4 - Sew News

presents
4
FREE
SEWING
GUIDES
Easy Embellishment
1
2
3
1
Pressing On
2
Couch Trip
by Linda Turner Griepentrog
by Pamela K. Archer
3
For Art’s Sake
4
Feast on This
by Laura Murray
Marla Stefanelli
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4
FREE
SEWING
GUIDES
Simple Sewing Techniques
Embellishment is a great way to truly customize your sewing
projects. “Easy Embellishment” will help you add excitement
to garments, home décor, accessories and more. In “Pressing
On,” learn the basics of applying hot fix crystals for a touch
of sparkle. “Couch Trip” will inspire you to apply texture and
dimension to plain fabric by couching a variety of fibers. To
add freehand and stenciled artistic touches to your projects,
discover how to work with paintstiks in “For Art’s Sake.”
Finally, create a lovely stamped table runner to dress up your
dining room in “Feast on This.” Incorporate these fun and
simple embellishment techniques into your repertoire to add
fun and flair to your sewing!
Happy sewing!
Beth Bradley
Associate Editor, Sew News
TABLE OF CONTENTS
1
Pressing On ......................................................PAGE 1
2
Couch Trip..................................................PAGE 3
3
For Art’s Sake...........................................PAGE
4
Feast on This .............................................PAGE 13
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in-a-minute
embellishments
LINDA TURNER GRIEPENTROG
pressing on
Iron-on metallic and crystal accents add sparkle
to otherwise-ordinary sewing projects.
sewNew
1
USING PREMADE METALLIC OR CRYSTAL SHAPES makes it
easy to liven up almost any project. A household iron and press cloth are
the only tools needed.
Available in a multitude of motifs, the iron-ons are arranged on clear
plastic with a protective backing. For a permanent fix, follow these hints
from Sue’s Sparklers:
6 Always iron on a hard, flat surface, not an ironing board.
6 Set the iron to a wool setting with no steam.
6 Peel off the backing, and adhere the film-covered motif to your project.
6 Cover the motif with a press cloth.
1. To melt the glue dots, place the iron over the
design for at least 45 to 60 seconds without
moving it. If your design is larger than the iron
soleplate, move it (and the press cloth) around to
be sure all pieces have adhered.Then, using only
the nose of the iron, press down firmly on individual sections, ensuring a good fuse for different
sizes and depths of the design pieces.
TEST FABRICS for heat
tolerance, and read the
hang tags on readymade garments before
pressing on designs.
The following fabrics
aren’t recommended
for embellishing with
iron-ons: nylon, velvet,
acrylic, leather, vinyl and
Trigger (or other fabrics
with a permanent finish).
tip: When washing,
turn garments
inside out to protect
the design pieces.
2. Allow the plastic film to cool for approximately five minutes, then briefly
warm it with the iron and peel it off. If any design pieces pull off with the
film, re-fuse, adjusting iron temperature as needed to melt the glue.
3. Turn the project inside out, and fuse the design from the wrong side.
4. To double-check the fuse, run your thumbnail over the design pieces.
If any are loose or pop off, re-fuse. Z
Beyond the T-shirt
Think about these non-traditional applications for iron-on motifs:
6 Add monograms to napkins and place mats.
6 Embellish padded fabric picture frames.
6 Add to paper projects such as cards and scrapbook pages.
Iron-on metallics are made from lightweight
aluminum, and press-on Swarovski crystals
are real, faceted crystals.
source
All information and motifs provided by Sueʼs Sparklers, (760)
745-2510, www.suessparklers.com. Designs: sewing machine,
S-2157; buttons, S-2159; zipper, 10-876; fabric junkie, S-2100.
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couch trip
PAMELA K. ARCHER
Adorn fabric with color, texture and dimension
as limitless as your imagination.
COUCHING IS A FUN,VERSATILE WAY to add artistic details to
basic and elaborate fabrics alike.
Discover what this centuries-old
technique can do for a ready-made
garment, or try it on your next
sewing project.
The term “couching,” derived from
the 14th-century French verb couchier,
is defined as “to embroider by laying
thread flat on a surface and fastening
it by stitches at regular intervals.”
A look at the opulent clothing of
16th-century Europe illustrates how
popular this embroidery form once
was; the upper-class citizenry favored
garments completely covered with
couched and embroidered designs.
Today, couching refers to the technique of securing a yarn, cord or
ribbon to fabric by sewing over the
yarn with a simple zigzag or decorative stitch. Over the past five centuries, the only major changes to
the couching process have been the
welcome addition of the sewing
machine and the widespread availability of new fibers and trims.
Applying trims can dramatically
alter a fabric’s appearance. This can
be as simple as attaching a few yarns
for light, subtle detail, or as involved
as combining multiple yarn types for
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high-impact textural and dimensional
interest. Couching makes it possible
to create coordinating fabrics, hide
unsightly mistakes or add body to an
otherwise lightweight fabric. Armed
with this technique and your own
creativity, you can transform mundane
fabrics into stunning showpieces.
Foot of the Couch
You can use five different presser feet
for couching. Some feet have very
specific functions, while others are
more universal.
A cording foot allows you to feed a
small braid, yarn or ribbon through a
small loop attached to the foot. Place
the fabric in front of the foot, then
feed the braid through the loop to
the needle.Take a stitch, catching the
braid, and sew. One advantage of
using a cording foot is that it assists in
positioning the trim right side up,
much like a third hand.
A multicord foot, as the name suggests,
handles several cords at once. It
features several holes through which
you can feed the yarns or cords.
A beading foot deftly applies bead
strands or a string of rhinestones to
their desired location(s).The foot’s
notched underside accommodates
both the width and depth of bead
strands, allowing for easy, guided
placement.
A blind-hem foot can be adjusted for
use with thicker trims.This foot is
also a good choice when applying
trim near a garment edge (such as a
sleeve edge, neckline or blouse hem).
When stitching near an edge, position
the trim to one side of the foot’s
built-in guide.
An open-toe embroidery foot is the
couching generalist: It can accommodate all types of couching materials.
Its open-foot design allows for an
unobstructed view of the strands
as they’re guided and sewn into
position.
Choosing Materials
Of all the different couching materials
available, yarns are the most pliable,
and today’s vast yarn selection offers a
potential smorgasbord of creative
options.
Basic, solid-color yarn makes a great
foundation for almost any couching
design. An initial application of basic
yarn will form a backdrop that frames
additional “highlight” yarns.
Butterick 5276
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Today’s vast yarn selection
offers a potential smorgasbord
of creative options.
Novelty yarns featuring unusual colors
or textures are natural attention-getters,
and for most couching projects should
be applied last. In general, use a smaller
amount of novelty yarn than basic yarn
to achieve a “just right” balance to the
overall embellishment.
Ribbons, from thin and monochro-
matic to wide and variegated, offer
myriad creative combinations.
Cords offer yet another dimension of
color and texture options.Their sleek
surface, soft dimension and pliability
make them great for couching, but
some cords may need additional stabilization to support their greater
weight. Cords also build bulk relatively
quickly.This effect can look terrific
on more substantial items, such as
grading
the curve
Before attaching ribbons to a couching project, test each ribbon type to
determine its flexibility. Narrow ribbons, or those that are are made
of at least 50% cotton, are the
most flexible.
To find out how much curving a
ribbon will tolerate, position it into
the desired arc and press. If the
ribbon doesn’t hold the curve,
modify the design to better suit the
ribbon’s flexibility.
Test narrow, braided trims for
flexibility in the same manner.
Although woven, braids are considerably less flexible than yarn, making them better suited for
gentle curves than for small circles
or tightly twisting designs.
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outerwear,
but will
quickly overpower lightweight
or delicate garments.
Bead or rhinestone strands add fast,
easy elegance. Like braids, these
strands are capable of forming gentle
arcs, but not severe twists or small
shapes.
Stitch Selection
The most common couching stitches
are zigzag and decorative stitches.
Because of its adjustable width range,
the zigzag readily adapts for use with
all types of couching materials, from
the finest threads to bulky yarns to
bead strands (1). Be sure to test the
stitch width first, making sure that the
stitches fall cleanly and close to the
sides of the couching strand.
Decorative stitches, such as the
blind-hem and feather, provide secure
application for couching as well as an
additional decorative element. A
blind-hem stitch is most practical for
lightweight trims such as single yarns,
narrow ribbons and some novelty
yarns. If additional stitching is
required, sew the trim from the
opposite end to provide reverse-stitch
coverage and a pleasant decorativestitch appearance (2).
The featherstitch performs dual duty
by providing secure stitching as well
as additional embellishment. It’s most
effective when used over solid-color
trim, which allows the stitch’s decorative detail to be clearly seen.The
featherstitch’s main drawback is its
limited stitch width—only certain
diameters of yarn can be couched
without distorting the stitch.
Before stitching on your project, take
time to experiment.Try different
stitches with
each type of trim; it
can save lots of “unsewing” and will also help you
determine how decorative stitching
can fit into your desired
finished look.
Thread choice is another variable
that can dramatically influence the
project’s finished appearance. If you
want the trim to be the unobstructed
focal point, choose monofilament
thread so all couching materials
1 Zigzag Stitch
Couching Strand
2 Doubled Blindstitch
Couching Strand
McCall’s 4602
remain visible. Monofilament is also a
great choice for couching variegated
or multicolored trims. It’s most commonly applied with a zigzag stitch.
Another subtle alternative is to use
matching thread.Thread that blends
with the couching trims or matches
the fabric (and applied with a zigzag
stitch) will result in an understated
look.
For extra sizzle, try combining deco-
rative rayon or metallic threads with
a decorative stitch. Basic yarns or
ribbons are the best choices for this
couching method.
The potential combinations of specialty
threads, couching trims and stitch patterns yield endless creative opportunities. Make sure to adjust the machine
tension to accommodate specialty
threads, and use a metallic needle for
best results.
One final consideration is bobbin
thread. Standard yarns and ribbons
work fine with standard thread in the
bobbin. For heavy or dense couching
materials, or if you’re using a specialty
top thread, consider using Bobbinfil
in the bobbin to help keep the tension in check.
Final Preparations
For smooth, pucker-free couching,
test the machine settings by couching
on a fabric strip to ensure the thread
tension is adjusted correctly.You’ll also
want to stabilize the couching area.
Standard tension settings are suitable
for stitching yarns, narrow ribbons
and even some cords without adjustment. However, if you’re couching a
heavier strand, test a scrap first to
determine if the machine stitches can
handle the bulk without pulling the
thread out of alignment. If not, loosen
the upper tension to accommodate
the strand.
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Couching in Action
Design Deliberations
Cut a few lengths of each trim you plan to use, and place them on
the fabric. Now consider some design elements: Do the trim colors work with the fabric? With each other? One method of choosing color suggests including a light, a bright and a dark element
to balance the eye.
Remember that too much color and texture can get muddled: a
little intensity goes a long way. If you’re unsure how many different
trims to use, choose an odd number: try three, five or seven
varieties.
A wide spectrum of different materials, carefully mixed, increases
visual interest and adds depth to the overall couching pattern.
Smaller spaces call for fewer trim types and simpler designs,
while larger spaces need more yarn varieties in greater quantities,
as well as more complex designs.
Solid-color fabrics offer dramatic backgrounds for all kinds of
couching materials.
When selecting trim colors, check the fabric selvage for possible
hints. You may be able to distinguish the different thread colors
that blend to create the overall fabric—these are terrific complementary shades for couching materials.
MATERIALS
7 Jacket: McCall’s 4602 or similar pattern
for unlined, collared jacket
7 Vest: Butterick 5276 or similar pattern for
lined, button-front vest
7 Top: Butterick 3196, View B or similar
pattern for long-sleeve blouse with back
closure (modified; hook-and-eye closure
instead of back zipper; added bust dart)
7 Fabrics in yardages indicated on pattern
envelopes
7 Matching thread
7 Stabilizer (tear-away or iron-on) or fusible
interfacing, in amount large enough to
cover couched areas
7 3 to 7 yards of assorted decorative yarns,
cords, ribbons and bead strands in
coordinating colors
7 Monofilament thread
7 Metallic needle
7 Bobbinfil (optional)
7 Presser foot or feet selected for project
7 Chalk marker or air-soluble fabric marker
7 Large-eye needle
Cut out the pattern as directed, adding
¼” to seam allowances to allow for
any fabric pulling.
Next, select the stabilizer that’s best-
suited for the job: fusible interfacing
or iron-on or tear-away stabilizer. For
knits, fuse weft interfacing to all
garment pieces to provide body and a
perfect couching foundation. Lightweight, woven fabrics should be
completely stabilized, but more substantial fabrics, like boiled wool, only
need reinforcing at the areas to be
couched.
Plan It or Wing It?
If you want to plan your design before
stitching, use a fabric marker or chalk
to draw placement lines on the fabric
for each strand. Pin the strands in
place.Thread the machine with the
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appropriate thread, attach the selected
presser foot, and stitch over the
strands.
If you prefer to design as you sew,
For a predetermined design, use chalk
or an air-soluble fabric marker to
trace or sketch placement lines on the
fabric right side.
try free-form couching. Begin with a
general idea of the embellishment
location and the types and amounts
of yarns to use.Then dive right in—
place a strand on the fabric, handguide it into position and stitch
over it.
Cut a piece of interfacing slightly
To add couching to a completed
couching thread, and load the bobbin
with Bobbinfil if desired. Select the
appropriate stitch type and width to
couch the first strand.Test the stitch
settings on a fabric scrap, ensuring the
thread encloses the strand width
completely and securely. If you’ve
garment, stabilize the area first, then
apply your design. However, if you
plan to embellish a garment you’re
constructing, it’s much easier to
couch the fabric while the garment
pieces can still be laid flat.
larger than the area to be couched and
fuse to the fabric wrong side. Or, cut a
piece of tear-away stabilizer slightly
larger than the area to be couched and
pin to the fabric wrong side.
Thread the machine with the selected
marked placement lines, pin the first
trim length in place.
Stitch over the strand to secure (3).
(Use your hand to guide trim placement if you’re free-form couching.)
Add another strand, and sew along
the trim length from beginning to
end, following the curves (4). Don’t
backstitch; instead, leave long thread
tails at each seam end. Remove
excess stabilizer, if necessary.
Using a large-eye needle, pull thread
tails to the fabric wrong side; knot
securely.
Lay the fabric flat on a pressing
surface, wrong side up, and thoroughly press the entire design area. If the
couching is particularly dense, spread
a towel on the pressing surface first,
and then lay the fabric on the towel,
right side down; press.The towel
protects the couched yarns so they
maintain their dimension. Z
3 Mark
placement
lines and
stitch first
yarn.
Placement Line
4 Stitch
second
yarn.
Butterick 3196
(modified)
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For Art’s
Sake
LAURA MURRAY
Lois Ericson,
In the Studio - 7
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Enhance your sewing projects
using Shiva Artist’s Paintstiks and
stenciling tools.
PAINTSTIKS ARE APPLIED by
rubbing, stenciling or drawing directly
onto fabric, which can then be
machine-washed and dried after heat
setting. Made from pigment, oil and
wax, Paintstiks are being used by
textile artists to embellish fabric and
create one-of-a-kind garments and
original projects.
apply a Paintstik directly to the
fabric over the textured surface
using even strokes. Move the textured
surface to a new location under the
fabric and make additional rubbings.
New textures and colors can be
layered without waiting for the paint
to dry. Keep in mind that partial
images can be interesting.
Experiment on small samples (approxi-
Preparation
To remove any sizing, prewash fabrics
using a plain detergent with no
bleach or softener additive (sizing,
bleach residue and softeners can interfere with paint adhesion). Press to
remove any wrinkles. Cover a work
surface with a heavy plastic drop
cloth or large trash bag.
Pinch off the protective skin from the
Paintstik tip with a paper towel or
carefully peel it away using a small
sharp knife.
Rubbings
Rubbings enable you to cover large
areas with texture and color in just a
few minutes (1).
Look for reasonably flat, textured
surfaces with raised elements that are
firm enough and thick enough to feel
the texture through the fabric (such
as rubber mats, stamps, rubbing plates
or blocks wrapped with string or
cording).
Choose any fabric with a smooth sur-
face. For crisp images, place the fabric
right side up on a work surface and
tape three edges to hold the fabric
taut and flat. If you’re willing to
accept some irregularity in the images,
skip the taping. Right side up, slide
the textured surface between the
fabric and work surface. Gently
mately 12” squares) before beginning
any project.Test on your existing supply
of solid-color fabrics or purchase
inexpensive cottons for practicing.
Experimentation is an essential pathway to effective designs. Consider it
playtime by suspending judgment
until you’ve tried a variety of color
and design options. Once you’ve
selected your favorite color and design
combination, save the remaining
samples for future use.
For the featured jacket, a single rubbing
plate made of concentric squares was
moved to create overlapping images,
and multiple Paintstiks were used to
create several color combinations.The
jacket lapel fabric was the same color
as the jacket body fabric prior to
embellishing.
Why Paintstiks?
7 Paintstiks don’t change the
fabric’s hand.
7 A film forms over the paint when
not in use, which eliminates
waste.
7 The color is very durable after
heat setting.
7 No-fuss care for the garment or
project: machine wash and dry.
7 Paintstiks adhere to almost any
fabric, including cotton, silk,
synthetics, suede and leather.
7 Colors blend easily to lighten
values or create new hues.
1 Rubbings quickly cover large areas
Stenciling
Paintstiks produce an airbrushed effect
when used with stencils. Because the
paint is nearly solid, it stays within the
stencil edges. A perfect image can be
achieved easily and consistently (2).
2 Stencils let you achieve perfect images
MAPLE LEAVES STENCIL,
L A U R A M U R R AY
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tip: Add hand or
machine embroidery to
further embellish your
projects. Beads add
extra flair as well.
When working with
stencils, apply the Paintstik to the
fabric with a stencil brush rather than
using the Paintstik directly on the
fabric.The best method is to apply
the Paintstik to a palette, and then
transfer the paint to a stencil brush.
Or you can rub the brush directly on
the Paintstik to load it with color. A
good palette surface
has a slightly abrasive surface (i.e.,
parchment paper or disposable palette
paper from art-supply stores). Mix
colors on the palette and lighten
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color values using a “blender” Paintstik
(one with no pigment). After loading
the stencil brush with paint, use a
gentle circular motion to apply the
color to the fabric.
Experiment with colors and shading
effects.When shading, apply the
lightest color first and continue
adding darker colors until you’re
satisfied with the effect.
Stencils are available from a variety
of places (see “Sources” on the next
page). Or make your own stencils from
freezer paper, card stock or stencil plastic.
Direct Application
You can also apply color directly to
fabric with a Paintstik. Use a stencil
brush to smooth and blend the colors.
Apply masking tape to create boundaries and designs such as plaids, lattices,
triangles and more.
On the featured sample, stick figures
were drawn directly on the fabric. A
hill was created by tearing paper, placing the torn edge on the fabric, and
shading with a stencil brush to create
a natural-looking irregular line (3).
JAZZED-UP
Jean Jacket
Each flower petal on the featured jean jacket was
made from test samples created by layering various
rubbing plates, designs and rubber stamps.
To create flower shapes, draw a petal template on
card stock or stenciling plastic. Following the manufacturer’s instructions, iron fusible web to the embellished
fabric wrong sides. Place the template over the paper
3 Draw stick figures; use paper and
shading to create a hill
backing, and draw around the template to make as
many petals as desired. Cut out each petal and
remove the paper backing.
Use a contrasting color fabric backed with fusible
web to cut out a small circle for each flower center.
Remove the paper backing.
Create flowers by placing petals under the center
circles. Randomly place the flowers on the jacket
and fuse in place.
Clean Up
Clean up is easy, since soap and water
work fine for cleaning hands and tools.
Traditional solvents, such as turpentine,
are effective but have a strong odor.
Other options include odorless solvents
from art supply stores, citrus-based
household cleaners or automotive
degreasers and mineral spirits.
Heat Setting
Paintstik colors generally dry to the
touch within 24 hours. However, fabric
application requires additional drying
time of three to five days. After drying,
heat setting is necessary to permanently
set the paint.
To heat set with an iron, choose the
hottest temperature appropriate for
the fabric. Lay a piece of greaseproof
paper or muslin over the ironing surface. Place the fabric on the paper
with the paint side down. Press each
fabric section for 10 to 15 seconds.
in the dryer and run it at the hottest
setting for 30 minutes.
After heat setting, hand- or machinewash the fabric in cold water to
remove any residue. Do not dry clean
fabrics embellished with Paintstiks
because the solvents will break down
and remove the paints. Z
An alternative method, particularly for
large fabric pieces, is to put the fabric
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Feast
on This
MARLA STEFANELLI
Spice up the table
for your next
holiday gathering
with a festive tablecloth.
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Yardage Chart
Center Panel Yardage (fill in the blanks):
_____ Table length
27” Drop, shrinkage, test fabric
+ _____
Stamped accents, derived from a border print, enliven the
center panel.The doubled mitered border adds extra dimension and weight at the edges and gives the tablecloth the
perfect finishing touch. Add the stamped designs before
stitching the border.
If time is short, leave the tablecloth center plain and
start a family tradition. Supply permanent fabric markers
and let your guests decorate the surface. (Add a paper
layer underneath to prevent the marks from transferring
to the table.) Heat-set the tablecloth being careful to
avoid pressing any spills. Bring out the tablecloth year
after year and let your guests add to it.
MATERIALS
7 54”-wide light-colored 100% cotton fabric with close even weave
(See “Measuring & Cutting” to determine yardage.)
7 44/45”-wide 100% cotton fabric for border
(See “Measuring & Cutting”)
7 Permanent textile paint: Goldenrod, Maroon, Yellow Ochre, Russet,
Emerald Green, Sapphire Blue (See “Sources” at the end
of this article.)
7 9”x 12” Flexible Printing Plate or large stamps
(See “Sources” at the end of this article.)
7 Wood, Plexiglas or 1⁄4”-thick foam core for mounting
homemade stamps
7 Disposable plastic plates, palette knife, paper towels
7 1”-wide foam paint brush or small brayer
7 Permanent fabric markers (optional)
Measuring & Cutting
To determine the center-panel yardage, add 27” to the table
length (for a 4” drop at each end, shrinkage allowance and
test fabric). Divide the total table length by 36” to get the
yardage required for the center panel. (See the chart at right
to help do the math.) From this point on the center panel
will be referred to as the tablecloth.
= _____ Total length
36” Inches in one yard
! _____
= _____ Total yardage
Border Yardage (fill in the blanks):
_____ Table width + 8”
+ _____ Table length + 8”
= _____ 1⁄2 perimeter
2
x _____
= _____ perimeter
30” Mitered corners, seaming
+ _____
= _____ Total border length
41” Preshrunk fabric width
! _____
= ____ Border strips needed
6” Border width
x _____
= _____
12” Shrinkage. plus one border strip
+ _____
= _____
36” Inches in one yard
! _____
= _____ Total yardage
To make coordinating 18” napkins, purchase
⁄2 yard extra for every two napkins.
1
To determine the border yardage add the table width and
length measurements together plus 16” (for the drop).
Multiply the total by two to get the tablecloth perimeter
measurement. Add 30” to allow for mitering corners and
stitching ends together.
The border strips are cut on the fabric crossgrain so
divide the tablecloth perimeter by 41” (preshrunk fabric
width) to determine the number of strips needed. Multiply
the strips needed by 6” (border width). Add 12” (for
shrinkage allowance and one extra border width). Divide
the total by 36” for the border yardage amount.
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Short on time?
Eliminate the stamping process
by purchasing print fabric for the
center panel and adding a
coordinating solid-color border.
Preparation
stamping tips
7 To overlap the fabric edge, place typing paper under
the edge and stamp.
7 If a motif has a definite right or left orientation,
consider making a mirror-image version.
7 Paint colors can be mixed. Begin with one-half
tablespoon of the lighter color and add the darker
color to it in small amounts.
7 Brush strokes will transfer to the fabric so place them
in the desired direction.
7 Clean the stamp if details fill in or accidental globs
happen. Use a wet paper towel to wipe off the stamp.
7 If a small bit of unwanted paint transfers to the fabric,
don’t try to remove it. The paint will only smear and look
like a mistake.
7 If you need to reposition the fabric, do so before inking the
stamp. You’re only asking for trouble when moving
fabric and juggling a stamp at the same time.
7 Always check your fingers for paint before touching
the fabric.
7 If the paint is drying and getting thick, add a few
drops of water and stir with a palette knife.
7 Add accents with a paintbrush, dowel rod end or
pencil eraser.
7 If you have to pause during the stamping process,
place plastic wrap over the paint until you return.
Preshrink the fabric in the manner the tablecloth will be
laundered. Press to remove any wrinkles. Set the border
fabric aside.
Pull a thread across the tablecloth fabric width close to one
cut end. Cut along the pulled thread to square the fabric.
Measure from the squared end and cut the fabric 8” longer
than the table-length measurement.Trim off the selvages,
and then zigzag- or serge-finish the edges.
Decorative Stamping
Decorate the tablecloth with stamps you create using
motifs from the border fabric (see “Custom Stamps” at
right), or use purchased stamps that relate to the border
fabric. Select fabric paint that coordinates with or matches
the border fabric.
Cover a flat, smooth, hard surface (the table the cloth is for
works great) with butcher paper or unprinted newsprint;
tape the edges in a couple places to prevent the paper from
shifting. Place the tablecloth right side up on the surface.
Have the border fabric nearby to refer to the pattern and
colors used.
Work with one paint color and stamp at a time. Begin with
the largest stamp. Pour a tablespoon of fabric paint onto a
disposable plastic plate. Use a paintbrush or brayer to transfer
the paint to the stamp. Place the stamp on the test fabric and
lightly finger-press the stamp to transfer the design.Test-stamp
until you achieve the desired results.
Compare the stamped color to the border fabric. Mix paint
colors together if necessary. Don’t try to perfectly match the
border fabric. Stand back and view the results to see how the
colors and fabric work together. If you’re not sure, leave the
room and then walk back in and look at it with a fresh eye.
When you’re satisfied with the color, stamp on the tablecloth.
Randomly stamp the surface, evenly spacing the motifs and
allowing room between each for smaller motifs. Rearrange
the tablecloth to stamp the edges if necessary.
15
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custom stamps
Create custom stamps that echo the border print.
Trace several motifs from the fabric onto tracing paper
and enlarge as desired on a copy machine (featured
motifs were enlarged 400% and 550%).
Roughly cut out the motifs. Use a glue stick to
adhere the motifs to the peel-off backing of the
Flexible Printing Plate, placing the motifs close
together so you don’t waste the printing material.
Cut the shapes from the Flexible Printing Plate
using small sharp scissors or a craft knife.
Peel off the paper backing and mount the design
onto 1⁄4”-thick foam core. For a more permanent
stamp, mount the stamp on wood or Plexiglas.
The mounting should support the entire design.
To help with placement when stamping on the
fabric, glue the pattern to the back of the stamp
lining it up as close as possible to the actual stamp.
Dense 1⁄8”-thick foam sheets are available in craft
and hobby stores and are used for scrapbooks and
crafts. You can substitute these sheets for the
printing-plate material. Glue the cut shapes to the
mounting surface with permanent glue.
1 Stitch and trim border strips
Be sure the paint hasn’t soaked through to the paper, or
paint will smear across the tablecloth wrong side and
could show on the right side.
Continue stamping, working with progressively smaller stamps
and using different colors. Evenly space each stamp between
the previous motifs.
When the paint is thoroughly dry, heat-set the printed designs
with a dry iron set at the hottest temperature the fabric will
tolerate. Place aluminum foil on the ironing board, and then
place the tablecloth painted side down over the foil. Press
each stamped area for 30 seconds.
The stamped designs will be permanent and will withstand
laundering and dry cleaning.
2 Fold end; press and trim to 1⁄2”
Construction
All seams are ½” unless specified otherwise.
Cut enough 6”-wide border strips across the fabric width to
equal the tablecloth perimeter. Cut one extra strip to allow
for mitering and piecing the strips together. (Seven border
strips were cut for the featured tablecloth, which fits a
42”x 77” table.)
Stitch the strip short edges together with a bias seam (1).
Press open the seams.
1⁄2”
Turn under the border starting end at a 45° angle; press.Trim
the end ½” from the crease (2). Fold the shorter lengthwise
edge ½” to the wrong side; press.
sewnews
16
Begin stitching in the middle of one tablecloth side.With the
Continue stitching the border to the tablecloth up to the
border right side facing the tablecloth wrong side, align the
raw edges (not the folded edge). Pin the border to the
tablecloth up to the corner.
starting point. Overlap the beginning angled end 2”;
trim off the remaining border strip (6).
Unfold the border pressed end, and begin stitching at the
with the raw edge of the beginning angle; press (7).
Trim the excess fabric along the pressed crease.
crease (3). Continue stitching to the corner ending ½”
from the tablecloth edge.
Press the seam toward the border. Place the stitched
border wrong side up on a flat surface and smooth out
the adjoining areas.
Copy the corner template onto poster board and cut out.
Position the corner template on the border as shown;
trace around the point (4).
With right sides facing, fold the border back on itself about ⅛”
past the drawn point.Align the raw edges and pin along the
drawn lines through both layers. Stitch the point beginning at
the seam and ending at the pressed crease (5), being careful
not to catch the tablecloth in the stitching.Trim the corner
leaving a ½” seam allowance and tapering to the point.
Meet the remaining border right side to the adjacent tablecloth
wrong side; align the raw edges. Stitch to the next corner,
ending ½” from the tablecloth edge. Stitch the next corner
in the same manner.
Corner template
3 Begin stitching at crease
Fold back the border end at a 45° angle so the fold aligns
With right sides facing align the border raw ends, pulling the
tablecloth out of the way so it doesn’t get caught in the stitching.
Stitch the ends together, and then press open the seam.
Finger-press open the corner seams, and then turn the corners
right side out.Turn the border to the tablecloth right side.
Position the pressed crease of the border opposite edge just
past the seamline; pin. Edgestitch the border inner edge
through all layers. Press the border outer edge. Z
resource
Fabric Stamping Handbook by Jean Ray Laury, C&T Publishing, 2002.
sources
Cranston Print Works, (774) 495-1618,www.cranstonvillage.com,
provided the Rhapsody #1649-20228-S Gold fabric for the border.
The fabric is available at independent quilt stores nationwide.
DharmaTrading Company, (800) 542-5227, www.dharmatrading.com,
provided the Jacquard Textile Colors (102 Goldenrod, 109
Maroon, 124 Yellow Ochre, 127 Russet, 117 Emerald Green),
FabricMate Permanent Fabric Pens (11 Red, 13 Green,
15 Orange, 20 Purple), and Flexible Printing Plate.
5 Fold corner back on itself; stitch corner
1⁄2”
Tablecloth
7 Fold border aligning fold with beginning
trimmed edge; press
Fold
Border
4 Trace corner on border
Tablecloth
Border
Pressed
crease
17
sewnews
Stop stitching
1⁄2” from tablecloth edge
Corner
template
8 Align border ends and stitch
6 Overlap beginning
Stop stitching here
Tablecloth
Border
2”
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