ASG Sewing Blog – Page 36

January 21, 2022

Breaking Down the Roadblocks to Creativity

The path to sewing creativity is full of roadblocks—all of our own making. As sewers, we need to learn to let go, to trust ourselves, and just allow the creative process to happen.

Sewing educator, Londa Rohlfing, developed a list of things sewers unwittingly do to kill their creativity. This is a look at those roadblocks—and how to easily overcome them. Don’t let a creative block stop you from completing a project!

We are way too hard on ourselves, underestimating our capabilities. Sewists forget that the sewing process is wonderfully forgiving. Most sewing situations or “mistakes” can be turned into a success in some way, shape, or form. Really! It’s not like in cooking when you crack what you thought was the second egg, put it into the pot, and mix it up—only to turn around and see that there are already two sets of eggshells in the sink. In cooking, you can’t retrieve the extra egg from the liquid but, in sewing, you can always “un-sew.” Maybe you cut something off you shouldn’t have? Just sew it back on! Not enough fabric? Go get a coordinating fabric! The thing about sewing is that you are in control. Unlike so much of life, you decide what goes where, and how it goes there. You can make those decisions… you just need to let go and be your own boss.

Woman sewing

We feel that every idea has to be totally new. If you’ve ever watched Project Runway, you might recall that you didn’t see any fresh, new ideas. If you’ve been a student of fashion, you know that you routinely see styles resurrected… over and over and over again. Designers just put it all together in a new way and give it their own little twist. You can do the same thing. Go ahead—make use of those ideas in your personal sewing. Creativity is not always a natural, easy process. Have all the lessons you’ve learned in life been painless? For most of us, wisdom comes mostly from the school of (real) hard knocks. That is true both for life… and sewing.

We think we have to have precise directions on how to do anything and everything. How many patterns have you bought, trying to figure out how to master a technique that puzzles you? Become your own inner child and say, “Let me do it my way, Mommy.” Then just do it!

We think every project has to work out perfectly and that we should automatically love everything we create. Tell me now—really—do you just love and wear everything you buy? Why not? After all, you had the chance to try it on and evaluate it before you ever went home with it. Ease up on yourself and vow to enjoy the process, not just the outcome.

Woman giving thumbs down to sewing project

We feel it is wrong to un-sew, retry, and start over. You only learn by doing. The good news is that there is no Sewing Police ready to haul you off to Stitching Jail if you break a rule. Figure something out on your own. Do it differently. Try it your way. Remember… sewing is one place where you are in the driver’s seat. A wrong turn here or there is not going to kill anyone. Have fun! If you mess it up, go buy more fabric. Everything that happens is just another creative opportunity.

We limit our materials and equipment choices. Londa said that selling sewing machines taught her so much, especially about women. She sang praises whenever a woman brought her husband in with her to look at a new sewing machine. Most of the time, the woman would always want to settle for the lower model. (And, of course, they wanted to think about it!) But, in every case, the hubby encouraged them to get the better one—and to buy it that very day. Why do we not think we are worth the best we can afford? Besides that, at least 50% of the sewing we do is for others and not ourselves. Sewing equipment (and fabric, of course) are merely the tools that are necessary to create. Without the proper tools, you’ve stacked the deck against creativity and success. Ever see a builder build a house without an electric nail gun?

We feel compelled to use everything we’ve gathered for a project along with incorporating every technique we know—with no “editing as you go. To combat this, Linda has three mottos that she shares over and over and over: “Less is best.” “Stop before you think you’re done.” “If in doubt… leave it out!”

Happy sewist

~This article is adapted from an article in a previous issue of Notions
After owning her own fabric shop/machine dealership for 13 years, then traveling to teach at expos and events across the country, Londa Rohlfing now teaches in her Sunroom Sewing Studio in Jackson, TN. Londa often prefers artsy, creative sewing, and loves teaching and sharing the designs and the techniques she’s developed. In addition, her website mission is to offer related and hard-to-find sewing products with exceptional personal service. (www.londas-sewing.com)

January 14, 2022

Quilting Quandaries

Should quilt bindings always be double?

Quilt bindings can be single or double layer, depending on preference, but it’s worth noting that single-layer bindings do not offer as much “protection” to the quilt edge as double-layer ones do. If a quilt is going to be used regularly and/or washed, the added layers of a double binding will wear longer. A single-layer binding is often used on smaller items like table runners and wall hangings and it reduces bulk in comparison to the double-layer binding.

A double-layer binding is usually cut 2 ¼” to 2 ½” wide, folded wrong sides together and both raw edges aligned with the right side of the layered quilt edges for application with a ¼”-wide seam allowance. Once the initial stitching is completed, the binding is turned to the quilt underside and the folded edge is hand- or machine stitched on the quilt underside.

A single-layer binding is usually cut 1 1/4” wide. The long raw edge is aligned with the layered quilt edges, stitched in place and then the remaining raw edge of the binding is turned under ¼” and hand- or machine stitched in place on the quilt underside.

Both single- and double-layer bindings should be tight to the edge and completely filled with the quilt layers. Some quilters like to leave a little extra batting extending beyond the true edge of the quilt as additional filler inside the binding.

What is the easiest style of quilt to make for beginners?

One of the easiest quilts for beginners is one where no adjacent seams need to be matched, and seams are sewn in a straight line.

One option for easy beginner quilts includes offset blocks, where the squares (or rectangles) are cut all the same size, sewn together in strips and placement is offset. No seam matching required.

Quilt with staggered seams

Another easy option is strip quilting with 2 ½” (or wider) strips cut the full width of the fabric. The long edges are sewn together with straight seams, and strips added to create the desired size quilt. This creates a quilt approximately 42” wide. Strips can be sewn together end to end to make a wider quilt top and/or borders can be added to the outer edges to create the desired size.

After trying these two techniques, novice quilters can “graduate” to more complicated patterns with more complex cut shapes and seam matching required.

All quilting projects, no matter how simple, require accurate cutting of all pieces so they fit together, followed by accurate stitching of seams. A quarter-inch presser foot for the machine is helpful as it has a vertical guide for the fabric edge to follow. Or, the distance from the needle to the edge of another presser foot may be exactly ¼” so the foot edge can be used as a guide for even seaming.

Many years ago when I bought quilting fabrics, the clerk tore them. They don’t seem to do that anymore—why?

Those of a certain age may remember when fabric was drawn through a Measuregraph machine that measured the fabric and made a little slit at the designated amount and then the piece was torn off the bolt. Always a bit off-putting to see new fabric torn, most stores today simply cut it with scissors or a rotary cutter.

Tearing fabric does indicate the grainline, but it also can also distort it and leave white lines along the tear line, depending on how the fabric was printed. Those white streaks have to be cut off. Some prints are not aligned with the fabric grain, so tearing makes that much more obvious and creates waste for sewers trying to align the pattern with the block cuts. In addition, some fabrics simply cannot be torn—those include synthetics, knits and novelty weaves.

Torn Edges of fabric — A torn fabric edge can leave white lines along the tear line.

So, cutting seems to be a better option for today’s fabrics.

What color thread should I use to sew a quilt together when the fabrics are all different colors?

When piecing a quilt, choose a neutral color thread like beige, light grey, white or off-white. These blend with a variety of light- to mid-tone fabric colors. If your quilt is predominately dark colors, a black, brown, navy or dark gray may be more suitable for seaming.

If your machine tension is properly adjusted, the stitching in your quilt seams won’t show anyway and it will meld into the fabrics.

For the actual quilting process, the thread color depends on how prominent you want the quilting design to be—a contrast color will make it more prominent, while a neutral will make it less prominent. Or, choose a variegated thread and get the best of both. If you want the quilting to totally disappear visually, choose a monofilament.

Some quilters like to use a bobbin thread to match the quilt back, but be sure your machine tension is well adjusted if you choose this option so that the bobbin thread doesn’t peek out on the top side.

~Linda Griepentrog
Linda is the owner of G Wiz Creative Services and she does writing, editing and designing for companies in the sewing, crafting and quilting industries. In addition, she escorts fabric shopping tours to Hong Kong. She lives at the Oregon Coast with her husband Keith, and two dogs, Yohnuh and Abby. Contact her at .

January 7, 2022

Horsehair Braid

What do horses and braids have to do with sewing?

Now that we’ve got your attention, let’s talk about this uncommon notion called horsehair braid!

Historically, it was made from the stiff hair of a horse’s mane and tail, and then from cotton and linen, but today’s version is made from nylon or polyester fibers.

Horsehair braid is a stiff, bias woven mesh used to provide structure and body to special occasion and wedding dresses, as well as costumes. Available in multiple colors in widths ranging from ½” to 6”, it is sold either by the yard or packaged in pre-cut lengths on the notion wall. Colors and wide widths may be found at millinery supply companies or online.

You’ll find horsehair braid on hems to add flounce to a full or circular skirt, in puffed sleeves for a little oomph, and internally to maintain shape and structure in fitted evening gown bodices. In addition, you may see horsehair braid on wedding veils, as large bows either on hats and fascinators, or shaped into wedding pew bows. You may also see it on many kinds of ruffle edges.

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This crinoline-like trim comes in two weights—soft and heavy—and it is also available with a built-in gathering thread for shaping. The latter is sewn along one edge only and is pulled to ease the tape around curves, like on a circular skirt hem where the hem circumference edge is longer than the horsehair facing being turned inward.

Whether you put the horsehair braid on the inside or outside is a matter of preference and style—the choice is yours, either as a hidden structure or see-it trim. On sheer fabric, like netting, tulle and organza, the horsehair will show through if it’s on the inside, so some designers opt for placing it on the garment right side instead.

Handling

Because it’s a woven bias strip, horsehair braid should not be cut widthwise as it tends to disintegrate and unravel with even minimal handling, so choose the finished width you need.

Horsehair braid will stretch and if it’s distorted during the application, you can have some unsightly ripples and wrinkles, so be careful not to keep it flat, without stretching, during an application. It also narrows if stretched, further complicating the potential distortion.

The cut end of horsehair braid is quite prickly as all the fiber ends are exposed, so before using it, encase the cut exposed end in a scrap of fabric or bias tape to prevent the uncomfortable poking while wearing the garment. For hems, finish just the overlapping end, but for sleeves or other uses where both ends are exposed, encase both ends.

Hemmin’

There are two options for hemming with horsehair braid—use it as a facing or encase it in the garment fabric hem. Either way, the function is the same—to add body and structure to the edge.

To use narrow horsehair braid as a hem facing, place it along the cut hem edge right side and sew ¼” from the edge. Turn the braid and the seam allowance to the inside, then topstitch the braid in place.

Horsehair braid inside a hem (showing wrong side)

If the garment has a circular hemline, choose a wider braid with a built-in gathering thread at the upper edge. Follow the process above, but when you turn the braid to the inside, gently pull on the gathering thread to shape the braid’s upper edge to fit the skirt. Topstitch the braid lower edge in place, then invisibly hand-stitch the upper edge of the shaped braid in place around the skirt. Depending on the span, it may be sufficient to only tack the braid upper edge at the skirt seams.

To place the trim on the outside of a hem, repeat either of the above techniques, but place the braid on the garment wrong side and then turn it to the right side and secure.

To encase the braid, place it on the wrong side of the skirt hem, aligning the edge with the cut hem edge. Sew ¼” from the edge, then turn up a double hem, encasing the braid inside. Either topstitch or hand-stitch the hem in place.

Horsehair braid inside a hem, showing right and wrong sides.

Sleeves

Horsehair braid is often used on sleeve caps to add extra body and pouf to puffed sleeves. Insert the sleeve following the pattern directions before adding the braid. Cut a length 1 ½ times longer than the area where it will be applied (often notch to notch in the upper sleeve). If your braid does not have a built-in gathering thread, add one along one side. Pull up the gathering thread to the desired fullness and secure. Finish both ends of the braid to avoid discomfort. Place the gathered edge along the upper sleeve seam allowance and stitch in place through the seam allowance layer only.

December 31, 2021

Sewing Know-How: Fusing Facts

Perhaps that title should be con-fusing facts instead with so many different fusibles available on the market today, but there are some commonalities in the use of these labor-saving components. That said, the disclaimer is of course to always read and follow the specific directions that come with the product you’re using.

Whether you’re working with fusible interfacing, stabilizer or stiffener, one thing is for sure—if you don’t pay attention, the fusible portion can easily end up on your iron and/or the ironing board.

Pre-treating

Some advocate for woven interfacings to be pre-shrunk before using. If you opt to do this, simply fill a basin with warm water and place the folded interfacing into the water so it’s covered. Let it sit until the water cools, then hang it to dry.

You can also steam-shrink woven and knit fusible interfacings by placing them adhesive side up on the ironing board, then hovering the iron over them with steam. Be careful to keep the iron about an inch above the interfacing surface to avoid activating the adhesive component.

Cutting Tips

If you need to cut several small pieces, like facings, collars, cuffs, etc., from interfacing, it’s easier to fuse the interfacing to an appropriately sized section of fabric prior to cutting out the pieces. If you cut the fabric and interfacing pieces separately, matching them up exactly can be a challenge.
When using heavy or stiff interfacings and stabilizers, it’s a good idea to cut those pieces separately without the seam allowance to reduce bulk in the seams.
The grainline on a woven interfacing should match the grainline on the fabric layer of a garment. Woven and knit interfacings have more stretch in the crosswise direction than lengthwise.
Be sure to test the chosen interfacing on a scrap of the fabric before committing to the entire project to be sure that you like the hand of the interfaced fabric, and that there’s no damage in the fusing process. On some fabrics, a sew-in interfacing is a better choice so as not to damage the fabric texture.

Proper Fusing

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As noted, manufacturer’s instructions differ by product, so be sure to read them before you begin the fusing process. You may want to have a non-stick pressing sheet and some iron cleaner on hand in case you need them for any oops.

The fusible side of the interfacing has randomly placed dots of adhesive and the texture feels a little rough compared to the non-adhesive side. When properly fused, these adhesive dots meld into the fabric and are no longer visible as dots.

Place your fabric wrong side up on the ironing board, then position the fusible with the adhesive side down on top of the fabric, matching edges as needed. If there is any overhang, the adhesive will meld to your ironing board cover, so be sure the edges match, or trim as needed.

Fusing is a process, it’s not just a once-over pressing, and it’s important not to slide the iron during fusing. After you’ve pressed for the recommended amount of time, pick up the iron and move it to the next location, slightly overlapping the first area. Repeat the process to cover the entire surface.

Depending on the product, the fusing process may simply involve steam from your iron, or it could also require a damp press cloth used with a dry iron.

A good fuse requires applying heat and moisture (if applicable) to both sides of the fabric, so fuse the interfacing side first, then flip the fabric over and repeat the process from the right side. Let the fused piece cool thoroughly before moving it, and be sure it’s flat, not hanging over the ironing board edges.

If you’re fusing an area larger than your ironing board surface, fuse it and then let it thoroughly cool before moving it to access the next area.

When fusing is complete, double check that the interfacing is firmly adhered to the entire fabric surface. If you see ripples, that indicates areas that are not properly fused, so go back to that area and repeat the fusing process.

December 27, 2021

How to Use a Rolled Hem Foot

Watch this short video to learn how to use a rolled hem foot.

~Sheryl Belson