Quick tips to sewing hems on jeans

An excellent tutorial on how to sew hems on jeans is available here.

I would like to add several suggestions.

In this photo regular default stitching is on the left, slightly elongated stitching is in the center, and triple stitching is shown on the right.

Denim needles or at the very least 90/14 needles are a must. Denim is a tightly woven fabric and hard to sew through with lightweight needles. When you reach very dense areas, such as, the multiple layers found at the seams you will need to slow down. Rotating the handwheel of your machine to pierce the fabric will save your sewing machine's motor, your needles, and your nerves. You may need to advance the machine stitch by stitch across this very dense area. After you pass it you can continue sewing as normal.

Denim needles are also available as double needles. The caveat about slowing down goes double for these needles. :):)

Thread color is easily matched to the topstitching thread on the existing pants. But beware. Each pair of jeans is slightly different. Even the same manufacturer can have slightly different thread colors. Just check it out with each new pair of jeans. Normal sewing thread is just fine to use.

Select a slightly longer stitch length than the normal default. This allows you to more closely approximate the existing stitching.

Even better, use the triple stitch function on your machine. Most machines have this stitch under "utility stitches". It also can be elongated slightly. This combination of matching thread color + elongated stitch length + utility stitch makes a very effective hemstitch on your altered jeans.

Finally, sewing over thick seams is always a problem. If the presser foot is not kept parallel to the bed of the machine you can risk breaking a needle. I can verify this by experience all too well. :( There is a little accessory called a Button Clearance Foot. Look for Husqvarna Part No. 41 11 732 01 or 41 31 056 01. Most sewing machine stores can get this for you. It slips under the presser foot before or after it reaches the seam and raises the foot. This allows the machine to continue sewing safely and with the same stitch length. It's one of the handiest little tools in my sewing drawer.


View the tutorial I mentioned here and consider the additional comments I have posted. In no time you will turn out hemmed jeans that even the fussiest person will be happy to wear.

Serger thread works well for many uses, but not all

Serger thread can be a boon for the sewer, and not just for serging.

Serger thread or cone thread (because it comes wound on cone-like spools, of course) is a thinner, two ply thread meant for use in home sergers. It has only two strands of thread wound together unlike the more common three-ply thread used for every day sewing. As a result the thread is thinner. It is also wound in one direction and other threads are wound in the other. (Don’t ask me which way, this confuses me. Supposedly this affects the way it comes off the spool but I never seem to see the difference.)

It is also a strong, polyester thread. Originally meant for high speed machines it stands up well to my sewing.

And it seems to have less lint than some of the threads out there. It is not lint-free, no thread really is. This saves time on cleaning out your machine, especially the bobbin area. Please tell me you are cleaning out your machine regularly!

I do actually use it for serging. My serger uses up thread at a fantastic rate and I buy in multiples, rarely one cone at a time. And BTW, if you are doing one project in a funky color, you don’t have to buy FOUR cones. Buy two for the loopers and wind off bobbins of this color to use for the needle threads. A bobbin’s worth of thread is usually enough for a garment or a couple of throw pillows or a child’s Halloween costume.

Or try color blending. Good old gray, in light, medium, or dark usually blends well with other colors. Use your matching color thread in the needle threads. Try this on scraps to see if you like the effect. I stock up on grays whenever I can.

But I also use serger thread in my regular sewing machine.

Warning: I do NOT piece quilts with it. Because it is a strong thread over time it can actually damage fine cotton fibers. There is an old adage,”Never use a thread stronger than your fabric.” Well, maybe not that old. Though my kids will say, if I say it, it has to be old! The saying is try, the one about the thread, not my kids’. Strong polyester thread can act as a saw and cut throw weaker cotton threads.

However, I do use it for appliqué, just not in the top of my machine. I like serger thread as the bobbin thread when doing machine appliqué. Because of the wide range of colors I can usually find a color that goes with the top thread. This reduces show through if my tension isn’t exactly right. And the lighter weight two ply makes great bobbin thread in my sewing machine.

But, I only use it as bobbin thread occasionally in my embroidery machine and only when the embroidery will be seen on both sides, such as, on towels. I like to embroider fun towels for the different holidays. Winding off embroidery threads to use in the bobbins doesn’t work well for me. Probably that cross winding directional thing about thread! Using a colored serger thread for the back side embroidery does work. This thread doesn’t have the same sheen as pretty rayon or polyester embroidery threads but the color on the underneath of your project works well. The lighter weight is not quite as thin as regular embroidery bobbin thread but it’s close.

And, serger thread makes great basting thread. Yes, I sometimes still baste. Sometimes you just have to. The thread is stronger than regular sewing thread and the thin ply pulls out more easily when pulling your basting stitches. Be careful and use a contrasting thread that shows well on your fashion fabric but don’t go crazy. I usually use white or light gray. Never use something like red or black! You can leave lint and dye behind. Ask me how I know.

So, I hope you will give serger thread a try, even if you don’t own a serger.

Sew potholders to celebrate Julia Child

Sew a quick potholder to celebrate this weekend! Julia Child was born on August 15th. What better way to have fun this weekend than to sew something for the kitchen. My favorite quick project is a pair of potholders.

One of my favorite shops, Quilting by the Yard, is having a sale on kitchen novelty fabrics to celebrate Julia. They're having a Food Celebration Weekend. From August 2th through Sunday, August 15th they will be offering a 25% off sale on all wine or food theme fabrics. And every purchase gets an entry to win the book Julie and Julia!

I go through a lot of potholders during a year. Between constant washing and scorching they wear out quickly. And, these are so quick to make you’ll want some for every season. Use your scraps or buy some of the fun novelty fruit and vegetable prints that are in the quilt shops now. You can make one pair of potholders from a fat quarter, though you might need a little bit more for bias binding for both. Get two coordinating prints fat quarters and you will definitely have more than enough for these two potholders plus extra to trim towels, or appliqué a table runner to match.

Prewash your fabrics. This is one project that definitely benefits from pre-washing the fabrics. Potholders get such wear and tear in the kitchen and need to be washable.

• Cut four eight inch squares from the novelty fabric.
• Cut two four inch squares from batting fabric. (It should come as no surprise to my friends that I use wool as my batting in this project. Not only do I have a lot of wool in my stash, felted and otherwise, but wool is a natural heat resistant fabric. If it is felted it is already washed and shrunk. And, it is easy to needle through.)
• Cut two 1-7/8” x 34” or piece bias strips together to make this length for the binding.
• Assemble two sandwiches by layering novelty fabric wrong side up, batting, and novelty fabric wrong side down. You will have a sandwich with batting in the center and the right side of the novelty fabric facing you on both top and bottom.
• Quilt this sandwich. Here is a good place to have fun. Try out your new walking foot. Practice some motif you have been wanting to try. Outline quilt the design in the fabric. It’s such a small little quilt, just have fun.
• Make sure the completed square lays flat. Press them if necessary. Trim up to a square so that all the edges of all the layers match. The quilting process does take up to some extent. At this point your squares will not be perfect eight inch squares any longer. But it doesn’t matter. Just trim them up to a perfect square. Round the corners if you like. I use several old CD’s glued together to make a rotary cutting guide. Works great.
• Press the two strips of binding in half lengthwise and the fold in the edges to the inside center to make bias binding. Apply the binding all along the edges. I topstitch the binding for extra strength.

You’re done.

These are quick and easy to make.

Now you can get into the kitchen and make something from one of Julia’s cookbooks to celebrate her birthday this weekend!

Bon Appetit!

National Sewing Machine Day

National Sewing Machine Day on August 12th and it's a good time to pamper your hardworking machine.

My Bernina 1090 was "formerly owned" when I bought it almost 15 years ago and it has been a work horse ever since.  One of the first things I learned was how to maintain the machine.   It was the first thing we learned way back in 7th grade Home Ec and it has served me, and my machines, well all these years.   

First and foremost check your owner's manual to be sure that you can clean and maintain your machine without voiding it's warranty.  In general, newer computerized machines are factory sealed and maintenance is only allowed by a trained technician.    If this is the case with your machine it is time to take your machine for it’s annual vacation to be cleaned and serviced.   

If you don’t have your manual you can contact the manufacturer or search the Internet.    A-1 sewing machine has links to free manuals online.   Another site, Sewing Machine Reviewer offer links to all the major manufacturers.   It offers links to free manuals, as well as, other model’s manuals that cost a few dollars.    If you have misplaced your original manual this may be money well spent.   

It was expected that older machines would be cleaned and maintained by the owner.     It is a good rule to oil your machine after eight hours of sewing.     When I worked in a clothing manufacturer’s business years ago the ladies in the sample sewing room cleaned and oiled their machines at the beginning of each workday.    Time was allotted for them to clean out the bobbin race and oil it.   Also, a drop of oil was added to several points in the head of the machine wherever the operator’s manual, or the floor supervisor, indicated.    It only took them 10 or 15 minutes but it was considered important to keep their machines humming all day long.   
Manufacturers suggest that machines be cleaned and oiled every eight hours or so.    Most hobby sewers don’t sew for eight hours straight.   (Though sometimes on deadline for a quilt show I have come close.)   Maintaining your machine at the beginning of each new project is one way to remember.     Even machines that are factory sealed benefit from frequent cleaning.   

Some quilters make sure to clean out their bobbin areas when they insert a new full bobbin or two.   Because I use a lot of felted wool this area gets a lot of lint.    

Please DON’T blow into the machine to clean it out.    Canned air used to clean computers seems to be an easy way to go but it can cause problems in the future.    You don’t want to force dirt and lint further into the machine.   You want to remove it.    

The best way to do this is to use a vacuum attachment that is sold for computers and electronics.     It is basically a specialized miniaturized hose with small brushes that can get into the areas under your machine.   It works great to remove all that fuzz that accumulates in the bobbin area.    If left there the lint can cause additional drag on your bobbin race and causes the machine to work harder.   

And keep the outside of your machine clean, too.    A cover at night, even if it’s only a lightweight cloth thrown over the machine, keeps out dust, and in my house, an inquisitive cat.    At the very most, I use a microfiber cloth to wipe down the outside of my machine.   

Keep your machine clean and it will serve you for years and years to come.   I own a 1941 Singer Model 221 (commonly called a Featherweight) that I bought from its original owner years ago.    71 years old and still going strong.  It has been lovingly maintained by the sewer/owners all that time.   

2010 Hoffman Challenge artists announced

As promised, the 2010 Hoffman Challenge artists were announced.    You can see the results on the Hoffman Challenge web site. 

Bonsai on Front Hall Table
KBagioni 2010

Look for my quilt, Bonsai on Front Hall Table, on the list of quilts chosen to tour this year.    I was thrilled with the news.    I haven't been doing much quilting at all in recent years because of my involvement with the Board of the Vermont Quilt Festival.    Unfortunately, being a quilt bureacrat leaves little time to actually do any quilting.   Now that I am a trustee emerita I get to sew again.   

Using felted wool always makes me nervous.   I love the material but judges don't seem to be so inclined.  They either hate it or love it.  For my purposes it works beautifully with thread embellishment.    Since I like to "sketch" with my sewing machine using  felted wool as the applique base helps.   The stitches add texture and color to the thick but stable material.   It's always fun to see the applique, often just a blob, take definition as the threadwork is added.  

Sulky Ultratwist thread
works beautifully for leaf forms
in dappled light.

Tree trunks are favorite
shapes to "sketch".

For this little quilt I actually painted the Hoffman fabric.  First I added white stripes to tone down the gold in this pretty fabric and to give the illusion of old-timey wallpaper.   Then I added grayed areas to suggest shadowing.     The threadwork on the bonsai tree heightened the illusion of light streaming in from the upper left.   

Why is it that my favorite part of the process, the actual threadwork, seems to take the least amount of time during the actual project?   

Copyright Info for Artists

A member of a mailing I read just posted this link to the Journal of Biocommunication special issue about copyright and its protection for artists.   This is a publication that serves the medical illustration community.   But don't worry.   Copyright issues cross all mediums, including textile, of course.  

From the publisher's comments: "Our current SPECIAL ISSUE focuses on aspects of artists’ rights, and broadly covers subjects of illustrators’ rights during the late 1800s. We also include articles that discuss more recent issues surrounding existing copyright law, copyright registration, artists’ rights, and the current U.S. Orphan Works legislation."

Copyright protection no longer consists of mailing a copy of your last work to your home in a sealed envelope.   Make sure to read the article Perfect and Strengthen Your Copyrights  by Cynthia Turner.

"Copyright is the law of authorship and grants a body of exclusive rights to visual authors. This paper presents a survey of the meaning, scope and profound validity of copyright, and notes some of the increasing pressures wrought by the digitization of the world’s creative works and the rise of anti-copyright advocates. Although proposed orphan works legislation would override the protections afforded by registration, it remains a prudent choice for artists under current law. A brief guide to registering and searching the new eCO (electronic Copyright Office) assists visual authors with the online registration process and monitoring of their public records."

and continues on to explain,


"Copyright is the law of authorship. It is quite simply a visual author’s exclusive right to make copies of his or her work, authorize others to make copies, and stop those who make unauthorized copies. Copyright has also come to mean the body of exclusive rights granted by law to visual authors for protection of their work.

. . .

Copyright automatically protects an original work of authorship the moment you fix an idea in a tangible medium of expression. The ownership of that copyright automatically vests with you: an author’s right is based upon the act of creation itself. The copyright confers a specific set of exclusive rights to you, and to others authorized by you, to 1) reproduce the work, 2) prepare derivatives based on the work, 3) distribute the work under your terms, 4) perform the work, or 5) display the work publicly.

. . .

Artists rely on copyright for creative control over their works. Copyright’s protection of original authorship guarantees an artist’s independent voice, now and for posterity. Copyright preserves the integrity of your work, prevents corrupt editions, and protects the privacy of your unpublished works and early drafts."

Cynthia includes directions in the Appendix to her article on how to register your work for copyright.   

Now, even though my kids will contest it, I did not need copyright protection in the 1800's but do need it now.   All artists need to be aware of current copyright issues.   This Special Issue of the Journal of Biocommunication is a good resource for all artists.   

I hope this information is useful to you.

Share your story about copyright issues.  
Have you ever had a problem?  
Needed the protection?  
Let us know.  

Great resource for new sewers

While walking through my local Jo-Ann’s ETC the other day I spotted the magazine SewStylish by Connecticut’s own Taunton press. This is a magazine aimed at beginning sewers. It is sort of the baby sister to Taunton’s more well known Threads magazine.
Now I have read and loved Threads magazine for years. An article in Threads many years ago started me on my love affair with felted wools. The articles are informative and well done. But Threads is aimed at the experienced and adventurous sewer. Beginning sewers could quickly be overwhelmed. SewStylish serves a need in the sewing community . . . the new sewer that needs to learn. The articles are well written and easy to understand. The photos continue the excellent tradition of all of Taunton’s publications. They are clear close-ups that clarify points in the articles.
The two issues I read included tips on tools, techniques, and garment alterations. My favorite was an article giving basic instructions on making a skirt pattern from duct tape.

Years ago I made a dress form with duct tape. It was a project that took half dozen rolls of tape . . . and a few glasses of wine (I am claustrophobic).  My husband thought I had lost it but helped me anyway.  Although he kept cracking jokes and I was trying hard not to laugh because of the tight fit we were able to make an exact replica of my form.    (BTW - Use an old oversized tee shirt to make the form.  Seam it to make it fit snug and then go ahead and start wrapping.)   The time it took to make it (a couple of hours one evening) was well spent and it resulted in a form that served me well for many years. Every person’s body is asymmetrical, some more than others.  My right side is larger than my left and my shoulders are rounded.  This became readily apparent as soon as I looked at the duct tape form.   A skintight duplicate of your individual body shape makes an excellent base for pattern drafting and garment alterations. No matter how good a store bought dress form is it can’t duplicate your body eccentricities as well as a form made this way. Once made this dcut tape dummy will stand up to many, many patterns and changes.
Throughout the magazine are directions to the website for additional info. Originally I was peeved but after checking out some of the links I was impressed. There was a gold mine of information there at the click of my mouse.
I found a sale package of two of the SewStylish magazines for a bargain price of $8.99. Look for the freestanding display near the cash registers or near the magazine section.
Check out the magazine and its website.

Determine fabric content with a detective kit

Sometimes fabrics aren’t well-labeled, even in the best of shops. Sometimes I find them in unusual places, like tag sales or consignment shops. I love a good hunt. I’m a fabric omnivore. If the fabric is the color/weight/weave I need for a project I use it. This upsets my purist friends but certainly makes my work . . . uh, distinctive.

Natural fabrics are my preference and I have gotten pretty good at guessing by touch and feel. But sometimes I am stumped. Polyesters are getting better and better. Some no longer feel like hard plastic. Some sweaters made of acrylics are hard to determine by the touch test.

I recently went on a shopping trip to New York City. Preparation included packing some unconventional items . . . my handy dandy fabric content detective kit.

Actually it’s just a disposable lighter or matches and a couple of four inch squares of white muslin in a sandwich bag. If a particular fabric is not well labeled or store help cannot answer my questions, I ask for a snippet. It’s an infrequent request and most sales staff are happy to help. That’s most . . . not all sales staff. Let’s just say the store salesman in the shop in New York City was having a cranky day. He looked at me as if I had two heads and then completely ignored me, not answering “yes” or “no” to my request for a swatch. You can’t win ‘em all.

CONTENT
Take your hard won fabric snip and step outside. This is a quick test to see if the sample is a natural fabric, a manmade fabric or a blend. Burn a bit of the corner of the fabric. Put out the flame almost immediately. You only need a bit of a burn for your observations not a conflagration big enough to roast marshmallows. And, let’s think. Standing on a street corner in NYC trying to light fabric afire . . . not good.

How does the fabric burn?
• Sputtering and hard to light, wool resists flame and self-extinguishes immediately when the flame source is removed.
• Silk also burns slowly. Both smell like burning hair or feathers.
• Cotton and linen burns slowly and steadily and smells of burning leaves.
• Polyester sputters and leaves plastic behind. It smells sweet and puts off black smoke.
What does the ash tell you? Natural fabrics turn to black or gray powder when touched. The polyester leaves hard shiny beads behind.

CROCKING

Then it is time to see if the fabric sheds dye. Does the dye from the fabric rub off on other fabrics it comes into contact with? This is called crocking and can be a real problem. If the crocking is severe the fabric will leave color on anything it rubs against . . . other fabrics, upholstery, or even human skin, particularly when the weather is hot and humid. Take one of the muslin squares and rub the fabric in question. Does the color from the fabric rub off on the muslin? How easily? Prewashing fabrics does help this problem but often this fabric will looked faded after a trip through the machine. Crocking means a lot of surface dyes and sizing. When this is removed your fabric can look worn and tired. I avoid fabrics with a severe crocking problem. They are almost always lots of trouble. Even a bargain basement price can’t overcome really awful fabric problems.

SIZE

I also have a roll up tape measure with me. I know the stores will lend you one but I like having my own. It’s handy to measure the repeat in a fabric or the size of a particular motif. I once got home with a gorgeous, wild fabric intended for a stack and whack-type quilt. Unfortunately the motifs I intended to use would have necessitated a ten foot square quilt. Waaaay to big for the kid’s quilt I had intended. Now I measure.

COLOR

Some quilters take reducing glasses with them and even colored plastic value finders. I don’t need to. I am horribly nearsighted. I just take off my glasses. Instantly everything becomes blurry and the fabrics in question are reduced to color values. Need a handy way to audition fabrics for a project? Just squint.

Don’t worry squinting is a lot easier to do in a crowded fabric store than asking for swatches. Even cranky sales people feel obliged to help a “mature” shopper like me when she is squinting hard at the fabric bolts and bumping into things. I don’t mention it’s a test. And I let them carry the bolts I choose.

Enjoy the hunt.

Now, I have a question.

Where was the most unusual place you shopped for or discovered a great fabric find?

Let me know.

Make a master pattern list to organize your sewing

A pattern for this banner takes many pieces and many different fabrics. Time spent now makes sure you won’t be slowed down later by mistakes. One wallhanging I made a while back for a design competition had pattern pieces numbering into the triple digits.  Don’t worry. This design is not as complex.

A master pattern list helped then and I swear by them. It's time well spent to make this list.  

Write down all the pattern pieces. As you audition and make decisions about fabrics you can keep a swatch glued here. You will take this list with you when you go shopping.

Begin to look at your design three-dimensionally.

Which elements are in the background and which are in the foreground?

How many pieces are in each design element?

Organize the list according to design elements. In this design the long wisps of smoke coming from the embers of a dying fire lay on top of the fabrics representing the courtyard and hills beyond. Each smoke wisp has three or four pattern pieces. Number each one, Smoke A1, A2, A3, . . . I then go on to the other smoke elements, the hills, the courtyard arch, etc. Each is numbered on the main pattern, the small sketch, and the list. As each pattern piece is cut I check it off and stow it in a baggie. Each design group has its own baggie.

It’s at this time I begin to get a sense of the colors and textures for the fabrics I will use.

Which pattern pieces use the same fabric? Indicate this on the list. Try to avoid too many different fabrics in the design. Repetition ties elements together. Fewer fabrics can strengthen a design. Use fabrics intentionally.

Now take some quick measurements. Mark the longest measurement for each pattern piece on the list. This measurement and the number of pieces that use each fabric help approximate the yardage you will need to buy.

Keep this list near as you proceed to the next step, Making the Pattern. Mark any changes on your list before you head off to the store.

An easy way to make your own oversize French Curve

French curves come in all sizes but not big enough for this project. A large design like the one I am currently working on is almost all curves. The best way to smooth them out is to use a French curve. Remember how great it worked on the small drawing? I make my own French curves in just the size I need. An oversize curve works well on the actual size drawing.


Follow these easy steps to make a curve in a size that fits your project.

Trace the French curve on a piece of paper with a Sharpie pen or a Pigma pen. You need a fine, dense black line.


Scan the image into your computer. I use the scanner software that came with my printer. Import the scanned image into a simple drawing program. Windows-based computers come with a program, called Paint. Look for it under the “Accessories” tab. Nothing fancy here, just functional.

Decide how large you need a French curve. I find a 20 inch long curve and a 30 inch long curve good sizes to work with. They are large enough to give smooth, graceful curves, fit my designs nicely, and are easy to make. They easily fit on a piece of foam core or poster board.

Simple algebra or just using a proportional scale tells you how much to increase the drawings. Increase the original 9 inch drawing by 222% to get a 20 inch curve. Just round it to 220%. Increase by 335% to get a 30 inch curve. Round it to 340%.

Print out the pages and tape them together.

Transfer the drawing to a large piece of foam core board Use a permanent marker. Don’t use markers that run in water or graphite or chalky type pencils. Avoid anything that can brush off the paper later onto pattern pieces or fabric.



Cut out using a utility knife. Use a new, sharp blade and let the knife do the work. If you hold the knife with a death grip and only use your forearms and wrists you will soon hurt. A lot. The tension will stiffen your back and shoulders. What’s more, the curves will not be smooth. Relax. Use your whole body to make the cuts. Draw the knife towards you in long, slow motion. The lines curve gently. The curves are smoother.


OR

Transfer the drawing to a large piece of poster board. Again, you can cut out the curve using a utility knife or a sharp pair of paper cutting scissors. Remember: When using scissors, turn the piece being cut. Don’t move the scissors. This helps make for a smoother cut.


You now have an oversized French curve to aid you in finalizing your design.



What size French curve worked best for your project?

Make a new church banner - Make the Design the right size

Your design is ready to make a working pattern . . . almost.
This wallhanging is going to be two feet by four feet. Most people don’t draw on paper that large. I know I don’t. The initial sketch was normal size and needs to be enlarged to full size.

How to get the small size drawing to the right size?

You have several options.

Project the sketch onto the wall with a tracing projector. I bought mine at a local art store for under $30. It projects a drawing onto a piece of paper taped to a vertical surface. If I move the projector back and forth I can approximate the size I need. Not an exact process, but certainly doable.

Sharp fine, very dark lines affects the quality of the projected image. Rough sketch this large drawing and fine tune it later.

Remember overhead projectors from school days? Another way to get from small to large is to trace or copy your sketch onto transparency film and project it with an overhead projector. Again, a sharp, clear image gives the best results.

Scan the sketch into your computer. Use your computer’s drawing program to get your normal size drawing to extra large size. Every Windows-based computer comes with a program called “Paint”. From a scanned file you can print out larger than life size drawings.

Calculate how much to blow up the design with simple math. Remember, if A is to B, then C is to D?

Or use a proportional scale. This is a handy tool that helps take away the guesswork when computing percentages. It helps you determine how much to enlarge or reduce images to the size needed. I bought mine in the same art supply store but look in office supply stores or stores that sell drafting supplies. It looks like a circular slide rule. Don’t worry it comes with directions. . . very easy directions. A proportional scale will save you a lot of frustration and a lot of wasted paper.
Now it’s just a matter of taping all the 8 ½ x 11 inch pages together to make a 2 x 4 full size banner.

I have the drawing done in the finished size and I make sure not to cut this drawing. From now on only copies will be used. You can trace off copies off this. Or take this huge composite to your local copy shop. I was surprised to find that a black and white drawing only cost me 75 cents a square foot to copy. For six dollars I had a life size drawing ready to use. Call ahead to find out if your local shop has this service.



Do you have an alternate method of blowing up a small sketch to a large full drawing?
Share it with us.

Felted wool - a great fabric for quilting and banners

A friend recently asked me if I still use felted wool.
The answer is a resounding, "YES".

I still use it, search for wool for it in suitable colors (always on the lookout for great greens BTW), and felt it.

It is my fabric of choice for applique motifs. I never use craft felt on banners. Felted wool is so much better.

The following directions are from a handout I gave to students who took my Penny Rugg classes.

+++

How to use Felted Wool

Wool yardage or sweaters can be abused in the washing machine. They become a wool product that lends itself beautifully to applique. (Boiled wool or European loden-type wool is a controlled version of what we attempt at home.) It produces a dense, thick, moisture-resistant fabric. It does not ravel easily. It adds a new dimension to quilts, wearables or home dec projects.

It is a thicker fabric. And the finished project can be stiff and heavy. It does not drape well. Great for banners but not good for garments! Try to minimize seams in vests, coats or jackets. Seam allowances can be difficult to turn. Because of this I usually work on a foundation fabric and butt edges of felted wool if possible. Use bound edges for finishing or use linings that turn under.

How to full wool

Select wool yardage, wool clothing, or sweaters that are NOT labeled “Washable wool”. (This finishing technique helps the article resist abuse. It’s good new for consumers but bad news for our purposes.) Blends can only be use if the fabric content is at least 80% wool. The resulting textures of blends can be somewhat bumpy as the fibers may shrink at different rates.

Prepare the fabric
Repair small moth holes, tears, etc, with matching colored thread.
Large holes and tears should be marked with different colored thread.
Remove buttons, stay-stitching, interfacings, collars, waistbands, etc.
Cut into large, flat pieces.
Cut sleeves open to lay flat. Cut off cuffs to use elsewhere.
Fair Isle sweaters have carrying yarns on the reverse side. Clip them if they are longer than ½ inch.
Clip selvedges on new yardage.

The felting/fulling process:
Use small loads. Like colors together.
Use the longest, hottest wash cycle.
Add a small amount of detergent. NO BLEACH or bleach products.
AGITATE – AGITATE – AGITATE
Check several times during the cycle to shake out pieces and redistribute them.
Add hot water if necessary to keep warm.
Rinse in cold water only , no softeners/conditioners.
If you dry in the dryer, clean out the lint trap several times.
Press flat with a steam iron.

This process produces a lot of lint. Clean out your washing machine and dryer.
If you dry in the dryer, clean out the lint trap several times.
Press flat with a steam iron.

+++

Try felting some wool and see how it works in your projects.

Enjoy!

Make a church banner . . . Get a design (Part 2 of 2)

There are more ways to get a design for your banner if you are not comfortable with sketching.

There are computer drawing programs that can automate your drawing. But, be aware. The rule of thumb is that if it is easy to draw by hand it will be more difficult to draw in the computer. And, conversely, if it is hard to draw by hand it will be easier to draw in the computer. Computer drawing programs excel at repetitive elements. And they simplify drawings based on exact measurements.

There are also specialized quilt design programs. I especially like them for developing pattern pieces. The product I use includes an excellent drawing program. Coupled with its quilt design features it’s a great product. The control you can get with a program like this is phenomenal. You can enter measurements by a hundredth of an inch. A big advantage here is that the program automatically provides all the information you will need. It generates scale drawings, finished blocks (with or without colorings or fabric mock ups), applique templates, yardage requirements, and even cutting info. All this at the touch of a button.

Internet access makes finding designs easy. Did you see a line drawing or image you like on the Web? Be aware. Don’t assume because it is on the Web it is free. It is legal to use it only if you have permission from the person who owns the design’s copyright. When it doubt, ask.

There are also books and CDs available with line drawings that make good banner designs. Be sure you observe all copyright laws. Look for royalty-free designs. Dover Publications has a large collection of clip-art and design books available. Their copyright permissions are usually printed in the front of their books.

Paging through web sites or design books is a wonderful way to find inspiration. Just make sure you are using other people’s designs fairly. When in doubt, ask.

Remember, you only need a simple design. Whether you draw it yourself for get it elsewhere a simple line drawing is all you need for this project. Beautiful color pictures with lots of detail and shading are not suitable in this instance. You don’t want to be working with a design that will end up with hundreds of tiny, tiny pieces. A banner is meant to be seen from a distance. This means fewer elements and larger pattern pieces work best.

Use whatever method works best for you, or combination of methods, to get your design.

Where do you find your favorite designs?

Share it with us.

Love to hear from you.

Enjoy!

Make a banner in six weeks

Over the next few weeks I will teach you how to make a church banner. It seems like a lot of work. But remember, my favorite saying is “Anything is easy, when you know how.” Break down a job into smaller manageable steps and you can accomplish anything.

I will show you how to . . .

· Get a design. There are lots of different ways to get your idea out of your head and into a form that you can use to make a pattern. Try these.
· Make it the right size. When you any design it is rarely the right size. Learn several different ways to take your small sketch to something that you can see clearly from 100 feet away.
· Organize your work now to save time later. Time spent now makes sure you won’t be slowed down later by mistakes or by overlooking something important.
· Make your pattern. You say you never made a pattern before? No problem. Just follow these easy steps. My favorite pattern making material is readily available and may surprise you! You can buy it at any fabric store.
· Go shopping. It’s time to find the fabrics. Whether you shop online or in town, I will tell you what fabrics work well and why. Can you combine silks and cottons, specialty fabrics and quilting cottons? Of course you can, with a little know how!
· Prepare the fabrics. You found them, now prepare them. Not all fabrics are created equal. Learn how to make your fabrics easy to work with.
· Assemble the subgroups of the design. Work your design in smaller subgroups to keep it easy. Use this technique and enjoy the process.
· Assemble the entire design. Your design is coming together in full size. It is beginning to look great!
· Use embellishments and threadwork to complete the design. Your design is almost complete. Explore the possibilities with some simple embellishments of fabric, beads, or cording. Will threadwork enhance the design? Find out here.
· Prepare the mechanics. Everyone needs a little support now and then . . . this design does, too. Hanging vertically puts strain on fabrics. Learn how to support your banner.
· Label and document your work. What are the three things every label needs? How do you get this information onto a label? I’ll show you several different ways to make an easy and permanent label.

Remember, any job is easier when you break it down into smaller tasks.
Just take it slow.
Here’s some important advice I give all my students:

• If you make a mistake or get stuck walk away.
• Go make yourself a cup of tea, read the mail, or pet your cat.
• Give yourself some distance and do something nice for yourself.
• Then come back to the project. Often a solution will surface. If it doesn’t just ask. Post your questions here in the comments section. We’re here to help.

Keep it fun. This project is meant to be rewarding and satisfying.
I hope you have a great time following it.

If you have any questions, please ask them.
Do you have a different way to accomplish the same task? Share it with us.
Love to hear from you.
Enjoy!

Get a design (Part 1 of 2)

Welcome back to our journey.  

In the next few weeks we will watch the making of a church banner.    I will show you how I work.   You will see everything that takes place from the beginning of the spark of idea to the mechanics of hanging the finished piece in the sanctuary.  

If you have any questions, please ask them.
Have a different way to accomplish the same task.   Share it with us.  
Love to hear from you . . .

Now let’s get started.    We need to get a design.   

There are lots of different ways to get your idea out of your head and into a form that you can make a pattern. 

The simplest way to get a design is to draw.  Just doodling on a piece of paper with a pencil is a tried and true method that still works well.  

I work on a design in bits and pieces.    I sketch a little.   Look at it.    Walk away.   Think about it . . . a lot.   Come back to the sketch.    Do another version.    You get the idea.    Most times the design doesn’t happen all at once.   

Make several versions of your drawing.   Save them all.    I might like the smoke in this sketch, the background in this one, and the foreground in still another.   

Now combine the elements you like into the final version of the sketch. 
I use a make-do light box.

Or, you can trace your design elements with tracing paper.    Be careful here.     Tracing paper is often coated and smudges easily.    Make sure this is kept well away from any fabric or from surfaces you will be spreading fabric on later.

Or, you can copy and paste.    Photocopy all versions of the sketches with the elements you like.    Then cut out and paste the elements you like into your final version.    Make a copy of your finished composite sketch.

   
Use whatever method works best for you.

When you have a finalized version of the sketch make a copy.    Keep this copy in your file.

 That’s it for right now.

Remember any task is easier when you break it down into smaller tasks.    Take it slow.  


Want to try a few other ways to get a design?   Go to Get a Design, Part 2 of 2.   

If you have any questions, please ask them.
If you have a different way to accomplish the same task, share it with us.  
Love to hear from you . . .


Enjoy!

New Church Banner is underway

It seems like . . .  people view the entire creative journey as a secret and mystical process.   Well, it's not.   It's a process, surely.   One you can learn.   Sometimes it's fun, sometimes it's frustrating.    Sometimes the work goes quickly and sometimes you can be up to 2 a.m. ripping out seams.    Fortunately, mostly it is fun and rewarding.   

A new banner will be hanging in our church for Holy Week this year.    That's at the end of March.  Palm Sunday is March 28th, 2010.   This gives me a little over eight weeks to complete the work.  

Come along with me as I show you the entire process from start to finish.   

This banner will hang next to the pulpit during Holy Week.  My inspiration is the scene in the courtyard as Peter hangs around the fire waiting for word of Jesus' fate.   The chilly night, the small fire dying down, people trying to stay warm, dawn finally creeping into the sky.  The working title for this piece is "The Denial of Peter" and will be done in muted grays and purples with burgundy accents.  Because it is a lenten piece there will be subdued colors, no bright colors, no gold work, no shine or glitz.   

As I show you how the work progresses from start to finish I encourage your comments and questions.  

How do YOU start a project?