Hi Everyone! I have been enjoying seeing pictures of your shirts on Instagram and Facebook. There is lots of sewing going on and they all look wonderful. Today is really the final ‘how-to’ post for this sew along. We will put the bias binding on the neckline and arm holes and finally, hem the shirt! Easy Peasy, right? Well, I thought so but honestly, the armholes gave me so much grief!! I think the problem, for me anyway, was the width of the bias binding piece. I will explain as we go.
To begin, you need to mark the center dots that are printed on the paper pattern pieces, both the neck binding and the armhole binding. Those dots notate the center of the back side of the neckline as well as the top of the shoulder for the armhole.
Let’s attach the neck binding first. After marking it, fold the binding in half, lengthwise – wrong sides together – and press (just like when binding a quilt). Next you will pin that folded binding to the neckline. When I pin something like this, I first pin the center back point. Then I match up those notches, there is one on either end of the binding. After those three points are pinned, ease the rest in and pin it well.
When I got to the end of side of the binding strip, I folded it back, then pinned and pressed it. This will tuck the raw edge of the binding strip in so when you stitch it down to the inside, you have a neatly finished edge.
The directions call for a 3/8″ seam allowance when stitching the neckline. I only point this out because it veers from the 5/8″ allowance we have been using up to now.
Stitch the binding to the shirt, making sure the fabric below the binding stays flat and smooth. Just take it slow and you will be fine. Remember the strip is cut on the bias which allows some stretch. You shouldn’t need to stretch it but you will be able to ease it around the curves nicely. Then clip the neckline a few times from the inside. Do not cut through your stitches though. I like to do this because I think it allows the binding to fold in over the curved edge nicely. Go ahead and press your seam and then fold the binding to the inside and press it down. Slip stitch the binding to the inside of the the shirt, including both ends.
The process is mostly the same for the armholes. However you will stitch the ends of each binding piece together (with a 5/8″ allowance) so that you have a circular piece, pressing that seam after stitching. Then, again, fold wrong sides together and press. Match that center marking with the shoulder seam and the stitched seam with the side seam at the bottom of the armhole. Then match your notches. Following that, ease the rest in and pin well. Stitch with a 5/8″ seam allowance.
Before going any further, press the seam and turn the binding in toward the inside of the shirt. Press it and see if the binding lays flat. This is where I ran into difficulties. For me, the binding was too tight. I kept taking it off and fiddling around with it. Finally, the only way I could get a finish I was happy with, was to fold the binding in after stitching it. I stitched it at 5/8″ and then folded it in half to make it narrower and pressed it. Then I folded it to the inside and slip stitched it down. If you look at the picture, you will see it is rather narrow, compared to the neck binding. Honestly, I cannot really say what went wrong for me here but it sure made me crazy for a little while there.
But it lays flat and looks ‘good enough’. The first time I made this pattern, I put short sleeves on it and that was simpler! Hoping this isn’t a problem for you. I can’t figure out if I cut something to the wrong size or what?? I hope you don’t have this issue. If you do though, be patient and work with that binding piece. Message me via Facebook or Instagram and I will try to help.
That very last step is to hem the shirt. I am assuming you know how to do this but really it is so simple. Fold up 1/2″ to the inside and press. Then fold it again, to the inside, and press again. Pin along the edge and machine stitch the hemline. Ta Da!!! A finished shirt! I can’t wait to see all of your blouses. Let’s meet up here next week and share the finish. You can link up a blog post if you like as well as post pictures on Facebook and Instagram. Rather than figure out how to link an Instagram post here, please email me a picture of your finished shirt (on you or on the hanger!) and I will share them in the last post.
As always, please let me know if you need help. Have fun finishing your shirt up and I look forward to seeing them next week!
You’re back! I hope that means you were able to lay out and cut your fabric pieces. If you had any trouble, don’t hesitate to email me at email@example.com. Or, you can always leave a comment on the blog or the Facebook page. I am happy to help.
Today we are going to take our time and work on the details that make the front of the shirt unique. I think these details are both challenging and fun. If you take it slow, you will have good results. We are going to mark the lines for the pin tucks and also the stitching and cutting line for the slit at the center of the neckline. The portions of the instruction sheet we will be working on are numbers 1 through 6.
NOTE: For marking, I used a Frixion pen (the one that erases with the heat of the iron.) You should use whatever is comfortable for you. For the pin tucks we are marking on the front of the shirt so make sure it will come out easily. A piece of chalk would be good. Because my fabric is light in color, chalk wasn’t an option for me. Plus I want my markings to show in a photo for the blog so I needed a darker color.
We will mark the center stitching line first. It is easiest to mark this on the facing piece, rather than directly on to the front of the shirt. You need to fuse the interfacing to the wrong side of piece number 3 first. When the interfacing is fused, lay the paper pattern piece back over the interfacing side. Fold back the bottom of the paper and make a mark the bottom of the slit.
Fold back the paper lengthwise on the dotted line and trace your stitching line. Then fold back the other side along that broken line and trace the opposite stitching line.
I noticed that the drawing of the slit comes to a deep point. I did not sew that far down because there would not be any seam allowance alongside the stitching line at the deepest point of the V. Instead, I traced and stitched a shorter, wider V on my piece.
Once you have your facing piece marked, you need to finish the edge of the facing so it doesn’t unravel or fray when it is washed. I always fold a very narrow 1/4″ to the wrong side around the three outer edges (both long sides and the bottom). Press that first fold. Then fold it again and press that second fold. Pin to keep it in place as you stitch.
NOTE: Just like with free motion quilting, it is always best to draw your bobbin thread up to the top before you begin stitching. This will prevent that little rat’s nest of messy stitches that occur now and then. Also, with any stitching on a garment, stitch forward about two stitches, reverse for two stitches and then begin to sew. You need to reverse so that your stitches are locked down and don’t unravel.
Press after stitching. If you are using a Frixion pen, remember not to iron over your markings or you will have to trace a second time. (Ummm….don’t ask me how I know this.) Once your facing edges are finished, set it aside for now.
I feel like explaining the pin tucks with the written word is a bit of a challenge so, with the help of my daughter, I made my first ever YouTube clip. I think this will give you a good idea of how to fold the pin tucks. If the video doesn’t work in your browser, click here.
Now let’s mark the pin tuck lines. This will be much like marking the line on the facing piece. This time, fold the paper pattern back on the broken line (your stitching line). Use a clear ruler or straight edge to draw a line on the fabric from the top to the dot at the end of the stitching line. You will mark these twice on each side of the front piece. After you do the first side, remove the pins from the piece and turn the fabric over. Lay the piece down (should be upside down this time) and mark the two lines on the other side of the front piece. It is hard to see my lines so I drew over one to give you the idea of what I mean. Ignore the fact that I couldn’t line my hand drawn line with the computer drawn line! I definitely need some lessons on using graphic art tools!
When you have all four lines drawn, it will look something like this. Again, my hand drawn lines are faint.
Next we will make the folds and pin the tucks in place. You want to pick up the fold at the notch and take it to the side. Finger press and pin in place. Remember, if it is folded in the correct direction, the notch will make a nice smooth curve for the neckline. Pin down to that dot we marked for the end of the tuck.
Top stitch each of the pin tucks, drawing your bobbin thread to the top before beginning the seam. Also, be sure to reverse for two stitches and then proceed to the end of the tuck. How does it look?
The next step is to attach the facing. Take the piece and lay it right sides together on the front piece. It will be centered between the tucks.
Pin in place. (I know… my markings are a bit wiggly.) Sew just a hair to the right of the stitching line. Take it slow here. This is probably the fussiest part of this project. Stitch down to the point and put your needle down to hold your spot.
Pivot, by turning the fabric, and stitch 2 or 3 stitches. You will need to have this bit of room when you clip this seam. Then with your needle down, pivot the fabric again and stitch back up to the top of the neckline.
Press your seam. Just press the facing as it lays on the front of the shirt to smooth your seam. Next you will carefully cut the slit between the two long rows of stitching down to the point (where you made those two stitches and pivoted).
Make sure not to cut through the stitches. Now turn the facing to the inside of the shirt. You will likely have to massage the facing a bit to get it to lay flat. Use some steam and iron the front of the shirt with the facing on the inside.
The last step for today is to top stitch the opening in the neckline. Pull your bobbin thread to the top and stitch a uniform line no more than 1/4″ from the seam. I stitched mine at 1/8″ because I wanted to reinforce the facing seam. There is so little seam allowance here and I think a tight top stitching will prevent any problems.
Now that the front of this shirt is complete, you can breathe a sigh of relief. This was the toughest part. Hurray for you!
The next post will be on Friday, June 23rd. On Friday we will check the fit, learn about finishing seams, and sew the back, shoulder and side seams. Easy Peasy! See you then.
Please do not hesitate to ask questions. If you are wondering something, it is likely there is another reader wanting to know the very same thing. Leave a question and I will get back to you!!
Welcome to the fourth installment of Meet the Designer. I began writing this series of posts in February. So far, we have gotten to know Sarah Golden, Maureen Cracknell and Kim Schaefer. I feel incredibly fortunate to have gotten to know these talented designers.
This month I chatted with Sharon Holland. Sharon is a designer with Art Gallery Fabrics whose fabrics are a mix of muted florals, leaf and vine motifs, and nautical themed prints among others. While each of Sharon’s five fabric lines are different and unique, there is a definite common thread of personality connecting each to the other.
When Sharon and I spoke, we talked about how we each began quilting, way back when. Sharon grew up as one of three children. Both of her parents were quite creative. Her father was an electrical engineer who had some very artistic hobbies. He was a woodworker, loved drawing and drafting, and also enjoyed gardening. Her mother was a stay at home mom who was often knitting, sewing, and crocheting. She was able to draft patterns (which is something I very much admire) and made her clothes as well as clothes for the children. Clearly, Sharon grew up in a household where making things was a favorite past time.
However, neither her mom or her grandmother quilted. Sharon was in high school when she decided to try quilting. Going through her mother’s fabric scrap box and looking at the various prints was intriguing to Sharon. She decided she would make a patchwork pillow. She selected her fabrics and hand stitched the squares into a patchwork, often using stripes to create patterns. She made the patchwork into a pillow cover. Not long after, while in college, Sharon was married. At around 20 years old, or so, she decided to make a quilt. Checking books out of the library and reading up on the process, she made a queen size quilt with a rather complicated block. She couldn’t remember the name of the block but definitely remembered the pesky Y seams that were involved. When she described finishing her quilt with an envelope style backing (no binding required!) and yarn tying the blocks, I had to laugh. That is exactly how I finished my first quilt back in 1979. I had no idea about binding and the idea of actually quilting it was daunting so I yarn tied it. Sharon has been quilting ever since.
I think one of the things I enjoy about Sharon is the scope of her talents. She writes, paints, draws, designs fabric, quilts, sews clothing, and drafts patterns. She seems to approach new ideas and experiences with gusto. After graduating from college with a BA in Art and Design she found herself raising her family in Coal City, Illinois. Around this time she began upcycling retro or vintage objects and selling them at an antique mall. Some years later the family moved to Ohio when her husband’s job took them there. She continued to pursue creative outlets which lead her to take some classes at the local community college to learn to use software for desktop publishing and printing. Her love of fabric and her newly learned computer software skills enabled her to start playing with surface designs and block printing. She designed four lines of fabric for Fabri-Quilt as well as several quilts for various quilting magazines. Following this she was hired by Valu-Publishing to bring two magazines to print. As the Assistant Editor, Graphic Designer and Photographer, she was instrumental in developing Quilt It…Today and Sew It…Today to the customer. This experience developed her skills in fabric design as well as graphic design. The perfect combo! Leaving the magazines, Sharon decided she really wanted to design for Art Gallery Fabric. She developed a portfolio and made an appointment with AGF owner and designer, Pat Bravo, to meet at the 2014 Spring Quilt Market. (How scary and exciting that must have been to put herself out there like that!!) Pat was very pleased with Sharon’s work and hired her on the spot!
Quilt market booth, celebrating the release of Bountiful.
This brings us to Sharon’s current work! She has completed five lines of fabric for Art Gallery Fabrics over the past several years. Her fabric collection is a beautiful compilations, each incorporating gorgeous color schemes with nature, coming together to tell a story. Her newest line is Bountiful.
I enjoyed hearing about the process Sharon goes through when working on a new line. She explained deciding on the theme, or the story, the fabrics will tell is the first step in her design process. For example, her latest line, Bountiful, tells the story of living in the mid-west. I remember when I was looking at this line when it released a few months ago I had not yet read about Sharon’s intent. However I knew right away the collection was a depiction of rural life in America. When I ordered the selection I offer in my shop, I loved the nostalgic mood of these fabrics. Perennial Optimism, a main focus fabric, is a gorgeous floral that is reminiscent of the vintage sheets I enjoy collecting. Tartan Field Midnight reminded me of looking down over the Sacramento Valley whenever I am flying home from a trip. The organized squares of farmland are perfectly represented in this print. Hearing her explanation of the inspiration for this line confirmed my thoughts. What a lovely way to tell the story of life in the mid-west.
Creating the design for Haymow.
Each fabric from a collection is treated as an art project of its own . When she was drawing the pattern for Tartan Field, it took her about five iterations before she got to a version she loved. She came up with the idea for this print while flying home from a Quilt Market show. Creating Perennial Optimism, Sharon said she was channeling her love of artist, Vera Neumann. This makes total sense when I look at Vera’s work and Sharon’s Perennial Optimism print as they are quite similar in style and mood. To created Haymow, she cut a wood block to the shape she liked, printed the pattern and uploaded it to the computer for further manipulations.
Creating the leaf prints for Aborescent.
Finally the Aborescent piece, a combination of leaves and flowers, was made with some leaves she picked up while walking her dog. She took the leaves and painted them to make prints. These were uploaded and manipulated on the computer to the finished version we see. It was really interesting to learn that Sharon first works on the inspiration or story behind her line. As she creates the designs for the fabrics to tell her story, she is working in black and white at first. Color is not important when she is developing the initial designs. The process of determining the scale and the repeats in the print are treated as a puzzle. She enjoys working out these details in the design process.
These rolls of the Bountiful collection sing. Think of the potential in this bundle of fabric!
We talked a bit about all five of her lines. She, like many designers, could not name a favorite. She said she usually favors the line she is currently working on and considers each line to be it’s own unique experience. I mentioned how easy it was to mix her fabric lines together because many of the colors are shared between lines. She said she usually tries to pull a few colors from the previous line forward into the new line so people can mix them. I really appreciate this as we so often purchase a number of pieces (if not all of them) from a line. After using them we have leftovers, right? It is great to continue to use them with the next line. Curiously, Sharon also mentioned that she is working on a new line (hopefully it will release at the end of the year or the first of 2018) where she is pushing herself to work with colors that are outside her norm. If you are familiar with her fabrics, you will remember she often uses muted tones with lots of blues, greens, and pinks. I cannot wait to see what comes with the next line.
Each time I interview a prolific artist I am impressed by the amount of work produced. So much effort goes into developing a fabric line, from the first ideas, to creating each design, working with the colors, telling the story.
Once the fabric is created, there is the promotion of the line – samples to be made, social media to interact with, trade shows to attend. Asking Sharon how she manages all of this, she told me she has to focus on one thing at a time. She doesn’t multi-task when she is creating something. This makes sense and it clearly leads to a lovely result for her. She only maintains a presence on her blog and Instagram. There just isn’t enough time for too many social media platforms.
A peaceful place to work and to write.
We talked at length about the effects of increased usage of social media. It is difficult to have this barrage of images of all of these wonderful creations without feeling somewhat disillusioned by it all. Does that ring true for you? There are times I come away from Instagram thinking my work is sub-par after looking at so many amazing quilts; such gorgeous artistic work made by others. Sharon’s take on this is to use social media less often. In order to stay focused on your project, leave the phone or tablet alone while you are making. It is all to easy to derail the creative process with the abundance of imagery out there. Each of us is in our own place creatively and to compare our work with that of others can defeating. She (wisely) suggests each of us “own and experience our individual creativity”. She admits to sometimes overusing social media and refers to it as “feeding the monster”. All things in moderation, right?
I am one of many people who claim ‘I am not an artist because I cannot draw’. When I said this to Sharon she was very kind and encouraging. She has a degree in art but said as a young girl she was not one who could draw beautifully. However her sister was a wonderful artist. She envied this a bit and was determined to learn to draw. In Sharon’s opinion, people can learn to draw. It requires we learn from the right teacher or book. Then practice, practice, practice. She suggested a book titled Drawing With the Right Side of Your Brain, by Betty Edwards. Originally published over 40 years ago, this book is readily available on Amazon and there are tons of used copies to be bought inexpensively. Just after we talked about this book I read some reviews of it. I am going to give it a try. I have reserved it at our local library. Hopefully it will help me get past the idea that I can’t draw so I am not artistic. (Why are those two so heavily linked in my mind?)
As you might remember, I have been sewing along with the Sewcial Bee Sampler quilt along, hosted by Sharon and her dear friend Maureen Cracknell. This has been a great event which was created by Sharon and Maureen’s desire to further build community amongst quilters on-line. I am incredibly impressed by the organization and quality of this event. Sharon and Maureen decided to do this last fall. They spent several weeks working on nothing else until they had blocks designed, instructions written, sponsors signed up (I am one!! Look for a giveaway by Needle & Foot once in June and again in July!). There are many people sewing together and it has been a blast. If you haven’t checked it out, please do. My quilt is coming along so well and really, it isn’t too late to join in.
Finally, I asked Sharon how she spends her time other than designing fabric and hosting sew alongs (is there even any time left over at this point!?) She surprised me by saying she has a book in process. Titled, Utility Style Quilts for Every Day Living, it is being published by Landauer Books. The quilts she designed for this book are based on traditional blocks with a scrappy look. She encourages the reader to use up their stash with these fun projects that were in part influenced by Gees Bend quilts. I am looking forward to seeing the book when it comes out in the early fall. With the modern slant Sharon gave to the blocks we are making in the Sewcial Bee quilt, I know this book will have some great ideas and patterns in it.
I hope you have enjoyed getting to know more about Sharon. She was just a joy to chat with and I feel fortunate for having had this opportunity to learn about her and share it with you! In celebration of Sharon’s work, I have a sale going this week on her Bountiful fabrics as well as her Gossamer line. Both of them are lovely and if you desire, they play together nicely. No coupon code needed as the prices have already been reduced 15%. The sale runs through the end of the day on Friday! Click here to see what I have in the shop.
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