I DON’T KNOW ABOUT YOU, but I have many fond memories of my grandmother’s sewing basket. It was a treasure trove of all sorts of items that were a mystery to me at the time. In this section I suggest some basic items so you can stock your own sewing basket and craft cabinet. This is just a guideline; there are many more supplies that you may find useful. Also in this section, you’ll find how-to information for the sewing techniques used in the projects in this book.
Backstitching is done at the start and end of each seam you sew. When beginning a seam, sew a few stitches forward, and then press the reverse button on your sewing machine to go back over the first stitches made. Continue sewing forward until the end of the seam, and then sew a few stitches in reverse to go over the last few stitches made. The backstitch is also a hand-sewing stitch. For more information, please see “Hand-Tied Quilting” (page 27).
Basting is a temporary stitch that can be done by machine or by hand and is usually removed when an item is completed. It comes in very handy when you need to keep things in place before stitching them together permanently. To baste by machine, set the straight stitch length to the longest setting and sew as usual. Most of the basting done in this book will be by machine. The only project in the book that you may want to baste by hand is the “Genevieve Patchwork Square Quilt” (page 141). To baste by hand, do a simple running stitch, but with longer stitches than usual. For more information, please see “Running Stitch” (page 27).
The bias grain runs diagonally, at a 45-degree angle, between the length and cross grain of the fabric. To cut on the bias, make sure the grain line on the pattern is placed at a 45-degree angle to the selvage. When fabric is cut on the bias it becomes slightly stretchy and has a bit of give.
Binding is made with strips of fabric that are used to encase the raw edges of a project, creating a finished edge. The binding strips can be cut on the cross grain or on the bias. The strips cut on the cross grain are used on straight edges. The strips cut on the bias are used on curved edges, such as a neckline or an armhole. Binding strips may be folded in different ways to achieve different effects. There are three different types of folded binding used in this book:
1. Single-fold binding: This binding has a fold along each long edge of the binding. It is used to finish edges and is only seen from the one side of the project. This type of binding is used on “Mary’s Fancy Sash Dress” (page 35) and will only be seen on the wrong side of the bodice. (See illustration.)
2. Double-fold binding: This binding has the same two folds as for the single-fold binding, but in double-fold binding it is then folded again, lengthwise, down the center, aligning both of the folded edges. This binding is used to encase raw edges and is seen on both sides of the project. This type of binding is used on the “Bridget Banner with Pom-Poms” (page 117) and the “Happy Birthday Banner” (page 165). (See illustration.)
3. Double-layer binding: This binding is folded in half lengthwise, aligning the long raw edges with wrong sides together. The raw edges are sewn along the edge of the project, and the entire binding is folded to the wrong side, so that it encases the raw edges, and then stitched down on the wrong side of the project. This binding is more durable and is used mainly to bind the edges of quilts, like the “Genevieve Patchwork Square Quilt” (page 141). (See illustration on page 21.)
Please note that each of the three types of binding can be either cut on the cross grain or the bias grain. The instructions for each project will specify on which grain to cut the binding strips and how they should be folded.
INSTRUCTIONS FOR CUTTING BINDING STRIPS
On the bias: Lay fabric right-side up on a flat surface. Fold one corner over, right sides together, aligning the selvage edge with the cut edge of fabric. Carefully cut along the diagonal fold. Beginning at the cut edge, measure the width specified in the project and draw a line with marker or chalk. Continue measuring from each line until you have enough strips for the length of binding called for in the instructions. Cut the strips along the drawn lines. (See illustration on page 21.)
On the cross grain: Lay fabric right-side up on a flat surface. Fold fabric in half, with right sides together, aligning the selvage edges. Fold in half again, aligning fold with selvage. Square off top raw edge by cutting straight across at a 90-degree angle from the selvage. Beginning at the squared-off edge, measure the width specified in the project and draw a line. Continue measuring over from each line until you have enough strips for the length of binding called for in the instructions. Cut the strips along the drawn lines, and then cut each end at a 45-degree angle, making sure to remove the selvage edges. (See illustration on page 21.)
INSTRUCTIONS FOR JOINING BINDING STRIPS
Lay strips perpendicular to each other, with right sides together, aligning short ends. Sew ends together using a 1/4-in/6-mm seam allowance. Press seam open and trim off the small points of fabric that extend past the seam. After all the binding strips are joined, you will need to fold and press the joined strip into one of the three types of binding (mentioned above). Each of the projects that uses binding will specify which type to use. (See illustration on page 21.)
Clipping the seam allowance on curved seams makes it possible for the seam allowance to lay flat on the wrong side and creates a smoothly shaped seam on the right side. After sewing a curved seam, using very sharp scissors make small cuts in the seam allowance; be very careful to not cut the stitching of the seam. On a sharply curved seam you will need to make more clips than you would on a slightly curved seam.
Some pattern pieces represent only half of the complete piece; you are meant to fold your fabric before cutting, so that you will have a full-size piece after cutting. If a pattern piece instructs to cut on the fold, fold the fabric and place the edge of the pattern marked “Place on the fold” along the folded edge. Cut around the outer edges. When you finish cutting and unfold the piece, each half of the piece will be a mirror image of the other half.
Edge stitching is a form of topstitching that is done very close to an edge or a seam—usually 1/16 in/2 mm to 1/8 in/3 mm from the edge or seam. For more information, please see “Topstitch” (page 28).
You’ll want to finish the edges on any seam allowance that’s exposed on the inside of a garment or on an item that will be washed frequently; it’s necessary for a clean, finished look and to keep the edges of the fabric from fraying. There are many ways to finish the edges of the seam allowance, but the three most common methods are serging with a serger, zigzagging with a sewing machine, and trimming with pinking shears. (See illustration.)
Free-motion quilting is one of the many ways to sew the three layers of a quilt together. In order to do free-motion quilting, you will need to make sure that your sewing machine can drop the feed dogs and has a darning foot. With the feed dogs dropped, you’re able to move the fabric in any direction, not just forward and backward as in regular sewing. Because you can move the fabric in any direction, you can “draw” or stitch any type of design that you wish. The “Genevieve Patchwork Square Quilt” (page 141) has a free-motion pattern throughout the entire quilt. It’s a lot of fun, but it can take some practice. Try it out on some fabric scraps first, to get a feel for it. If you need more information, look online for some great tutorials and resources.
Gathering is done when you want to attach a larger piece of fabric to a smaller piece—for instance, when you sew a full skirt into a fitted bodice. Gathering can also be used to create visual interest and draw attention to a certain area, like a neckline or a sleeve, and to make ruffles. There are two methods of creating gathers used in this book, each suited for the particular amount of gathering needed for a project. The instructions for each project will specify which method to use.
This method works best when gathering smaller areas, like along a neckline. Run 1 row of basting stitches 1/8 in/3 mm above, and another row of basting stitches 1/8 in/33 mm below, the called-for seam allowance in the section that is to be gathered. For example, if the seam allowance is 5/8 in/16 mm, you would stitch a basting seam at 1/2 in/12 mm from the raw edge and another 3/4 in/2 cm from the raw edge. After stitching the 2 rows of basting stitches, pick up only the bobbin threads and gently pull; the fabric will gather up along your stitches. To help yourself remember which threads are the bobbin threads, use a different color thread for the bobbin. Once the piece has the required amount of gathering, pin it to the piece to which it will be sewn, according to the pattern and/or instructions. Distribute the gathers evenly, and then sew the 2 pieces together. After sewing the pieces together, you will need to remove the visible basting threads with a seam ripper. (See illustration.)
This method is best used when you need to gather a larger area, like a skirt to be attached to a bodice. This method has more-durable results; there is no chance of breaking the bobbin threads as there is with Method One when used on larger areas. You’ll need some nonstretchy, small-gauge string (crochet cotton works really well) and zigzag stitch capabilities on your sewing machine. Set the zigzag stitch width to the widest setting and the zigzag length to the longest setting (as for basting). Lay the string on the fabric and center it beneath the presser foot. You’ll want the zigzag stitching to be placed 1/4 in/6 mm closer to the raw edge than the called-for seam allowance. For example, if the seam allowance is 5/8 in/16 mm, work the zigzag stitch 3/8 in/1 cm from the raw edge, being careful to keep the string centered under the stitching; you don’t want it to get caught by the needle. After working the zigzag stitch over the string, pin the soon-to-be-gathered piece to the piece to which it will be sewn according to the instructions, aligning at necessary points or seams. If you’re going to gather a skirt into a bodice, you’ll want to align and pin at the side seams, and at the center front and center back. Then, pick up the string ends and gently start pulling. Pull until gathered to the correct size, distributing gathers evenly, and pin in place. Sew the pieces together, making sure to not catch the string in the stitching. Once the pieces are sewn together, you should be able to pull the string out entirely. Since the zigzag stitches are on the seam allowance, and not seen from the right side, it’s up to you whether or not you want to remove them with a seam ripper. (See illustration.)
The grain of the fabric is the direction of the woven threads that make up fabric. Length grain runs the length of the fabric, from cut edge to cut edge. Cross grain runs the width of the fabric, from selvage edge to selvage edge. The bias grain runs diagonally across the length and cross grain (see “Bias,” page 20). All pattern pieces in this book are marked with a grain line. This line is there to help you align the pattern piece correctly on the fabric grain. All the pattern grain lines should be aligned along the length grain, unless otherwise noted in the instructions.
Hand tying is a great way to quickly finish a quilt. It’s one of the many ways you can quilt the “Genevieve Patchwork Square Quilt” (page 141). You will need a hand-sewing needle and some embroidery floss. With the right side of the quilt facing up and the quilt sandwich assembled, take a small backstitch at each intersection between squares. Cut floss, leaving about a 2-in/5-cm tail of floss at each side of the backstitch. Tie the tails in a knot and trim the tails so they’re even. (See illustration.)
Notches are the small triangular markings on the cutting lines on the pattern pieces. They’re used as a guide for matching up seams and for placement of items along the seam (for example, they might show where to place gathers or straps).
Pivoting is used to change direction in sewing: to turn a corner or continue the stitching in a different direction. To pivot, you simply stop stitching, with the needle in the down position; this will hold the fabric in place. Then raise the presser foot and rotate the fabric in the direction you want to sew. Drop the presser foot and continue sewing.
A running stitch is one of the most basic hand stitches you can do. It isn’t a particularly strong stitch, so it is best suited to use as basting. To do a running stitch, insert the needle into the fabric and then pull back up through fabric at regular intervals. (See illustration.)
The seam allowance is the area of fabric between the sewn seam and the raw edge. The seam allowance can be pressed to one side or the other, or it can be pressed open. See individual project instructions for the recommended pressing direction of the seam allowance.
The slip stitch is a hand-sewing stitch that is nearly invisible. It is perfect for closing up an opening, such as on “George the Puppy” (page 137) and the “Willow Small Pillow with Pom-Poms” (page 131). It’s also used for attaching a folded edge to a single layer of fabric, as on the “Genevieve Patchwork Square Quilt” (page 141) when the binding is sewn to the back of the quilt. To slip stitch, working from right to left, insert the needle into the top fabric and make a tiny stitch. Then insert the needle into the fold on the bottom fabric, and bring the needle back up through the fold about 1/4 in/6 mm away from where it was inserted. (See illustration.)
Stitching in the ditch is done by sewing directly in the groove formed by a seam. This technique can be used to sew the layers of the “Genevieve Patchwork Square Quilt” (page 141) together.
Trimming off the corners reduces the amount of excess seam allowance that is inside a seam. To trim the excess seam allowance off, simply cut off the seam allowance close to the seam, being careful not to cut into the seam. When the project is turned right-side out, the corners will now be sharper and easier to push out.
Topstitching is an additional row or rows of stitching worked near a seam, using your sewing machine. Topstitching should be done with the project right-side up, so you can be sure that the stitching is straight and parallel to the seam. You will also want to be sure that the seam allowance, on the wrong side, is caught in the topstitching. Topstitching adds a decorative touch and some extra strength to a seam. The instructions in each project will specify how far the topstitching should be placed from the seam.
Under stitching is used on the inside of a project. It helps to keep seam allowances and linings in place, but it is not visible on the right side of a project. To under stitch, press the seam allowance in the direction specified in the project instructions, and then stitch on the side of the seam allowance, very close to the seam line. This technique is used on the “Josie Dress” (page 51). (See illustration.)
