Sewing Tip – Page 6

February 26, 2021

Corner Cues: Mitered Binding Corners

If binding a quilt is one of your least favorite tasks, and that simple directive in the instructions that says “Miter the corners as you bind the edges” leaves you bewildered, read on.

A mitered binding corner is simply a clever way to make a neat flat corner. It creates a fold at 45° to the edge. Mitered corners are less bulky than lapped corners and give a professional look to your binding.

Step by Step

To miter a corner, begin sewing the double-fold binding to one edge of the quilt, matching the cut edges of the binding to the trimmed edge of the layered quilt right side.

As you approach the corner of the quilt, stop stitching ¼” from the perpendicular edge (1).

Move the fabric just clear of the presser foot, and fold the binding back at a 45° angle to the edge you just sewed (2). At this point the unsewn binding length will be extending at right angles to the edge you just sewed.

Fold the binding again, this time matching the cut edges to the perpendicular quilt edge (the 45° fold is between the binding and the quilt) (3). There will be a fold at the corner that matches the quilt edge you just sewed the binding to.

Begin sewing again on the ¼” seam line and sew the next edge—you’ll be sewing over the fold you just made (4). When you get to the second corner, repeat the process and repeat for the remaining corners.

When the binding is attached on all edges, fold the binding at a 45° angle at each corner underside. Set the bulk of the fold in the opposite direction of that on the quilt front. Hand-stitch the folded binding edge in place around the quilt. The underside miter should look as good as the front side (5).

If you’re not making a quilt, this same mitering technique works to bind any edge like a collar, cuff, jacket front or pocket, as long as the corner is a 90° square.

~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 29, 2021

Slick Tricks: Working with Laminated Fabrics

If you’re looking to make that perfect raincoat, try one of the great laminated fabrics on the market today. Colorful cottons with a clear coating are ideal for rainy weather attire, and a host of other projects from cosmetic bags to totes and aprons.

And you have options—laminated cottons come with either a matte finish or a glossy finish, depending on the brand and the desired look. In many instances, the same print is available in a non-laminated version, so that you can use it for facings, hood linings, binding, etc.

Although they do require some care when sewing, there’s nothing off-putting about these fun fabrics. Just be sure to purchase a laminated cotton, as opposed to traditional oilcloth fabric which has a heavier mesh base and is best suited for home décor items.

The coating on laminates makes them water resistant (not waterproof), and it keeps seam allowances from fraying. Some coatings are lightweight and others a bit heavier, so select the fabric by the intended use. Softer coatings are ideal for garments, as they’re more flexible than heavier ones.

Preparation

When choosing a pattern, look for simple lines and few seams, as well as raglan sleeves vs. set-in. There’s no room for error with laminates, so be sure the pattern fits you.

When you cut out your project, opt for pattern weights instead of pins, unless you keep them only within the seamlines as the marks are permanent.

Mark with chalk or soap slivers and never a tracing wheel, as that can damage the coating.

Sewing

There are some helpful notions for stitching these sticky fabrics. Spring clips, such as Wonder Clips, help hold layers in place without pinning, as do coated paperclips.

If sticking is an issue, opt for a non-stick presser foot, or put tape on the bottom of a regular foot to keep it moving. Sticking becomes an issue usually only if you’re sewing with the right side up, otherwise, the fabric should move smoothly under the foot.

Adjust the stitch length to slightly longer than normal and use a small needle to avoid large holes in the fabric.

Pressing isn’t an option for most laminates, so keep the iron away. To keep the seams flat, finger-press, then topstitch, either open or with seam allowances to one side. Topstitching is also recommended for all edges to keep them flat.

Finishing

If your raincoat requires buttonholes, interface the area with a sew-in interfacing (not fusible) and use the setting on your machine that produces a buttonhole with simply straight stitching around the slit. Any dense satin stitching can damage the fabric.

For hems, there’s no need to finish the edge as the lamination keeps the fabric from fraying—just turn up the hem evenly, clip it in place and sew one or two rows of stitching evenly from the folded edge.

On a tote, bound edges work perfectly—not only are they easy to do, but they also reduce the bulk of multiple laminate layers on turned-and-stitched edges.

December 4, 2020

Border Prints 101

When shopping for fabric, we’re accustomed to seeing rows of bolts with an allover print. But look a little deeper and you’ll find some with unique features—border prints! Border prints are fun to work with and allow you to showcase this print feature in creative ways.

What is a border print?

Instead of a fabric having the same patterning across the full width of the fabric, border prints have a different pattern along one or both edges. The bands of distinct prints can be narrow or wide, and can extend their emphatic look across the fabric’s full width in some instances creating a beautiful graphic element.

A double border print may have the same or differing designs along each fabric edge. A common pairing is to have one narrow border and one wider one.
A border print is parallel to the fabric’s selvage, ready for showcasing in a garment, accessory or quilt and can be found on a woven fabric or along the cut edge of a knit.
Another type of fabric considered a border print has a lengthwise edge detail like scallops or fringe along one or both sides.

Working with a Border Print

The primary difference in working with a border print is that the project needs to be on the crosswise grain of the fabric, rather than the traditional lengthwise spec. The design area is best showcased along a straight edge, like a skirt or sleeve hemline, pant leg, jacket hem, etc., though it doesn’t need to be at the bottom of a garment. The border can also be used along a pocket edge, in a bodice area or even at the waistline.

If you prefer to use the border vertically instead of horizontally, think about a jacket front, wrap skirt or side-seam accent. If you choose this orientation, be sure the border design isn’t directional—for example, you probably don’t want flower stems horizontal on a jacket front, or people lying down along a wrap skirt edge. The print should really be non-directional for vertical use.

Border prints can also be used to accent small areas, like collars and cuffs, totes, etc., and are also ideal for home décor projects, like on a curtain hem, pillow or quilt border.

Like any distinct print, matching is always a good idea, so consider where you may need to match a distinct pattern before you begin cutting. A hemline border should match at the side seams to avoid breaking the visual patterning.

Pattern Adaption

Some patterns are designed specifically to be used with border prints, but most are not. Look for designs with straight edges, like a gathered or pleated skirt, if you want to feature the print along the hemline.

If the area you want to use the print in is curved, you’ll need to straighten it or risk losing part of the border to the curve.
Redraw your pattern’s grainline to reflect the new orientation on the fabric. Use a ruler to change up the standard grainline 90°. Double check the fabric width to accommodate the new orientation.
Since some border prints are close to the selvage, it may be necessary to modify a hem depth if you want to use the print along the bottom of a skirt. A narrower hem, or a faced hem, could both be options depending on the design placement.

Yardage Adaptation

The amount of yardage needed for a border print will likely differ from what was originally called for if the garment was originally cut on the lengthwise grain. After redrawing the grainline on the pattern pieces, do a test layout to refigure the fabric before purchasing. Keep in mind that it’s best to cut all the garment pieces on the same grain to avoid any variance in directional prints or shading.

The width of the fabric may limit the use of the border on certain garments, or require you to piece a garment if you’re intent on using a particular fabric.

Note that you can also trim off the border and reattach it if needed, to get the look you want in your project.

Now that you know more about them, when you see a border print fabric, think about how you can showcase it in your next project!

November 27, 2020

Fast and Easy Fringed Edge Finishes

If you’re looking for a fast and easy edge finish, there’s nothing easier than fringe! It works on single-layer placemats, scarves, patches and pockets, or with a little more effort, you can insert fringe into a seam or hem.

The results of fringing are not always what you expect, as some fabrics are woven with different color threads going lengthwise and crosswise, so you get totally different colors in one direction from the other. Denim is a good example, as white threads are usually used one way and indigo the other.

The Basics

Select a woven fabric (knits cannot be fringed using this technique). Fabrics like linen, burlap, gauze, wools and bouclés are ideal candidates. The looser the weave, the easier the fringing process.

To create a simple fringe, be sure your project edge is cut parallel to the fabric grain. Sew a line of stitching where you want the fringe to stop, then start pulling threads up to the stitching line. The stitching thread can match the fabric or contrast with it.
For easier removal, use a needle or a large pin to help separate the fabric threads and gently pull them across the fringed area. Note that if your project has a right-angle corner (like a scarf), there will be a gap in the thread fringe at the corners.
If you want to knot the fringe, either singly or with thread groups, allow extra length for that process. Test-fringe a sample to see how much length you need for either a square knot or an overhand knot.
For a top-fringed pocket, cut the pocket top on the straight grain and extend it the desired fringe length (no hem). For a fringed sleeve hem, determine the sleeve length, then extend the lower edge the desired fringe length, being sure to keep a straight grain edge.
Single-layer scarves can be fringe-finished on all edges or just the ends, like on a muffler.

Inset Fringe

Inserting fringe into a seam allows for more placement flexibility and allows for placing it on a curve as well.
To make a fringe strip, cut a straight grain strip the desired width of the fringe, plus the requisite seam allowance. Stitch and fringe as noted above. On very loosely woven fabrics, layer two strips for a denser fringe.
Use the fringe strip as you would a piping, basting it along one layer of the seamline with the fringe facing the bulk of the project. Then top with the second layer of the project, and sew just inside the basting line. When you turn the project right side out, the fringe will extend beyond the seamed edge.
For long fringe strips, simply abut the ends of multiple fabric strips as needed. If you need a bulkier fringe, layer two strips atop each other and treat as one layer.

Design Tip: inset fringe can be made from matching or contrasting fabric.

Trim Tactics

If desired, you can add a ribbon or trim along the stitched edge of fringe as an accent, whether it’s single layer or inserted into a seam.

Don’t forget to check the selvage of your fabric, as some have fun fringes that can be used as is, and they already match!

October 2, 2020

Sewing with Multi-Color Threads

The sewist’s crayons!

Not really designed for construction, variegated threads are multiple colors within a single strand. When you look at a spool, you may see distinct color patterns or simply a blending of similar colors, depending on the brand, how the thread is dyed and how it’s wound on the spool or cone. Stitching with these threads on your sewing machine also produces differing results. Sometimes, surprises happen unexpectedly!

The spacing and repetition of colors within the spool vary by thread type and brand. Some multi-color threads repeat colors in a regular sequence, others offer random color repeats and others may change hue every inch, or every few feet. Colors can be related by shade, such as a light, medium and dark tone of the same color, or they can be bold contrasting colors, like a mix of red, white and blue within the same strand.

Sometimes the color change is distinct, abruptly changing from one to the another, but more often the changes are gradual with a melding from one shade to the next.

How the thread is dyed determines how it stitches out, in combination with other factors like stitch length and width, and the actual stitch selection.

Look for variegated threads in multiple fiber options—cotton, polyester, rayon, metallic, silk and texturized nylon. They also come in different thread sizes, depending on the use. Heavier weights are ideal for multi-color free-motion quilting.

Stitch Subtleties

Variegated threads can be used in a number of ways. Satin stitching takes on an entirely new persona creating stripes of color—either distinct or melding.

Top to bottom: Sulky Ultratwist, Superior Rainbow, DMC Cotton, Sulky PolyLite

Appliqué using variegated thread; photo by Bernina

A striped appliqué edge is interesting as well. Topstitching with variegated thread is fun, free-motion quilting allows for blending colors found in fabric prints, and the world is your oyster with decorative machine stitches.

When selecting decorative stitches, look for those that are formed only with a forward motion for the best color clarity. If you choose reverse-motion stitches, you can end up with slightly different colors on top of each other as the stitch is formed.

Variegated thread also makes interesting serging stitching lines, whether used as an edge finish or for flatlocking within a garment. Unless both sides show, use the variegated thread only in the upper looper and needle, along with a coordinating solid in the lower looper.

Machine embroidery is a great place to use variegated threads for either subtle or bold shade changes. But, be aware that depending on the thread patterning, you can end up with stripes in your programmed design.

Before committing to a project, be sure to test-stitch with the variegated thread and stitch settings you plan to use to see how the color variations will actually stitch out. Or, better yet, try the same design with different variegated thread types and brands.

A New Twist

Another type of multi-color thread is twisted thread—two or three plies of different colors twisted together to create a heathery look. Look for analogous color shades (like light blue and dark blue) creating a denim look, or more contrast in colors for bolder effect.

Twist threads are ideal for embroidering animal motifs with fur or feathers, topstitching and decorative stitching where you don’t want stripes to be prominent.

Hand Sewing

There are several types of hand-stitching threads available with multi-coloration. Look for embroidery floss and fine wools, as well as multiple sizes of variegated pearl cottons.

So, add some color changing to your world!

« Previous Page
1
…
4
5
6
7
8
…
10
Next Page »