presents

11 22 33 4411 Pressing On

by Linda Turner Griepentrog

22 Couch Tripby Pamela K. Archer

33 For Art’s Sakeby Laura Murray

44 Feast on ThisMarla Stefanelli

Easy Embellishment

FREESEWING GUIDES44

Simple Sewing Techniques

FREESEWING GUIDES44

11 Pressing On......................................................PAGE 1

22 Couch Trip..................................................PAGE 3

33 For Art’s Sake...........................................PAGE 9

44 Feast on This .............................................PAGE 13

TABLE OF CONTENTS

Embellishment is a great way to truly customize your sewingprojects. “Easy Embellishment” will help you add excitement to garments, home décor, accessories and more. In “PressingOn,” learn the basics of applying hot fix crystals for a touch of sparkle. “Couch Trip” will inspire you to apply texture anddimension to plain fabric by couching a variety of fibers. Toadd 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 yourdining 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 BradleyAssociate Editor, Sew News

pressing onIron-on metallic and crystal accents add sparkleto otherwise-ordinary sewing projects.

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embellishmentsin-a-minute

LINDA TURNER GRIEPENTROG

USING PREMADE METALLIC OR CRYSTAL SHAPES makes iteasy to liven up almost any project.A household iron and press cloth arethe only tools needed.

Available in a multitude of motifs, the iron-ons are arranged on clearplastic with a protective backing. For a permanent fix, follow these hintsfrom 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 thedesign for at least 45 to 60 seconds withoutmoving it. If your design is larger than the ironsoleplate, move it (and the press cloth) around tobe sure all pieces have adhered.Then, using onlythe nose of the iron, press down firmly on indi-vidual sections, ensuring a good fuse for differentsizes and depths of the design pieces.

2. Allow the plastic film to cool for approximately five minutes, then brieflywarm it with the iron and peel it off. If any design pieces pull off with thefilm, 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

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tip: When washing,

turn garments

inside out to protect

the design pieces.

TEST FABRICS for heattolerance, and read thehang tags on ready-made garments beforepressing on designs.

The following fabricsaren’t recommendedfor embellishing withiron-ons: nylon, velvet,acrylic, leather, vinyl andTrigger (or other fabricswith a permanent finish).

Beyond the T-shirtThink 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 lightweightaluminum, and press-on Swarovski crystals

are real, faceted crystals.

sourceAll 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.

COUCHING IS A FUN,VERSA-TILE WAY to add artistic details tobasic and elaborate fabrics alike.Discover what this centuries-oldtechnique can do for a ready-madegarment, or try it on your nextsewing project.

The term “couching,” derived fromthe 14th-century French verb couchier,is defined as “to embroider by layingthread flat on a surface and fasteningit by stitches at regular intervals.”

A look at the opulent clothing of16th-century Europe illustrates howpopular this embroidery form oncewas; the upper-class citizenry favoredgarments completely covered withcouched and embroidered designs.

Today, couching refers to the tech-nique of securing a yarn, cord orribbon to fabric by sewing over theyarn with a simple zigzag or decora-tive stitch. Over the past five cen-turies, the only major changes tothe couching process have been thewelcome addition of the sewingmachine and the widespread avail-ability of new fibers and trims.

Applying trims can dramaticallyalter a fabric’s appearance. This canbe as simple as attaching a few yarnsfor light, subtle detail, or as involvedas combining multiple yarn types for

high-impact textural and dimensionalinterest. Couching makes it possibleto create coordinating fabrics, hideunsightly mistakes or add body to anotherwise lightweight fabric. Armedwith this technique and your owncreativity, you can transform mundanefabrics into stunning showpieces.

Foot of the CouchYou can use five different presser feetfor couching. Some feet have veryspecific functions, while others aremore universal.

A cording foot allows you to feed asmall braid, yarn or ribbon through asmall loop attached to the foot. Placethe fabric in front of the foot, thenfeed the braid through the loop tothe needle.Take a stitch, catching thebraid, and sew. One advantage ofusing a cording foot is that it assists inpositioning the trim right side up,much like a third hand.

A multicord foot, as the name suggests,handles several cords at once. Itfeatures several holes through whichyou can feed the yarns or cords.

A beading foot deftly applies beadstrands or a string of rhinestones totheir desired location(s).The foot’s

notched underside accommodatesboth the width and depth of beadstrands, allowing for easy, guidedplacement.

A blind-hem foot can be adjusted foruse with thicker trims.This foot isalso a good choice when applyingtrim near a garment edge (such as asleeve edge, neckline or blouse hem).When stitching near an edge, positionthe trim to one side of the foot’sbuilt-in guide.

An open-toe embroidery foot is thecouching generalist: It can accommo-date all types of couching materials.Its open-foot design allows for anunobstructed view of the strandsas they’re guided and sewn intoposition.

Choosing MaterialsOf all the different couching materialsavailable, yarns are the most pliable,and today’s vast yarn selection offers apotential smorgasbord of creativeoptions.

Basic, solid-color yarn makes a greatfoundation for almost any couchingdesign.An initial application of basicyarn will form a backdrop that framesadditional “highlight” yarns.

Adorn fabric with color, texture and dimensionas limitless as your imagination.

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tripPAMELA K. ARCHER

couch

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Butterick 5276

Novelty yarns featuring unusual colorsor textures are natural attention-getters,and for most couching projects shouldbe applied last. In general, use a smalleramount of novelty yarn than basic yarnto achieve a “just right” balance to theoverall embellishment.

Ribbons, from thin and monochro-matic to wide and variegated, offermyriad creative combinations.

Cords offer yet another dimension ofcolor and texture options.Their sleeksurface, soft dimension and pliabilitymake them great for couching, butsome cords may need additional sta-bilization to support their greaterweight. Cords also build bulk relativelyquickly.This effect can look terrificon more substantial items, such as

outerwear,but willquickly over-power lightweightor delicate garments.

Bead or rhinestone strands add fast,easy elegance. Like braids, thesestrands are capable of forming gentlearcs, but not severe twists or smallshapes.

Stitch SelectionThe most common couching stitchesare zigzag and decorative stitches.

Because of its adjustable width range,the zigzag readily adapts for use withall types of couching materials, fromthe finest threads to bulky yarns tobead strands (1). Be sure to test thestitch width first, making sure that thestitches fall cleanly and close to thesides of the couching strand.

Decorative stitches, such as theblind-hem and feather, provide secureapplication for couching as well as anadditional decorative element.Ablind-hem stitch is most practical forlightweight trims such as single yarns,narrow ribbons and some noveltyyarns. If additional stitching isrequired, sew the trim from theopposite end to provide reverse-stitchcoverage and a pleasant decorative-stitch appearance (2).

The featherstitch performs dual dutyby providing secure stitching as wellas additional embellishment. It’s mosteffective when used over solid-colortrim, which allows the stitch’s decora-tive detail to be clearly seen.Thefeatherstitch’s main drawback is itslimited stitch width—only certaindiameters of yarn can be couchedwithout distorting the stitch.

Before stitching on your project, taketime to experiment.Try different

stitches witheach type of trim; itcan save lots of “un-sewing” and will also help youdetermine how decorative stitchingcan fit into your desiredfinished look.

Thread choice is another variablethat can dramatically influence theproject’s finished appearance. If youwant the trim to be the unobstructedfocal point, choose monofilamentthread so all couching materials

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Before attaching ribbons to a couch-ing project, test each ribbon type todetermine its flexibility. Narrow rib-bons, or those that are are madeof at least 50% cotton, are themost flexible.

To find out how much curving aribbon will tolerate, position it intothe desired arc and press. If theribbon doesn’t hold the curve,modify the design to better suit theribbon’s flexibility.

Test narrow, braided trims forflexibility in the same manner.Although woven, braids are consid-erably less flexible than yarn, mak-ing them better suited forgentle curves than for small circlesor tightly twisting designs.

gradingthe curve

1 Zigzag Stitch

2 Doubled Blindstitch

Today’s vast yarn selectionoffers a potential smorgasbordof creative options.

Couching Strand

Couching Strand

remain visible. Monofilament is also agreat choice for couching variegatedor multicolored trims. It’s most com-monly applied with a zigzag stitch.

Another subtle alternative is to usematching thread.Thread that blendswith the couching trims or matchesthe fabric (and applied with a zigzagstitch) will result in an understatedlook.

For extra sizzle, try combining deco-rative rayon or metallic threads witha decorative stitch. Basic yarns orribbons are the best choices for thiscouching method.

The potential combinations of specialtythreads, couching trims and stitch pat-terns yield endless creative opportuni-ties. Make sure to adjust the machinetension to accommodate specialtythreads, and use a metallic needle forbest results.

One final consideration is bobbinthread. Standard yarns and ribbonswork fine with standard thread in thebobbin. For heavy or dense couchingmaterials, or if you’re using a specialtytop thread, consider using Bobbinfilin the bobbin to help keep the ten-sion in check.

Final PreparationsFor smooth, pucker-free couching,test the machine settings by couchingon a fabric strip to ensure the threadtension is adjusted correctly.You’ll alsowant to stabilize the couching area.

Standard tension settings are suitablefor stitching yarns, narrow ribbonsand even some cords without adjust-ment. However, if you’re couching aheavier strand, test a scrap first todetermine if the machine stitches canhandle the bulk without pulling thethread out of alignment. If not, loosenthe upper tension to accommodatethe strand.

McCall’s 4602

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Next, select the stabilizer that’s best-suited for the job: fusible interfacingor iron-on or tear-away stabilizer. Forknits, fuse weft interfacing to allgarment pieces to provide body and aperfect couching foundation. Light-weight, woven fabrics should becompletely stabilized, but more sub-stantial fabrics, like boiled wool, onlyneed reinforcing at the areas to becouched.

Plan It or Wing It?If you want to plan your design beforestitching, use a fabric marker or chalkto draw placement lines on the fabricfor each strand. Pin the strands inplace.Thread the machine with the

appropriate thread, attach the selectedpresser foot, and stitch over thestrands.

If you prefer to design as you sew,try free-form couching. Begin with ageneral idea of the embellishmentlocation and the types and amountsof yarns to use.Then dive right in—place a strand on the fabric, hand-guide it into position and stitchover it.

To add couching to a completedgarment, stabilize the area first, thenapply your design. However, if youplan to embellish a garment you’reconstructing, it’s much easier tocouch the fabric while the garmentpieces can still be laid flat.

Couching in ActionMATERIALS7 Jacket: McCall’s 4602 or similar pattern

for unlined, collared jacket7 Vest: Butterick 5276 or similar pattern for

lined, button-front vest7 Top: Butterick 3196, View B or similar

pattern for long-sleeve blouse with backclosure (modified; hook-and-eye closureinstead of back zipper; added bust dart)

7 Fabrics in yardages indicated on patternenvelopes

7 Matching thread7 Stabilizer (tear-away or iron-on) or fusible

interfacing, in amount large enough tocover couched areas

7 3 to 7 yards of assorted decorative yarns,cords, ribbons and bead strands incoordinating colors

7 Monofilament thread7 Metallic needle7 Bobbinfil (optional)7 Presser foot or feet selected for project7 Chalk marker or air-soluble fabric marker7 Large-eye needle

Cut out the pattern as directed, adding¼” to seam allowances to allow forany fabric pulling.

For a predetermined design, use chalkor an air-soluble fabric marker totrace or sketch placement lines on thefabric right side.

Cut a piece of interfacing slightlylarger than the area to be couched andfuse to the fabric wrong side. Or, cut apiece of tear-away stabilizer slightlylarger than the area to be couched andpin to the fabric wrong side.

Thread the machine with the selectedcouching thread, and load the bobbinwith Bobbinfil if desired. Select theappropriate stitch type and width tocouch the first strand.Test the stitchsettings on a fabric scrap, ensuring thethread encloses the strand widthcompletely and securely. If you’ve

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Cut a few lengths of each trim you plan to use, and place them onthe fabric. Now consider some design elements: Do the trim col-ors work with the fabric? With each other? One method of choos-ing color suggests including a light, a bright and a dark elementto balance the eye.

Remember that too much color and texture can get muddled: alittle intensity goes a long way. If you’re unsure how many differenttrims to use, choose an odd number: try three, five or sevenvarieties.

A wide spectrum of different materials, carefully mixed, increasesvisual 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 ofcouching materials.

When selecting trim colors, check the fabric selvage for possiblehints. You may be able to distinguish the different thread colorsthat blend to create the overall fabric—these are terrific comple-mentary shades for couching materials.

Design Deliberations

marked placement lines, pin the firsttrim length in place.

Stitch over the strand to secure (3).(Use your hand to guide trim place-ment if you’re free-form couching.)Add another strand, and sew alongthe trim length from beginning toend, following the curves (4). Don’tbackstitch; instead, leave long threadtails at each seam end. Removeexcess stabilizer, if necessary.

Using a large-eye needle, pull threadtails to the fabric wrong side; knotsecurely.

Lay the fabric flat on a pressingsurface, wrong side up, and thorough-ly press the entire design area. If thecouching is particularly dense, spreada towel on the pressing surface first,and then lay the fabric on the towel,right side down; press.The towelprotects the couched yarns so theymaintain their dimension. Z

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3 Markplacementlines andstitch firstyarn.

4 Stitchsecondyarn.

Butterick 3196(modified)

Placement Line

Lois Ericson,In the Studio - 7

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For Art’sSake LAURA MURRAY

PAINTSTIKS ARE APPLIED byrubbing, stenciling or drawing directlyonto fabric, which can then bemachine-washed and dried after heatsetting. Made from pigment, oil andwax, Paintstiks are being used bytextile artists to embellish fabric andcreate one-of-a-kind garments andoriginal projects.

PreparationTo remove any sizing, prewash fabricsusing a plain detergent with nobleach or softener additive (sizing,bleach residue and softeners can inter-fere with paint adhesion). Press toremove any wrinkles. Cover a worksurface with a heavy plastic dropcloth or large trash bag.

Pinch off the protective skin from thePaintstik tip with a paper towel orcarefully peel it away using a smallsharp knife.

RubbingsRubbings enable you to cover largeareas with texture and color in just afew minutes (1).

Look for reasonably flat, texturedsurfaces with raised elements that arefirm enough and thick enough to feelthe texture through the fabric (suchas rubber mats, stamps, rubbing platesor blocks wrapped with string orcording).

Choose any fabric with a smooth sur-face. For crisp images, place the fabricright side up on a work surface andtape three edges to hold the fabrictaut and flat. If you’re willing toaccept some irregularity in the images,skip the taping. Right side up, slidethe textured surface between thefabric and work surface. Gently

apply a Paintstik directly to thefabric over the textured surfaceusing even strokes. Move the texturedsurface to a new location under thefabric and make additional rubbings.New textures and colors can belayered without waiting for the paintto dry. Keep in mind that partialimages can be interesting.

Experiment on small samples (approxi-mately 12” squares) before beginningany project.Test on your existing supplyof solid-color fabrics or purchaseinexpensive cottons for practicing.Experimentation is an essential path-way to effective designs. Consider itplaytime by suspending judgmentuntil you’ve tried a variety of colorand design options. Once you’veselected your favorite color and designcombination, save the remainingsamples for future use.

For the featured jacket, a single rubbingplate made of concentric squares wasmoved to create overlapping images,and multiple Paintstiks were used tocreate several color combinations.Thejacket lapel fabric was the same coloras the jacket body fabric prior toembellishing.

StencilingPaintstiks produce an airbrushed effectwhen used with stencils. Because thepaint is nearly solid, it stays within thestencil edges.A perfect image can beachieved easily and consistently (2).

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Enhance your sewing projectsusing Shiva Artist’s Paintstiks andstenciling tools.

Why Paintstiks?7 Paintstiks don’t change the

fabric’s hand.

7 A film forms over the paint whennot in use, which eliminateswaste.

7 The color is very durable afterheat setting.

7 No-fuss care for the garment orproject: machine wash and dry.

7 Paintstiks adhere to almost anyfabric, including cotton, silk,synthetics, suede and leather.

7 Colors blend easily to lightenvalues or create new hues.

M A P L E L E A V E S S T E N C I L ,L A U R A M U R R A Y

2 Stencils let you achieve perfect images

1 Rubbings quickly cover large areas

When working withstencils, apply the Paintstik to thefabric with a stencil brush rather thanusing the Paintstik directly on thefabric.The best method is to applythe Paintstik to a palette, and thentransfer the paint to a stencil brush.Or you can rub the brush directly onthe Paintstik to load it with color.Agood palette surfacehas a slightly abrasive surface (i.e.,parchment paper or disposable palettepaper from art-supply stores). Mixcolors on the palette and lighten

color values using a “blender” Paintstik(one with no pigment).After loadingthe stencil brush with paint, use agentle circular motion to apply thecolor to the fabric.

Experiment with colors and shadingeffects.When shading, apply thelightest color first and continueadding darker colors until you’resatisfied with the effect.

Stencils are available from a varietyof places (see “Sources” on the nextpage). Or make your own stencils fromfreezer paper, card stock or stencil plastic.

Direct ApplicationYou can also apply color directly tofabric with a Paintstik. Use a stencilbrush to smooth and blend the colors.Apply masking tape to create bound-aries and designs such as plaids, lattices,triangles and more.

On the featured sample, stick figureswere drawn directly on the fabric.Ahill was created by tearing paper, plac-ing the torn edge on the fabric, andshading with a stencil brush to createa natural-looking irregular line (3).

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tip: Add hand ormachine embroidery to

further embellish yourprojects. Beads add

extra flair as well.

Clean UpClean up is easy, since soap and waterwork fine for cleaning hands and tools.Traditional solvents, such as turpentine,are effective but have a strong odor.Other options include odorless solventsfrom art supply stores, citrus-basedhousehold cleaners or automotivedegreasers and mineral spirits.

Heat SettingPaintstik colors generally dry to thetouch within 24 hours. However, fabric

application requires additional dryingtime of three to five days.After drying,heat setting is necessary to permanentlyset the paint.

To heat set with an iron, choose thehottest temperature appropriate forthe fabric. Lay a piece of greaseproofpaper or muslin over the ironing sur-face. Place the fabric on the paperwith the paint side down. Press eachfabric section for 10 to 15 seconds.

An alternative method, particularly forlarge fabric pieces, is to put the fabric

in the dryer and run it at the hottestsetting for 30 minutes.

After heat setting, hand- or machine-wash the fabric in cold water toremove any residue. Do not dry cleanfabrics embellished with Paintstiksbecause the solvents will break downand remove the paints. Z

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JAZZED-UPJean JacketEach 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 manufac-

turer’s instructions, iron fusible web to the embellished

fabric wrong sides. Place the template over the paper

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.

3 Draw stick figures; use paper andshading to create a hill

Feaston ThisFeastSpice up the tablefor your nextholiday gatheringwith a festive tablecloth.

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MARLA STEFANELLI

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Stamped accents, derived from a border print, enliven thecenter panel.The doubled mitered border adds extra dimen-sion and weight at the edges and gives the tablecloth theperfect finishing touch.Add the stamped designs beforestitching the border.

If time is short, leave the tablecloth center plain andstart a family tradition. Supply permanent fabric markersand let your guests decorate the surface. (Add a paperlayer underneath to prevent the marks from transferringto the table.) Heat-set the tablecloth being careful toavoid pressing any spills. Bring out the tablecloth yearafter year and let your guests add to it.

MATERIALS7 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 endof this article.)

79”x12” Flexible Printing Plate or large stamps(See “Sources” at the end of this article.)

7Wood, Plexiglas or 1⁄4”-thick foam core for mountinghomemade stamps

7Disposable plastic plates, palette knife, paper towels71”-wide foam paint brush or small brayer7Permanent fabric markers (optional)

Measuring & CuttingTo determine the center-panel yardage, add 27” to the tablelength (for a 4” drop at each end, shrinkage allowance andtest fabric). Divide the total table length by 36” to get theyardage required for the center panel. (See the chart at rightto help do the math.) From this point on the center panelwill be referred to as the tablecloth.

To determine the border yardage add the table width andlength measurements together plus 16” (for the drop).Multiply the total by two to get the tablecloth perimetermeasurement.Add 30” to allow for mitering corners andstitching ends together.

The border strips are cut on the fabric crossgrain sodivide the tablecloth perimeter by 41” (preshrunk fabricwidth) to determine the number of strips needed. Multiplythe strips needed by 6” (border width). Add 12” (forshrinkage allowance and one extra border width). Dividethe total by 36” for the border yardage amount.

27”

2

36”

30”

36”

6”

Yardage ChartCenter Panel Yardage (fill in the blanks):

_____ Table length

+ _____ Drop, shrinkage, test fabric

= _____ Total length

! _____ Inches in one yard

= _____ Total yardage

Border Yardage (fill in the blanks):

_____ Table width + 8”

+ _____ Table length + 8”

= _____ 1⁄2 perimeter

x _____

= _____ perimeter

+ _____ Mitered corners, seaming

= _____ Total border length

! _____ Preshrunk fabric width

= ____ Border strips needed

x _____ Border width

= _____

+ _____ Shrinkage. plus one border strip

= _____

! _____ Inches in one yard

= _____ Total yardage

To make coordinating 18” napkins, purchase1⁄2 yard extra for every two napkins.

41”

12”

Short on time?Eliminate the stamping processby purchasing print fabric for thecenter panel and adding acoordinating solid-color border.

PreparationPreshrink the fabric in the manner the tablecloth will belaundered. Press to remove any wrinkles. Set the borderfabric aside.

Pull a thread across the tablecloth fabric width close to onecut end. Cut along the pulled thread to square the fabric.Measure from the squared end and cut the fabric 8” longerthan the table-length measurement.Trim off the selvages,and then zigzag- or serge-finish the edges.

Decorative StampingDecorate the tablecloth with stamps you create usingmotifs from the border fabric (see “Custom Stamps” atright), or use purchased stamps that relate to the borderfabric. Select fabric paint that coordinates with or matchesthe border fabric.

Cover a flat, smooth, hard surface (the table the cloth is forworks great) with butcher paper or unprinted newsprint;tape the edges in a couple places to prevent the paper fromshifting. Place the tablecloth right side up on the surface.Have the border fabric nearby to refer to the pattern andcolors used.

Work with one paint color and stamp at a time. Begin withthe largest stamp. Pour a tablespoon of fabric paint onto adisposable plastic plate. Use a paintbrush or brayer to transferthe paint to the stamp. Place the stamp on the test fabric andlightly finger-press the stamp to transfer the design.Test-stampuntil you achieve the desired results.

Compare the stamped color to the border fabric. Mix paintcolors together if necessary. Don’t try to perfectly match theborder fabric. Stand back and view the results to see how thecolors and fabric work together. If you’re not sure, leave theroom 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 andallowing room between each for smaller motifs. Rearrangethe tablecloth to stamp the edges if necessary.

stamping tips7 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-halftablespoon of the lighter color and add the darkercolor to it in small amounts.

7 Brush strokes will transfer to the fabric so place themin the desired direction.

7 Clean the stamp if details fill in or accidental globshappen. 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 looklike a mistake.

7 If you need to reposition the fabric, do so before inking thestamp.You’re only asking for trouble when movingfabric and juggling a stamp at the same time.

7 Always check your fingers for paint before touchingthe fabric.

7 If the paint is drying and getting thick, add a fewdrops of water and stir with a palette knife.

7 Add accents with a paintbrush, dowel rod end orpencil eraser.

7 If you have to pause during the stamping process,place plastic wrap over the paint until you return.

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Be sure the paint hasn’t soaked through to the paper, orpaint will smear across the tablecloth wrong side andcould show on the right side.

Continue stamping, working with progressively smaller stampsand using different colors. Evenly space each stamp betweenthe previous motifs.

When the paint is thoroughly dry, heat-set the printed designswith a dry iron set at the hottest temperature the fabric willtolerate. Place aluminum foil on the ironing board, and thenplace the tablecloth painted side down over the foil. Presseach stamped area for 30 seconds.

The stamped designs will be permanent and will withstandlaundering and dry cleaning.

ConstructionAll seams are ½” unless specified otherwise.

Cut enough 6”-wide border strips across the fabric width toequal the tablecloth perimeter. Cut one extra strip to allowfor mitering and piecing the strips together. (Seven borderstrips were cut for the featured tablecloth, which fits a42”x77” table.)

Stitch the strip short edges together with a bias seam (1).Press open the seams.

Turn under the border starting end at a 45° angle; press.Trimthe end ½” from the crease (2). Fold the shorter lengthwiseedge ½” to the wrong side; press.

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custom stampsCreate custom stamps that echo the border print.Trace several motifs from the fabric onto tracing paperand enlarge as desired on a copy machine (featuredmotifs were enlarged 400% and 550%).

Roughly cut out the motifs. Use a glue stick toadhere the motifs to the peel-off backing of theFlexible Printing Plate, placing the motifs closetogether so you don’t waste the printing material.Cut the shapes from the Flexible Printing Plateusing small sharp scissors or a craft knife.

Peel off the paper backing and mount the designonto 1⁄4”-thick foam core. For a more permanentstamp, mount the stamp on wood or Plexiglas.The mounting should support the entire design.

To help with placement when stamping on thefabric, glue the pattern to the back of the stamplining it up as close as possible to the actual stamp.

Dense 1⁄8”-thick foam sheets are available in craftand hobby stores and are used for scrapbooks andcrafts.You can substitute these sheets for theprinting-plate material. Glue the cut shapes to themounting surface with permanent glue.

1 Stitch and trim border strips

2 Fold end; press and trim to 1⁄2”

1⁄2”

Begin stitching in the middle of one tablecloth side.With theborder right side facing the tablecloth wrong side, align theraw edges (not the folded edge). Pin the border to thetablecloth up to the corner.

Unfold the border pressed end, and begin stitching at thecrease (3). Continue stitching to the corner ending ½”from the tablecloth edge.

Press the seam toward the border. Place the stitchedborder wrong side up on a flat surface and smooth outthe 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 thedrawn lines through both layers. Stitch the point beginning atthe seam and ending at the pressed crease (5), being carefulnot to catch the tablecloth in the stitching.Trim the cornerleaving a ½” seam allowance and tapering to the point.

Meet the remaining border right side to the adjacent tableclothwrong side; align the raw edges. Stitch to the next corner,ending ½” from the tablecloth edge. Stitch the next cornerin the same manner.

Continue stitching the border to the tablecloth up to thestarting point. Overlap the beginning angled end 2”;trim off the remaining border strip (6).

Fold back the border end at a 45° angle so the fold alignswith the raw edge of the beginning angle; press (7).Trim the excess fabric along the pressed crease.

With right sides facing align the border raw ends, pulling thetablecloth 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 cornersright side out.Turn the border to the tablecloth right side.Position the pressed crease of the border opposite edge justpast the seamline; pin. Edgestitch the border inner edgethrough all layers. Press the border outer edge. Z

resourceFabric Stamping Handbook by Jean Ray Laury, C&T Publishing, 2002.

sourcesCranston PrintWorks, (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, 109Maroon, 124 Yellow Ochre, 127 Russet, 117 Emerald Green),FabricMate Permanent Fabric Pens (11 Red, 13 Green,15 Orange, 20 Purple), and Flexible Printing Plate.

17 sewnews

Corner template

4 Trace corner on border

5 Fold corner back on itself; stitch corner3 Begin stitching at crease

6 Overlap beginning

1⁄2”

Tablecloth Stop stitching1⁄2” from table-cloth edge

Tablecloth

Tablecloth

Stop stitch-ing here

Border

BorderCornertemplate

Border

Pressedcrease

2”

7 Fold border aligning fold with beginningtrimmed edge; press

Fold

8 Align border ends and stitch

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