Fleece is a general term for a soft, insulating fabric that is usually made from polyester but can be made from a variety of materials, including polyester, bamboo, cotton, and hemp. Fleece is usually lightweight, soft and cuddly and its fibers work to trap air which makes it effective in retaining body heat. Fleece is also hydrophobic, meaning its threads don’t absorb water.

Exploring Different Types of Fleece Fabrics

Fleece fabrics come in various types, each with distinct properties, making them suitable for a range of applications. Each type of fleece offers unique advantages, from lightweight comfort to heavy-duty insulation, catering to different weather conditions and fashion preferences. Here’s a breakdown of the most common varieties:

• Polyester Fleece: A general term for a soft, insulating fabric that can be made from a variety of materials, including polyester, bamboo, cotton, and hemp. The fabric is brushed during manufacturing to give the fibers more volume and make the material soft and fuzzy.
• Polar Fleece: This is the most popular type, known for being lightweight, soft, and warm. Polar fleece is quick-drying and moisture-wicking, making it ideal for outdoor apparel and blankets. It ranges in thickness, with 100-weight (lightweight), 200-weight (medium), and 300-weight (heavy) varieties. Polar fleece was originally created as a synthetic alternative to wool chinchilla. It has a two-sided pile and is often made from polyester or a blend (sometimes made from recycled plastic bottles). Polar fleece comes in different weights and in both anti-pill and non anti-pill varieties with the anti-pill option being a bit more expensive, although longer lasting.
• Microfleece: Microfleece is a thinner, more breathable version of fleece. It’s soft to the touch and  and its moisture-wicking properties make it popular in activewear. Microfleece has a clear right and wrong side. It’s the softest of the fleece options and is often used for children’s clothes or as a light layer under a jacket. Although like other fleeces, it doesn’t fray, the edges can be stretched out of shape so it’s best to finish the edges.
• French Terry Fleece: This fabric is a blend of cotton and synthetic fibers with a smooth outer surface and looped interior. It is unbrushed on both sides so it lacks the usual fluffy nap of other fleeces. It offers moderate warmth and is breathable, making it popular for casual wear like hoodies and sweatpants.
• Sherpa Fleece: Sherpa fleece mimics the texture of wool with its fluffy, high-pile surface. It’s often used as a lining for jackets or blankets and is prized for its cozy warmth.
• Bonded Fleece: Bonded fleece consists of two layers of fleece fused together, sometimes with a waterproof or windproof membrane between them. It’s durable and provides excellent insulation, often used in performance outerwear.

Pattern Choices

A pattern that is simple and has few design features is your best option.

• Select patterns with 1/4″ seam allowances when possible; otherwise for conventional sewing, remove the excess 3/8″ before or after sewing.
• Loose fitting styles are a good choice with as few seams as possible to eliminate bulk.
• Zippers or buttons with toggles or loops are better choices for closures than standard buttons and buttonhole.
• If possible, eliminate or replace the underside of collars and cuffs or use a cotton or cotton/polyester fabric instead.
• Use a lining fabric for the back or underside of pockets.

Sewing with Fleece

Fleece fabrics are warm, soft, and versatile, making them popular for clothing, blankets, and accessories. However, sewing with fleece requires some special considerations to achieve neat, professional results.

We’ve received a lot of needle-related questions lately, so let’s get some answers.

Q: My sewing machine has a needle-up/needle-down function. Why do I need that?

A: The needle positioning option eliminates the need to turn the machine hand-wheel manually to get the needle where you want it to be—either above the fabric level, or piercing the fabric under the presser foot.

The needle-down position is a favorite of quilters allowing an easier time with sewing curves and pivoting at corners. With the needle down, it’s easy to lift the presser foot to adjust the position of the fabric as the needle keeps the fabric from moving or sliding while you’re making adjustments. It’s also helpful if you’re dealing with large, bulky items like quilts, as again it holds the fabric in place for you.

The needle-up position is handy for beginning and end a seam so you’re sure the needle is at its highest point and thread take-up level is as high as it will go, signaling that the stitch cycle is complete. It also allows you to use a thread cutter if your machine has one, without interference from the needle.

Many machines with the needle-up/needle-down function allow you to tap the foot pedal once to change the needle placement. For example, if you have the machine set to needle down and you want it up, simply tap the foot pedal and it will raise.

This function is not a necessity, as you can always move the hand-wheel to adjust the needle position, but it’s a handy feature if you do have it.

Q: What is a titanium needle and where should I use it?

A: A titanium needle shaft is coated with titanium nitride that resists adhesive found on embroidery stabilizers and it improves needle wear by making the needle about three times harder than the standard chrome versions. That increased strength makes these specialty needles ideal for sewing heavier fabrics like denim, as well as for stitching high-density embroidery designs. In addition to being stronger, a titanium needle also helps minimize thread breakage by deflecting the heat built up with fast sewing speeds (think embroidery, but also speedy sewing of seams). Titanium-coated needles last from five to eight times longer than non-coated needles. These needles are available from several companies and in several styles of needle points and sizes; some brands refer to them simply as “gold needles” due to their coloring.

Q: How often should I change my sewing machine needle?

A: This is probably the most frequently asked sewing question ever! Answers vary depending on who you ask, but the constant among them is that if the machine isn’t stitching properly, change the needle. When you think about how many times the needle penetrates the fabric you’re sewing a single project, it’s easy for the tip to become dull (especially when sewing on synthetic fibers), or damaged (especially if you sew over pins). If your machine stitches louder than normal, it could be a dull needle. If it doesn’t form stitches properly, it could be a damaged needle.

Damaged or bent needles can not only damage your machine, but also make tears or snags in your fabric. Obviously, if a needle breaks, you’ll need to replace it, but don’t necessarily wait for that travesty, as your fabric could be damaged by then.

Some experts recommend changing your needle with every sewing project just to be sure, or for every five to six sewing hours. If you don’t subscribe to that theory, then keep a watchful eye on the stitch quality and the sound of the stitching.

As important as it is to change the needle regularly, it’s equally important to choose the right type of needle for the fabric you’re sewing and the function you’re doing. Some needles are keyed to fabrics—like Jersey, Stretch and Denim options, while others are keyed to the function, like Embroidery, Quilting and Appliqué.

Q: Can my machine use a twin needle?

A: With the exception of a straight-stitch-only machine, most can use a twin needle. If your machine has a zigzag needle hole, yes you can. But, double check your owner’s manual to be sure. Twin needles come in various types and width spacing, and some machines may have limitations of one or both of those factors.

Twin needles are used to sew two rows of stitching exactly parallel to each other, and they couple two separate needles onto a single shank that’s inserted into the machine as if it were one needle. The bobbin picks up both threads and forms a zigzag on the underside of the stitching. They can be used with straight or limited-width decorative stitches.

~Linda Griepentrog 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 three dogs, Yohnuh, Abby, and Lizzie. Contact her at .

A throw pillow is a perfect accent for any room, and multiples make it even better! Pillows are an easy project for beginner sewers and success is almost assured.

Shapes and sizes

Pillows can be almost any shape or size, from squares and rectangles to round or oblong. Common square sizes are 12”, 14”, 16”, 18”, 20” and 24”, and there are forms that fit inside these size options. Forms also come in rectangular sizes, round and roll sizes. Check out the offerings at your local fabric store or online source.

Inside options

Pillows can be filled with pre-made forms that are stuffed with foam or polyester fiberfill, or even your fabric scraps. Or, if you prefer, you can stuff pillows yourself using either of those materials, or with your collection of fabric scraps. Make your own form or simply stuff the finished pillow with loose fiber.

When choosing a pre-made form, purchase measure the exact size of your finished pillow and go an inch or two larger on your form to get a firm look to the pillow. Or, for a softer look, purchase the exact size of the finished pillow.

Close encounters

Pillows can be made with or without back closures, depending on your preference. Having a closure of some sort allows for the pillow covering to be easily washed or cleaned, depending on the fabric. Closure options include a zippered back, envelope back, hook-and-loop tape or snap-back opening. An envelope back is the easiest option for beginners, as it simply has two overlapping finished edges.

If the pillow has no closure and cleaning is needed, it requires opening the seam and removing the stuffing, then reassembling after cleaning.

On the edge

Some pillows offer decorative edge finishes like piping or novelty fringe trim. Both can be purchased ready-made and applied during construction or after the pillow covering is complete. Tassels may also be added to the corners for extra embellishment.

Fabric options

Pillows can get a lot of wear and tear, depending on where they’re used, so select sturdy fabrics. Home décor-weight fabrics are ideal, with tightly woven surfaces to avoid snagging. Prints or solids are both good options, depending on the decorating scheme, and nothing says that the pillow front and back have to be the same fabric—you can mix and match. This is especially helpful when purchasing more expensive decorator fabrics.

Simple pillow construction

1. Cut the pillow front and back from the selected fabric(s), allowing 1” extra beyond the finished size for seam allowances. If the fabric has nap, be sure to mark the top on both pieces.
2. Place the pillow front and back right sides together and pin the edges to hold them in place for stitching. Mark a 6” opening along one edge to leave open for turning and stuffing. The opening should be in the center of one side to avoid the corners. If you’re using a pre-made pillow form, it may be necessary to leave a larger opening.
3. Beginning at one end of the opening, sew around the pillow shape using a ½” seam allowance and backstitching at each end of the seam. Pivot at each corner, taking two stitches diagonally across the corner.
4. For bulky fabrics, trim the seam allowances diagonally at the corners.
5. Reach into the opening and turn the pillow cover right side out. Gently poke out the corners to square them. Lightly press the edges.
6. Insert the pillow form or stuffing through the opening. If the corners don’t look square, add some additional stuffing in those areas to fill them out before closing the seam.
7. Hand-stitch the opening closed, tucking in the raw edges as you sew.

Envelope backing

If you prefer to have an overlapping opening on the pillow back, cut two backing pieces the width of the pillow by one-half the size, plus 5”. For example, a 16” finished square pillow requires two backing pieces 16 1/2” x 13”.

• Hem one long edge of each pillow back piece with a double ½” turn-under. These will be the overlapping edges of the pillow back.
• Overlap the hemmed edges so they create the same size piece as the pillow front. Baste the overlap side raw edges together.
• Construct the pillow as detailed above and insert the form through the overlap area. If you want to add snaps or buttons to the closure, hand-stitch them in place at the over- and underlap edges.

Members can learn more about pillows in the article, Custom Decorative Pillows, available in the members-only area.

~Linda Griepentrog 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 three dogs, Yohnuh, Abby, and Lizzie. Contact her at .

Sewing curves can be one of the trickier techniques in sewing, especially when you’re working with delicate fabrics or intricate patterns. Traditionally, many sewists use multiple pins to secure curved seams. However, the “minimal pin” or even “one-pin” method is popular for its efficiency, precision, and fabric preservation.

Why Use Minimal Pins for Sewing Curves?

1. Fabric Preservation

Using fewer pins reduces the risk of distorting or stretching your fabric. Fabrics like silk, jersey, or delicate knits are especially prone to damage from over-pinning. Minimizing the number of pins helps maintain the fabric’s natural drape and prevents unwanted marks or holes caused by frequent pinning.

2. Improved Precision

While it may seem counterintuitive, sewing with fewer pins can actually improve your accuracy. By allowing more control over how the fabric pieces fit together in real-time, you can adjust as you sew. This method allows for better management of tricky curves, like princess seams or armholes, which are prone to misalignment if over-pinned.

3. Speed and Efficiency

Sewing without constantly stopping to remove pins increases your efficiency. Many sewists find that using fewer pins streamlines the sewing process, allowing them to focus on creating a smooth, even seam. With practice, this method can save valuable time on large projects like quilting or garment construction.

The “One-Pin” Method for Sewing Curves

The “one-pin” method is one of the most popular approaches for sewing curved seams with minimal pins. This method encourages slow, deliberate stitching and careful manipulation of fabric, but with fewer interruptions.

Step-by-Step Guide:

1. Preparation:
   • Begin by matching the fabric pieces with right sides together. Ensure that the convex curve (outer curve) is on top, and the concave curve (inner curve) is on the bottom. This helps prevent the fabric from stretching as you sew.
2. Start Sewing:
   • Start sewing with a ¼-inch seam allowance. Sew a couple of stitches, then backstitch to secure the seam.
3. Adjust as You Go:
   • As you sew, bring the raw edges together. Stop every few stitches to readjust, particularly around tight curves. Using your fingers or one pin, ensure the edges align, but avoid pulling or stretching the fabric.
4. Inserting the One Pin:
   • When you’re near the end of the curve, it may become more challenging to keep the edges aligned. Insert one pin at the end of the curve to hold the fabric pieces together. Use the pin to guide the final section of fabric into place. This prevents your fingers from getting too close to the needle.
5. Pressing the Seam:
   • Once the seam is complete, press the seam allowance outward to the outer piece. Be sure to press, not iron, to avoid distorting the curve. A curved or tailor’s pressing ham can help achieve smooth results.

The key to this technique is to sew slowly and allow for micro-adjustments as you move along the seam. While the method requires patience, the results are worth it.

Watch this video from Wax and Wane Studio:

Tips for Success with Minimal Pins

1. Choose the Right Fabrics

• Different fabrics behave differently when sewing curves. Cotton and linen are more forgiving and can be sewn easily with minimal pins. However, stretch fabrics like jersey or delicate fabrics like silk can be challenging. Stabilizing stretch fabrics with a stay stitch or interfacing before sewing the curve can prevent warping.

2. Pre-Stretch the Fabric

• For difficult fabrics or tighter curves, consider pre-stretching the fabric slightly before sewing. This can help reduce puckering or rippling along the curve.

3. Use a Walking Foot

• A walking foot can be a game changer for curved seams. It ensures that both layers of fabric feed evenly through the machine, preventing the top layer from shifting. This is especially useful for stretchy or slippery fabrics.

4. Clip and Notch the Seams

• Clipping or notching the seam allowance is a crucial step for curved seams. Clipping helps the fabric lay flat, reducing bulk and preventing puckering on the outside of the curve. On convex curves, make small notches to allow the seam to spread. On concave curves, make small clips to release the fabric.

5. Pressing is Key

• Pressing curved seams is essential for achieving a professional finish. Use a tailor’s ham or a curved pressing tool to ensure the curve lays flat without distorting the seam. Avoid stretching the fabric as you press, particularly with delicate materials.

Applications of Minimal Pin Techniques

1. Garment Construction

• Many garments feature curved seams, such as princess seams, armholes, necklines, and sleeve caps. These areas benefit greatly from the minimal pin method, as over-pinning can stretch or distort the fabric, leading to poor fit. By using fewer pins, you can adjust the fabric more naturally as you sew, resulting in a smoother, more tailored finish.

2. Quilting

• Curved piecing is a popular quilting technique. When piecing curves in quilting, the minimal pin technique ensures that seams align perfectly without creating bulk or distorting the fabric.

3. Home Décor

• Projects such as pillowcases, curved hems on tablecloths, or rounded edges on cushion covers are also ideal for this technique. The smooth curves created with fewer pins enhance the overall finish and help maintain the integrity of the fabric.

Troubleshooting Common Issues

1. Puckering

• If your fabric puckers along the curve, it may be because you’re sewing too quickly. Slow down and stop to adjust more frequently, especially around tighter curves. Clipping the seam allowance can also help reduce puckering.

2. Fabric Shifting

• Fabric shifting often occurs when working with slippery materials like satin or silk. To minimize shifting, use a walking foot or try hand-basting the curve before machine sewing.

3. Misaligned Edges

• If your edges are not aligning properly, check that your fabric is not being pulled or stretched as you sew. You may also want to use your fingers to guide the fabric rather than relying solely on pins.

Sewing curves with minimal pins may take some practice, but the benefits are clear: better fabric preservation, improved precision, and a more efficient sewing process. By mastering the one-pin method, you’ll gain confidence in tackling even the trickiest curved seams in your sewing projects. Whether you’re constructing garments, quilting, or working on home décor, these techniques will ensure smooth, professional-looking results every time.

Incorporating these tips and techniques into your sewing routine will not only enhance your skills but also allow you to work with a greater variety of fabrics and patterns with ease. Remember to take your time, adjust as you go, and above all, enjoy the process!

A primary element of many costumes — whether for Halloween, cosplay, or a medieval fair — is a tabard. A tabard consists of front and back panels connected over the shoulders and open at the sides, similar to a tunic. It can be long or short and is usually secured at the waist by a ribbon belt that keeps the tabard in place while allowing free movement of the arms. Originally worn by men during the late Middle Ages and early modern period in Europe, tabards today are considered a great alternative to full suit costumes, as they can be made more quickly with very little consideration to fitting. Simple undergarments are used to complete the basic costume, with the addition of any desired headgear or other accessories.

The surface of the tabard can be embellished in a variety of ways.

• Shapes, such as the eyes, nose, and mouth of a jack-o’-lantern, can be cut out and appliqued to the front or back of the tabard.
• Strips of jagged points can be cut from colorful felt and sewn in rows to the surface of the tabard to represent scales or feathers.
• Insect legs and stingers or animal tails can be sewn and attached to the sides or back of the tabard.
• Found objects, such as large buttons, metal springs, or egg cartons, can be painted and hand-sewn to the surface of the tabard, to mimic the mechanical riggings of a robot.

It is always a good idea to sketch the costume before drawing the pattern. Determine what elements to include along with the tabard to complete the costume. If there is a tail, for example, plan to make the back panel of the tabard long enough to allow for its attachment. The possibilities are limited only by the imagination, and they can be as simple or as elaborate as you like.

Materials

• Fabric for Tabard
• Fabric for Lining
• 1/4″ foam
• Ribbon for the shoulder straps and belt loops

How to Draw a Pattern for a Basic Tabard

• Start by sketching your desired tabard design.
• Measure the width across the shoulders and distance from shoulders to desired length of tabard front and back.
• Draw the pattern in your desired shape on paper, adding a gentle curve about 1″ deep at neck. Don’t forget to add a 1/2″ seam allowance around entire pattern before cutting it out.
• Hold the pattern up to body and mark the desired positions for shoulder straps. Then mark placement for two belt loops at waist level, spaced 3″ to 5″ apart in center of front and back tabard patterns.

Cutting Directions

• Cut one tabard front and one tabard back from fabric.
• Cut one tabard front and one tabard back from lining.
• Cut one tabard front and one tabard back from 1/4″ foam.
• Cut two 6″ pieces of ribbon for the shoulder straps.
• Cut four 4″ pieces of ribbon for the belt loops.
• Cut a piece of ribbon for the belt, with the length equal to the waist measurement plus 20″ for tying.

How to Sew a Basic Tabard

1. Apply any surface embellishments that should be done before construction, such as appliques.
2. Fold each ribbon for the belt loops in half; stitch 1/2″ from cut ends.
3. Press seam allowances open; press each loop flat, with seam centered.
4. Pin belt loops, seam side down, to right side of tabard front and back lining pieces at marks. Stitch loops to lining along upper and lower folds of loops.
5. Pin shoulder straps to right side of tabard front at marks, aligning raw edges; baste. If legs are desired, make legs and baste to right side of tabard front along outer edge.
6. Place tabard front over lining, right sides together; layer, lining side down, over the foam. Pin, then stitch 1/2″ from raw edges around the entire tabard, leaving an opening between shoulder strap marks for turning. Stitch lining to the foam between marks, stitching scant 1/2″ from edges.
7. Trim foam close to stitching; aim remaining seam allowances to 1/4″.
8. Tum the tabard right side out; press.
9. Fold in 1/2″ seam allowance of opening; hand-stitch closed. Topstitch 1/2″ from the outer edge of tabard. Stitch design lines as desired, avoiding belt loops.
10. Repeat steps 4 and 5 for tabard back.
11. Insert ends of shoulder straps at least 3/4″ into opening of tabard back at marks; pin. Check fit. Follow step 6, leaving straps pinned in place until they are caught in topstitching.
12. Attach any surface embellishments desired.
13. Finally, insert belt through belt loops.

~Adapted from an article from the Singer Reference Library, with permission