So I slashed the quasimodo comforter, removed the hump of bunched up batting and the nasty backing, and replaced both with something new. I thought of my grandmother, who told me that when she was young (in the Great Depression) they would cut the worn bedsheets down the middle and then re-sew them with the outer sides now seamed together in the middle. Waste not, want not!
For quilting, I loaded it up on the king-size Grace frame, and I mostly traced over the embroidery on the satin top, and experimented a little with the Qnique. I didn’t care about making it perfect.
I still haven’t mastered getting the bobbin tension right with the Qnique.
If you look closely at the quilted back of this table runner, you can see the ugly bobbin stitches.
This Fourth of July table runner was made from a cute little remnant, a remnant piece of fusible fleece for batting, and a collection of red, white and blue remnants die cut into tumbler shapes with an Accuquilt template. Binding is Wright’s double fold bias tape.
Looks like my trip to Philadelphia is coming to an end 😶. Glad to get home but will miss the loving family members on this side of the country!
I got to visit my cousin Ben at the Franklin Institute
I found some great unique sewing paraphernalia at the Quilt Academy in Bensalem. We dropped in while they were having a class going on. What a friendly and fun group!
I’m sort of new to the whole Row by Row Experience thing but I love the idea, it’s shop-hopping to several quilt shops that have a custom pattern for a row, then adding all the rows together. The idea is to get 8 rows to complete a quilt. Not everyone will go to the same shops, so not all the finished quilts will look exactly the same. The new one for 2017 starts in June. Therefore, I’ve been going around collecting some of the patterns from previous years. Not sure how I will put these older rows together…or if I will just make a one-row project so as not to blend the different themes. Future project….
I got to sample a bunch of the local cuisine.
You know they are called “Philly Cheese Steaks” elsewhere in the world, but just “Cheese Steaks” when you’re here.
I got some updates to my knowledge of the Marvel Universe watching Guardians of the Galaxy 2 in a theater with reclining plushy seats. I could write a post about all the subliminal gags and messages in that movie…
Best of all, I got to hang out with family in the amazing historical city of brotherly love!
After a fun visit to North Carolina, I’m convinced that it is the friendliest location of all, for artisans and makers of all creative crafts.
First off, I had to make a stop at the Cary Quilting Company. The shop was busy with pending classes and folks stopping in to visit and talk with the proprietors. I didn’t do any prep work before I darkened their door, to look for particular fabrics or items, but just tried to find interesting things that mightn’t be found any where else. As so many little quilt and sewing shops seem to fall prey to underpatronage in favor of cheaper, more ubiquitous big box outlets, I want to do my part to keep them in business, if I can. Within reason, that is.
Clock wise from back left: a packet of patriotic Moda Red, White and Free cotton, the Big Book of Scrappy Quilts by Martingale, the Cary Quilting Company Block 3 fabric and pattern for the 2016 Quilt! Carolina Carousel Quilt, I Love North Carolina Pillow Pattern , the 2016 Row by Row Cary Quilting Company pattern and top fabric for “Home in the Oaks,” and a 2017 Plate: “Stitch Local.”
The pillow pattern is a pretty fun idea. I’ve never really seen anyone get excited about an odd-shaped pillow that represents one of the United States. I live in Florida, and I’ve never seen anyone in FL get excited about a state-shaped pillow. But in NORTH CAROLINA, the residents react with utter delight! “Oh, cool!” they say when they see it. Like they’ve always wanted a very odd-shaped, off-kilter, jaggedy, state-shaped pillow and they just now realize it! Or a North-Carolina-shaped mobile hanging from their ceilings, or Christmas ornament, or doorknob hanger! I mean, they get almost as excited about a North Carolina-shaped pillow as we do about a plushy Florida gator!
Meanwhile, we stayed in Carrboro, a creative little town that is an extension of Chapel Hill, the home of UNC. Carrboro is overflowing with charming little crafts stores and hippie hangouts. One shop, WomanCraft Gifts, had loads of handmade things from local artists, including jewelry, wooden pens that had been turned on a lathe, wood segmented bowls and boxes, paintings, ceramics, quilts, dolls, clothing, all sorts of things from the practical to the beautiful.
I found this apron with an attached tea towel sewn into the waistband, and I had to get it! Why? Because the tea towel reminded me of when my grandmother taught me how to do Swedish Weaving when I was little, on huck cloth like this aqua-colored piece here. This apron is of a very soft fabric. And what a great pattern.
Another creative item on sale in WomanCraft was the Chapel Hill Toffee, which is made by a local family business. Ah, yeah! It definitely tastes as good as it looks on the box top here:
We took a stroll through the Historic Carr Mill Mall, which has several gift shops, a perfume shop, high-end clothing and shoes, and a savory fabric shop: Mulberry Silks.
We picked up some sumptuous food items from the friendly market, which was having a couple of taster specials going on. Patrons who come into the store with their little kids in tow are encouraged to shop seriously:
We picked up some BBQ from the Cross Ties restaurant, which consisted of a bar straddling two train cars.
Our order included “a plethora of sauces,” including the famous Carolina BBQ sauce that is vinegar with some hot pepper flakes. When I saw the vinegar and flakes in the little plastic cup, I thought, “What are we supposed to do with this?” but when applied to the smoked pulled pork, it tasted so right!
We’ve each been sucked in to pursuits other than Crafting in the 21st Century recently: Skip has been moving wood into a new woodshed and pondering a new series of lectures he wants to do involving some of the many antique tools languishing about the place. Check out the trailer:
I’ve been consumed by my OTHER hobby, family history.
My mom passed away a few years ago, and although I’ve looked through the several boxes of her family history files here and there, it was just a few weeks ago that I felt that I should really get into it and do something with all the data that she collected during her lifetime.
In the boxes, I found letters to and from people who gave her pedigree information, notes from Historical Society meetings, receipts from Vital Records bureaux, from back to the days when first-class postage was 2 cents. She would go to a county courthouse or a library, and copy passages from books in long-hand, because there wasn’t a photocopy machine back then. [And her handwriting wasn’t the easiest to decipher, but who, besides me, can decipher it?]
She compiled a book about one of the ancestors, born in 1740, and now I have her notes and correspondence from that. Sometimes I’ve looked up things on websites, and been ecstatic at the new data I found about one of the ancestors, only to go to her files and discover that she already had that piece of information, for which she actually paid money to a record researcher, but somehow the information never got recorded on a chart or got lost.
She wrote out reams of family group sheets and pedigree charts. At the bottom of each one is a list of her sources. I can now look up some of the books she found, in Google, and many have been digitized and are available online for free. Awesome; if I can’t read her writing, I can sometimes look up the source and the page number, and voilá, it comes up online, like magic. I just copy and paste the URL of the source document on my online pedigree chart, and it is there for another cousin to search up and collaborate with.
Probably the site I love to work in most, is Familysearch.org. I love the Sourcelinker, the Search Records functions, the Wiki. And the site is free. How in the world can so much information be available to the public for free? I know, because I served as a volunteer support person for the site for 3 years. And, in that role, I became aware of the fact that the site carries a global tree, seeing as how we are all part of one big huge family, and anyone can supplant your data with their data, and you can’t cry foul about the outcome. So I’ve been transferring lots of the information I have into some of the other sites that have individual trees, which can’t be changed by anyone but the owner. Those sites are excellent, too. Family history has become such a popular hobby, and more records are being added all the time to help with the ongoing research.
It’s been great to find that some of my female progenitors also sewed, quilted, and crafted during their time in mortality.
This female progenitor grew up in New Brunswick, the daughter of a Canadian and a Scottish immigrant. She crossed the border to work at a textile mill in Maine, where she met her future husband.
These sisters came to the US with their family in 1912. They came equipped with phenomenal knitting skills!
I have the remnants of a crazy quilt made by this great-grandmother, in beautiful mauves and beiges and indigo fabrics.
Family history: another “craft” using 21st Century Technology to document and delve into the past! Amazing, isn’t it, how clear and beautiful are these photographs that have survived many decades!
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!
Last year about this time, I blogged about the local Quilting and Bluegrass Festival, here. This year it was very similar, but more so!
Similarities: the Festival was held on a day when our college town had a football game. The Festival showcases 100+ gorgeous quilted works of art. One of the bands that played last year came back: Patchwork. The vendors and store owners in the center had cool crafty eye candy to ponder and peruse, and the quilts were truly marvelous to behold!
Skip was busy helping out with an Eagle Scout project, which consisted of building some chairs for a community group home (he loves it when the younger generation wants to do woodworking),
so I sashayed up to the local shopping center to see some quilts.
Several of these pics include an information sheet pinned to the quilt, so you can zoom up and see the details, thereby crediting those who produced these amazing articles.
I learned there are several quilt guilds in the area, holding meetings at various times, day or night. So there ought to be one that fits the schedule of just about any quilter or wannabe-quilter in town.
I bought this cute mini-table runner from one of the vendors. It’s a great little project to place on a side table in the house during football season. Speaking of which, gotta go watch the game…
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.
Using current technology to create 19th Century crafts