Book -Sewing Basics

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sewing for Beginners:

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Sewing Basics

and Easy Sewing Projects

for Beginners

sewing for

Beginners:

Sewing Basics and Easy Sewing

Projects for Beginners

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1 2

3 4

All About

Thread

Fabric

Gift Tags

At-Your-Fingertips

Pincushion

Calendar

Patchwork Tote

Sewing

Basics

sewdaily

sewing made modern.

Getting Started

A quick reference

guide to basic tools,

techniques and terms

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visit sewdaily.com I learned to sew from my mother and grandmother

when I was young and then picked it back up when I was an adult.

Even though I had spent many years at their sides learning techniques,

when I began sewing again, it felt a little like I was starting all over as

a beginning sewist. Of course, I immediately launched into making

a jacket—not exactly a simple sewing project, but it was one way to

reteach myself forgotten sewing skills! This collection of beginner

projects, “Sewing for Beginners: Sewing Basics and Easy Sewing Projects for

Beginners,” is a much better way to get yourself stitching, whether you

are an absolute newbie or rekindling rusty skills.

Inside this guide, you’ll find sewing basics for beginners, starting

with one of sewing’s most important notions: thread! From there, you

will learn from step-by-step sewing instructions how to create adorable

projects: gifts tags, pincushions, and a patchwork tote, building skills

along the way. Finally, you’ll get an indispensable glossary of basic sewing

terms and techniques that you can refer to anytime you run across

a new term.

Here is a sampling of some of the skills and knowledge you will

develop from reading this guide and working on these beginner sewing

patterns:

Everything You Need to Know about Thread: Because

thread is what holds it all together, the type of thread that you choose

for a project is just as critical as the fabric. Sewing guru Linda Griepentrog

gives you the scoop from all-purpose to variegated. She discusses

the use for each type of thread and provides wonderful sewing tips for

beginners.

Hand-Stitching Basics: You’ll get comfortable with topstitching

and decorative stitching on the Fabric Gift Tags. Use key hand-sewing

stitches like the basting stitch, running stitch, and backstitch, plus try

sewing on buttons and snaps with the At-Your-Fingertips Pincushion.

By the time you finish these projects, your hand-stitching skills will be

sitting pretty.

Assembly How-To: By learning how to put together and construct

these sewing projects for beginners, you will have the building blocks

of basic assembly. You’ll become familiar and comfortable with reading

instructions, building confidence for any design that you work on in

the future.

Practice Patchwork: What better way to pick up basic patchworking

skills than to tackle an easy sewing project like the Calendar Patch-

1 All About Thread.......................................... 3

2 Fabric Gift Tags..............................................6

3 At-Your-Fingertips Pincushion................8

4 Calendar Patchwork Tote........................ 10

5 Sewing Basics................................................12

Editor Amber Eden

designer Charlene Tiedemann

Illustration Ann Sabin Swanson

Photography Joe Hancock (unless otherwise noted)

WRITER Linda Turner Griepentrog

Project Designers

Melinda Barta, Tricia Waddell, and Susan Wasinger

Projects and information are for inspiration and personal use only. Sew Daily

and Stitch magazine are not responsible for any liability arising from errors,

omissions, or mistakes contained in this eBook, and readers should proceed cautiously,

especially with respect to technical information. Interweave grants permission

to photocopy any patterns published in this issue for personal use only.

sewdaily

work Tote? After you learn to piece together the simple patchwork

grid that embellishes this sturdy tote, you’ll be ready to take on bigger

patchwork projects.

Restyling and Rethinking: Learn to work with what you’ve got,

whether it’s a scrap of a leftover favorite fabric or a vintage textile. As

you begin to think creatively about the tools and notions you have on

hand, you will start to come up with your own sewing ideas for beginner

projects.

Know it All: Anytime you run across sewing lingo that you aren’t

familiar with, you can just flip right to the Sewing Basics glossary,

where you’ll find detailed explanations of techniques along with helpful

illustrations. It’s like having an expert sewing friend on hand 24/7.

I hope you’ll find this guide with easy sewing projects for beginners

helpful as you embark upon your sewing adventures.

Happy Stitching,

amber eden

Editor, Stitch magazine

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Choosing the right thread for your project

can be daunting, but understanding

“spool speak” makes the job much easier.

Story Linda turner griepentrog

1. All-purpose {Coats & Clark Dual Duty XP General Thread}

Used for general sewing tasks, all-purpose thread is available in 100%

cotton, 100% polyester, and cotton/polyester blends. Where stretch is

needed, choose polyester or blended threads; for stability, choose cotton.

Look for fine/lingerie weights of all-purpose threads for delicate

fabric sewing. Always select a shade slightly darker than your fabric,

or for multicolor prints, choose a color that blends. Use a needle compatible

with the fabric weight/type.

2. Silk {YLI Silk, size 100}

Noted for its high sheen, silk thread is available in several sizes

and can be used for construction on fine and tailored garments,

topstitching, buttonholes, quilting, and other decorative purposes. Use

a needle compatible with the fabric/thread size.

Most fabric stores offer a colorful array of thread options, from utilitarian

to decorative varieties. Here are some of the common thread

varieties available and when and how to use them best.

all about thread

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size matters

Î Threads for machine stitching come in various sizes,

depending on the intended use. Look for sizes 12 to 100,

with the smaller number denoting a larger thread.

Î All-purpose sewing thread is generally size 50; lingerie

and bobbin threads are size 60 to 100; decorative threads

are size 40 through 12.

Î Increase stitch length and/or width when sewing with

heavier threads. Use a larger needle size because the

thread size increases to avoid shredding and breakage as

the strands pass through the eye and form stitches.

3. Topstitching {Gütermann Silk Topstitching Thread}

Planned for prominence, topstitching thread is available in cotton or

silk. Use a large-eye needle and elongated stitch length for best results.

4. Heavy-duty/Upholstery/Outdoor

{Coats & Clark Dual Duty XP Heavy Thread}

These threads are designed for the extra strength needed for home

furnishings (such as slipcovers), sports gear, and other applications

where durability is key. Look for nylon and polyester options. Outdoor

threads offer UV protection and moisture resistance. Use a large

needle compatible with the fabric weight and thread size.

5. Machine Embroidery {Sulky Rayon Embroidery Thread, size

40; embroidery design credit: Hope Yoder (hopeyoder.com), Romantic Hearts

& Bows, design: flw2}

Available in rayon, cotton, polyester, and other novelty blends, machine

embroidery thread is also great for decorative stitching. Try various

weights/fibers for different looks, in both solids and variegateds.

Use with an embroidery needle and embroidery bobbin thread.

6. Va riegat ed {Valdani Hand-dyed Variegated, 35 wt. Thread}

Fun for novelty stitching and quilting, these transitional threads can

stitch out as stripes, in subtle color blends, or in twisted combinations,

depending on the brand. They’re available in cotton, polyester, rayon,

and metallic, in varying sizes.

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7. Denim/Jeans {Coats & Clark Dual Duty Plus

Extra Strong Thread for Jeans}

Available in blended denim blues or the traditional gold used in

readymade jeans, this heavy-weight thread is great for topstitching.

Use with a denim/jeans or a topstitching needle with a sharp point

and an elongated eye.

8. Meta llic {Signature SN Metallic Thread (zigzag); Gütermann

Metallic Effect Thread (satin stitch); Glissen Gloss Prizm Holographic

Thread (spikes)}

Purely decorative, metallic threads are available in core-covered,

twisted, flat, and holographic varieties. Use a metallic needle,

loosen tension, and slow the machine speed for best results.

7 8

9. Wool/Acrylic {Madeira Lana Thread}

Slightly fuzzy in nature, this blended thread is ideal for blanket

stitching and other decorative uses on wool and other fabrics; it’s

also suitable for machine embroidery. Use with a large needle (size

90/14 or 100/16) and remember to clean the machine frequently

because this thread produces lint.

10. Elastic {Stretchrite Elastic Thread}

Used only in the bobbin, this stretchy thread creates instant shirring

when paired with all-purpose or decorative top threads and used on

a lightweight fabric.

Linda turner griepentrog is the owner of G Wiz Creative

services and works from her home office outside Portland, Oregon. She loves

sewing, quilting and all things fabric. In addition to writing, she also leads

fabric shopping tours to Hong Kong for the American Sewing Guild.

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Fabric

Square Tag:

— 2½" × 2½" (6.5 × 6.5 cm) square of print

fabric

— 2¼" × 5⁄8" (5.5 × 1.5 cm) piece of solid fabric

(or length needed for word/name plus ½"

[1.3 cm])

— Two 2½" x 2½" (6.5 × 6.5 cm) squares of

cotton duck cloth

Rectangle Tag:

— Two 33⁄8" × 2" (8.6 × 5 cm) pieces of cotton

duck cloth (or length needed for word/name)

— 3¼" × 2½" (8.5 × 6.5 cm) piece of print fabric

For explanations of

terms + techniques used

click here for our

Sewing Basics online

by tricia waddell

Make friends and family feel

extra special with personalized

gift tags. Stamp or embroider

the recipient’s name on the tag

for the perfect final touch to

your present.

Ot her Supplies

— Contrasting sewing thread(s)

— Small alphabet stamps (for word/name

on Square Tag)

— Acid-free, archival pigment ink pad

(for word/name on Square Tag)

— Embroidery floss and embroidery needle

(for word/name on Rectangle Tag)

— Awl

— 3⁄16" (5 mm) round eyelet

(one for each tag)

— Eyelet-setting tool

— Acrylic ruler

finished sizes

Square Tag: 2½" × 2½" (6.5 × 6.5 cm);

Rectangle Tag: 33⁄8" × 2" (8.6 × 5 cm)

Square Tag

1Topstitch randomly up and down 1" (2.5 cm)

in from the left side of the printed fabric. Set

aside.

2Rubber stamp the name of the gift recipient

on the solid fabric and cut out to desired length,

leaving a little more than ½" (1.3 cm) of blank

fabric to the left of the stamped letters to wrap

around the left side of the tag.

3Place the stamped solid fabric on the print

fabric in the desired location, matching up the

left edges. Machine stitch the stamped solid

fabric to the print fabric square as close to the

edge as possible.

fabric

gift tags

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4Place the square of print fabric on top of one

square of cotton duck cloth, with the print fabric

wrapped around the left side of the cotton duck

square by ½" (2.5 cm).

5Place the second square of cotton duck

on the back of the tag, sandwiching the print

fabric and stamped fabric ½" (2.5 cm) overlap in

between the duck cloth squares.

6Topstitch through all layers, 1⁄8" (3 mm) from

the edge around the perimeter of the tag and

along the right edge of the print fabric on the

tag.

7Use an awl to make a hole where you want

to place the eyelet (be sure to make the hole

far enough down to accommodate the eyelet

without overlapping the edge). Use the eyeletsetting

tool to attach the eyelet a minimum of

1⁄8" (3 mm) from the edge of the tag.

Recta ngle Tag

1Lightly stamp the name of the gift recipient,

starting 1½" (3.8 cm) from the left side of one

piece of cotton duck cloth.

2Using the embroidery needle and 3 strands

of embroidery floss, chain-stitch on top of the

stamped letters.

3Using 2 contrasting colors of sewing thread,

machine stitch wavy lines along the length of

the embroidered piece of cotton duck cloth, being

careful not to stitch over the embroidery.

4Place the second piece of cotton duck cloth

behind the first and line up the edges; set aside.

5Fold under and iron a 1⁄8" (3 mm) fabric

border on all sides of the print fabric piece.

Miter and snip the corners so they create neatly

folded corners.

6Fold the print fabric in half along the width

and wrap it around the left side of both duck

cloth pieces, sandwiching them in the middle.

Pin all three layers in place. Topstitch through

all layers, 1⁄8" (3 mm) from the edge, along the

outside border of the print fabric, then topstitch

around the three exposed edges of duck cloth,

ending the stitching at the edges of the print

fabric.

7Use an awl to make a hole where you want

to place the eyelet (be sure to make the hole

far enough down to accommodate the eyelet

without overlapping the edge). Use the eyeletsetting

tool to attach the eyelet a minimum of

1⁄8" (3 mm) from the edge of the tag.

Tricia Waddell is the former editor of

Stitch. When she’s not working, she spends her

time making all kinds of stuff.

Find STITCH magazine, and

sewing epatterns and

books in our online store

www.interweavestore.com

Contemporary sewing

that celebrates the handmade

Contemporary sewing

that celebrates the handmade

lifestyle!

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For explanations of

terms + techniques used

click here for our

Sewing Basics online

by Melinda Barta

Ever start sewing away and

can’t find a place to put those

pesky pins because your pincushion

is nowhere in sight?

Keep those pins close at hand

by wearing your pincushion on

your wrist.

Fabric (for 1 pincushion)

— 7" × 3½" (18 × 9 cm) piece of patterned cotton

fabric

— 10" × 1" (25.5 × 2.5 cm) piece of patterned

cotton fabric (matching or contrasting) for

ribbon backing

— 10" × 1" (25.5 × 2.5 cm) piece of mediumweight

fusible web

Ot her Supplies

— Sewing thread in color to match fabric

— Strong cotton thread for basting

— Fiberfill (about a handful)

— Cotton embroidery thread in color to contrast

fabric

— 3 two-hole 10–16mm (3⁄8" – 5⁄8") buttons

— 10" (25.5 cm) of 5⁄8" (1.5 cm) wide synthetic

velvet ribbon

— Sewing thread in color to match ribbon

— 1 set of 12mm snaps

— Sizes 3 and 10 embroidery needles

— Terry-cloth towel

— Lighter

Finished Size

2" (5 cm) wide × 1" (2.5 cm) tall

Make Pincushion

1Fold the 7" × 3½" (18 × 9 cm) piece of fabric

in half widthwise, right sides together, so the

short ends meet. Using the sewing thread that

matches the fabric, sew along the raw edges

opposite the fold using a ½" (1.3 cm) seam allowance

to form a tube.

2Leaving a 5" (12.5 cm) tail, use the size 10

embroidery needle and 12" (30.5 cm) of strong

cotton sewing thread to baste around the top of

the tube, 1" (2.5 cm) from the top edge. Remove

the needle, pull the ends of the thread to gather

the fabric, and tie several tight square knots

with the tail and working threads.

3Turn the tube right side out and fill with

fiberfill. Repeat basting instructions as in step 2,

but just before gathering the fabric and tying the

knots, use your forefinger to push the raw edge

down inside the tube.

4Pass the size 3 embroidery needle and 24"

(61 cm) of embroidery thread up through one

hole of 1 button and down through the other

hole; tie the tail and working threads together.

Center the button over the gathered circle of

fabric on the bottom of the pincushion. Stitch

straight up through the pincushion, pass up

through one hole of the second button (centered

on top of the pincushion), down through the

other hole, and through the pincushion, exiting

through one hole of the first button. Continue

stitching the buttons together, passing through

the center of the pincushion and pulling tight to

cause the pincushion to pucker.

at-

your-fingertips pincushion

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Embellish

5If desired, embellish the pincushion with

running or backstitches. Tie a knot on one end

of a 24" (61 cm) length of embroidery thread and

thread the size 10 needle on the other side. Pass

the needle through the bottom of the pincushion

so that the knot is hidden under the button.

Stitch as desired. The white/gray/red pincushion

was embellished with lines of running stitch; the

white/green/black pincushion was embellished

with loopy lines of backstitch. When tying off, be

sure to hide the knots under a button.

Make Strap

6Use the iron to adhere the fusible web to the

center back of the 10" × 1" (25.5 × 2.5 cm) piece

of fabric, according to manufacturer’s directions.

Before removing the backing paper, cut the

fabric in half lengthwise so it measures 10" × ½"

(25.5 × 1.3 cm). Remove the web’s backing paper.

Lay the ribbon facedown on the terry-cloth

towel on the ironing board, then lay the fabric

down on top of the ribbon with the fusible web

sandwiched in between. Use the iron to fuse the

fabric to the back of the ribbon.

7Use the sewing thread that matches the ribbon

and the size 10 needle to stitch the snaps to

the ends of the strap, placing them so that the

ribbon will fit snugly around your wrist (make

sure that one side of the snap is stitched to the

top side of the ribbon, and the other side of the

snap is stitched to the underside). Stitch the

remaining button to the top side of the ribbon,

concealing the stitches created when attaching

the snap (stitched to the underside). Trim the

ribbon ends at an angle and lightly melt with the

lighter to prevent fraying.

8Center the strap over the button on the back

of the pincushion and slip-stitch it in place,

stitching lines across the ribbon on both sides

of the button. Make several passes to secure

the strap.

ME LINDA BARTA is editor of Beadwork

magazine. She is the author of the best-selling

books Custom Cool Jewelry (Interweave,

2008) and Hip to Stitch (Interweave, 2005),

coauthor of Mixed Metals (Interweave, 2009),

and has filmed many instructional DVDs. Look

for her newest book in late 2012.

Find STITCH magazine, and

sewing epatterns and

books in our online store

www.interweavestore.com

Find STITCH

& sewing

epatterns

visit us Find Contemporary that celebrates handmade

lifestyle!

Contemporary sewing

that celebrates the

handmade

lifestyle!

www.Find STITCH

& sewing

epatterns

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lifestyle!

www.

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by Susan Wasinger

Transform vintage kitchen

calendar towels into an ecofriendly

tote to take you to

the market in style. Create

the patchwork by cutting out

interesting graphic words and

images from the towels for a

one-of-a-kind design.

Fabric

— ¾ yd (68.5 cm) of cotton canvas or duck

2 or 3 (or more) cotton or linen vintage kitchen

calendar towels

Ot her Supplies

—Matching thread

—Handsewing needle

—Tailor’s chalk or marking pen

—Acrylic quilt ruler

Finished Size

— 17½" (44.5) at the widest top opening tapering

to 11" (28 cm) wide at the bottom × 16½" (42

cm) tall.

Cut Out Fabric

1Cut 2 pieces of 19" × 4½" (48 × 11.5 cm) cotton

canvas or duck for the top band.

2For the 2 central patchwork bands (1 for each

side of the bag), I pieced fabrics together so

the finished patchwork bands measured 19 ×

8½" (48 × 20.5 cm) each. See Steps 5 and 6 for

instructions.

3For the bottom of the tote bag, cut a 19" × 19"

(48 × 48 cm) square of cotton canvas or duck.

4Cut 4 pieces of fabric, each 2" × 23" (5 × 58.5

cm) for the 2 straps.

For explanations of

terms + techniques used

click here for our

Sewing Basics online

calendar

patchwork

tote

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patchwork tote 1

19" (48.5 cm)

8.5"

(21.5 cm)

calendar patchwork tote

figure 1

19" (48.5 cm)

8.5" (21.5 cm)

Creat e Pat chwork Pieces

5To create the 2 patchwork inserts, cut interesting

graphics, both words and images, from

the vintage kitchen linens. The pieces can be

different sizes and shapes if you so desire.

6Machine stitch the individual pieces together

with ¼" (6 mm) seams, then use a zigzag stitch

to finish the seam allowances. The finished

pieces should each be cut to 19" × 8½" (48 × 20.5

cm). See figure 1 for the basic shapes I chose to

use for my patchwork band.

Assembly

Note: Use 3⁄8" (1 cm) seam allowances for this

section unless otherwise indicated.

7With right sides together, machine stitch one

of the top bands onto the top edge of one of the

patchwork inserts.

8With right sides together, machine stitch the

bottom edge of this same patchwork insert to

the bottom body piece of the bag.

9At the other end of this main piece, attach the

other patchwork insert as in Step 8.

0At the other end of the patchwork insert just

used, attach the other top band, as in Step 7.

-Fold this large fabric piece in half, right sides

together, making sure the bands of patchwork

match up along the sides. Machine stitch the

side seams and finish them by zigzagging the

seam allowances together.

=Turn the bag right side out and fold down the

top edge of the bag, toward the wrong side ½"

(1.3 cm), then fold over again 1" (2.5 cm). Pin and

topstitch around the perimeter of the bag, about

¾"–7⁄8" (2–2.2 cm) in from the edge.

qTo give the bag structure, create a bottom

gusset as follows: Turn the bag inside out and

lay it flat in front of you so the bottom corner is

pointing up and the side seam is running directly

down the center. Measure in from the corner

about 3¼" (8.5 cm) and mark a line across the

width (from edge to edge). This line will be about

6" (15 cm) long. Machine stitch through both layers

along the line (figure 2). Repeat on the other

side at the opposite bottom corner of the bag. It

makes a stronger bottom if you leave the excess

fabric in place instead of trimming the seam.

When you turn the bag right side out, you will

have a flat bottom created by the seams.

Making and Atta ching Straps

wPin 2 of the strap pieces together with right

sides facing. Machine stitch ¼" (6 mm) seams

along the long sides and one of the short ends.

Trim the corners and turn right side out. Tuck

in the raw edges on the open end and hand- or

machine-stitch closed. Repeat entire step with

the remaining strap pieces.

eMark the positions for the four places the

straps will attach to the bag along the top edge (2

on each side). Each should be about 5½" (14 cm)

in from the side seams.

rTuck the strap end about 1½" (4 cm) into the

bag’s interior and pin in place. Topstitch horizontally

across the top and bottom of the 1½"

(4 cm) of handle that is inside the bag, with the

bottom stitching laying right over the topstitching

already in place. Backstitch repeatedly to

patchwork figure 2

reinforce the connection. Repeat entire step to

attach the other end of the same strap to the

other mark on the same side of the bag. Repeat

entire step again to attach the remaining strap to

the opposite side of the bag.

Susan Wasinger has been sewing since

she was four years old. Her work in media, from

graphic design to architecture to eco-crafts, has

appeared in Natural Home and Metropolitan

Home Magazine. She has also been featured on

HGTV’s Look What I Did. Her book, Fabricate:

17 Innovative Sewing Projects that Make

Fabric the Star (Interweave 2009) is available at

shop.sewdaily.com.

Find STITCH magazine, and

sewing epatterns and

books in our online store

www.interweavestore.com

Find sewing books www.Find STITCH

& sewing

epatterns

visit us online

Find STITCH magazine, and

sewing epatterns and

books in our online store

www.interweavestore.com

Find STITCH magazine, and

sewing epatterns and

books in our online store

www.interweavestore.com

Contemporary sewing

that celebrates the handmade

lifestyle!

Contemporary sewing

that celebrates the handmade

lifestyle!

Contemporary sewing

that celebrates the handmade

lifestyle!

Contemporary sewing

that celebrates the

handmade

lifestyle!

Contemporary that handmade

lifestyle!

www.interweavestore.com

Find STITCH

& sewing

epatterns

visit us online

Contemporary sewing

that celebrates the handmade

lifestyle!

www.interweavestore.com

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Sewing Kit

The following items are essential for your sewing kit. Make

sure you have these tools at hand before starting any of the

projects:

Acrylic ruler This is a clear flat ruler, with a measuring

grid at least 2" (5 cm) wide × 18" (45.5 cm) long. A rigid

acrylic (quilter’s) ruler should be used when working with a

rotary cutter.

Cloth measuring tape Make sure it’s at least

60" (152.5 cm) long.

Craft Sciss ors Use these for cutting out paper

patterns.

Dress maker’s Shears These sharp long-bladed

scissors are used to cut fabric.

Embroidery Sciss ors These small scissors are used

to trim off threads, clip corners, and do other intricate cutting

work.

Fabric marking Pens/Pencils + tailor's

chalk Available in several colors for use on light and dark

fabrics; use them for tracing patterns and pattern markings

onto your fabric. Tailor’s chalk is available in triangular

pieces, rollers, and pencils. Some forms (such as powdered)

can simply be brushed away; refer to manufacturer’s

instructions for the recommended removal method for your

chosen marking tool.

Handsewing + Embroidery Needles Keep an

assortment of sewing and embroidery needles in different

sizes, from fine to sturdy.

Iron, ironing board + press cloths An iron

is an essential tool when sewing. Use cotton muslin or silk

organza as a press cloth to protect delicate fabric surfaces

from direct heat.

Pattern Paper Have some pattern paper or other large

paper (such as newsprint, butcher paper, or pattern tracing

cloth) on hand for tracing the patterns you intend to use

from the pattern insert. Regular office paper may be used

for templates that will fit.

Seam gauge This small ruler with a movable slider is

used for marking hems, checking seam allowances, placing

buttons, and more.

Seam ripper Handy for quickly ripping out stitches.

Spiked tracing wheel + colored tracing

paper Use these tools for tracing patterns and markings

onto your fabric.

Straight pins + pincushion Always keep lots of pins

nearby.

Weights Pattern weights or small rocks are great for

keeping fabric in place while drawing, pinning, and cutting.

* Optional . . . but good to have.

French curve A template of metal, plastic, or wood that

includes many curved edges for constructing smooth curves.

Needle threader An inexpensive aid to make threading

the eye of the needle super fast.

Pinking shears These scissors with notched teeth leave

a zigzag edge on the cut cloth to prevent fraying.

Point turner A bluntly pointed tool that helps push out

the corners of a project and/or smooth seams. A knitting

needle or chopstick can also be used.

Rotary cutter + self-healing mat Useful for

cutting out fabric quickly. Always use the mat to protect the

blade and your work surface (a rigid acrylic ruler should be

used with these to make straight cuts).

Tailor’s ham A firm cushion used when pressing

curved areas of garments to preserve the shape and prevent

creases.

Thimble Your fingers and thumbs will thank you.

Zipper foot This accessory foot for your machine has a

narrow profile that can be positioned to sew close to the zipper

teeth. Zipper feet are adjustable so the foot can be moved

to either side of the needle.

Getting Started

A quick reference

guide to basic tools,

techniques and terms

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Pattern Insert Guide A quick reference to the full-size

patterns and the symbols and markings on the patterns.

Layout, Marking + Cutting Guidelines

1The pattern insert often features overlapping patterns, so

you may not want to cut patterns or templates directly from

the insert. Instead, use pattern paper (or other paper such as

newsprint) or pattern tracing cloth to trace the pattern pieces

you need from the insert and then cut out your traced pieces.

Regular office paper may be used for small templates that will

fit. If necessary, use a light box or bright window for tracing.

2If you are cutting pattern pieces on the fold or cutting

two of the same pattern piece, fold the fabric in half,

selvedge to selvedge (or fold as shown in the cutting

layouts), with right sides together.

3All pattern markings should be on the wrong side of

the fabric unless otherwise noted.

4Lay the pattern pieces on the fabric as close together as

possible. Double-check that all pattern pieces cut “on

the fold” are placed on the fold.

5Make sure all pattern pieces are placed on the fabric with the

grainline running parallel to the lengthwise grain unless a bias

grainline is present or as otherwise noted.

6Use weights to hold the pattern pieces down and use pins to

secure the corners as needed.

7Cut pieces slowly and carefully.

place on fold

Cutting lines Multisize patterns have

different cutting lines for each size.

Pleats Match the notches by folding the

fabric, following the direction of the arrows, to

form pleats.

Pattern Dots Filled circles indicate that a

mark needs to be made (often on the right side

of the fabric), for placement of elements such

as a pocket or a dart point. Mark by punching

through the pattern paper only, then mark on

the fabric through the hole.

Grainline The double-ended arrow should

be parallel to the lengthwise grain or fold unless

marked as crosswise. A bias grainline will

be diagonal and will be marked “bias”.

Place on fold bracket This is a

grainline marking with arrows pointing to the

edge of the pattern. Place the pattern edge on

the fold of the fabric so that your finished piece

will be twice the size of the pattern piece, without

having to add a seam. Do not cut the fold.

SLASH LINE The dashed line indicates

that the pattern needs to be slashed along

the line. Slash to the dots only, if present.

If there are no dots, the pattern should be

slashed from edge to edge along the entire

line.

Notches Notches are triangle-shaped

symbols used for accurately matching seams.

Pieces to be joined will have corresponding

notches.

CB: Center Back CF: Center Front

Darts Dashed lines and

dots mark darts. The dashed

lines show where the stitching

will be, and the dot shows

you the position of the dart

point (signaling the point, at

the end of the dart, where

your stitching should end).

Button + buttonhole

placement

marks Solid lines

indicate buttonholes.

A large open circle is

the button symbol and

shows placement.

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Backtack Stitching in reverse for a

short distance at the beginning and ending

of a seamline to secure the stitches.

Most machines have a button or knob for

this function (also called backstitch).

Bartack A line of reinforcement

stitching often placed at areas of stress

on a garment. Bartacks are created with

short zigzag stitches (by machine) or

whipstitches (by hand).

Basting Uses long, loose stitches to

hold something in place temporarily.

To baste by machine, use the longest

straight stitch length available on your

machine. To baste by hand, use stitches

at least 1⁄4" (6 mm) long. Use a contrasting

thread to make the stitches easier to

spot for removal.

Bias The direction across a fabric that

is located at a 45-degree angle from the

lengthwise or crosswise grain. The bias

has high stretch and a very fluid drape.

Bias Tape Made from fabric strips cut

on a 45-degree angle to the grainline,

the bias cut creates an edging fabric that

will stretch to enclose smooth or curved

edges. You can buy bias tape ready-made

or make your own.

Buttonhole Sizing To determine

the length of your buttonhole, first

measure the button across the width

and then add 1⁄8" (3 mm). Some thicker

buttons may require adding 1⁄4" (6 mm)

to the width measurement. Mark this

measurement with a fabric pencil where

you want the buttonhole placed; always

sew a sample buttonhole on scrap fabric

to test the measurement.

Clipping Curves Involves cutting

tiny slits or triangles into the seam allowance

of curved edges so the seam will

lie flat when turned right side out. Cut

slits along concave curves and triangles

(with points toward the seamline) along

a convex curve. Be careful not to clip into

the stitches.

Clip the corners Clipping the

corners of a project reduces bulk and

allows for crisper corners in the finished

project. To clip a corner, cut off a

triangle-shaped piece of fabric across the

seam allowances at the corner. Cut close

to the seamline but be careful not to cut

through the stitches.

Coverstitch A stretchy hemming

stitch used most often on knit fabrics,

it hems and finishes the raw edge in

one step. The stitch is usually created

with a coverstitch machine, but is also a

stitch option on some sergers. The stitch

features 2 or 3 rows of straight stitching

on the right side and a row of loops on

the wrong side.

Dart This stitched triangular fold is

used to give shape and form to the fabric

to fit body curves.

Ease/Ease In When a pattern directs

to “ease” or “ease in,” you are generally

sewing a longer piece of fabric to

a shorter piece or a curved piece to a

straight piece. This creates shape in a

garment or object without pleats or gathers.

To ease, match the ends or notches

of the uneven section and pin together

(or pin as instructed by the pattern). Continue

to pin the remaining fabric together,

distributing the extra fullness evenly, but

making sure that the seamlines match

up as smoothly as possible (you will be

smoothing the excess fullness away from

the edge); don’t be afraid to use a lot of

pins. Stitch slowly, smoothing as necessary

to ease the pieces together as evenly

as possible, being careful not to catch

tucks in the seam.

Edgestitch A row of topstitching

placed very close (1⁄16–1⁄8" [2–3 mm]) to an

edge or an existing seamline.

Fabric Grain The grain is created in

a woven fabric by the threads that travel

lengthwise and crosswise. The lengthwise

grain runs parallel to the selvedges;

the crosswise grain should always be

perpendicular to the lengthwise threads.

If the grains aren’t completely straight

and perpendicular, grasp the fabric at diagonally

opposite corners and pull gently

to restore the grain. In knit fabrics, the

lengthwise grain runs along the wales

(ribs), parallel to the selvedges, with

the crosswise grain running along the

courses (perpendicular to the wales).

Finger-Press Pressing a fold or

crease with your fingers as opposed to

using an iron.

gathering stitch These are long

stitches used to compress a length

of fabric before sewing it to a shorter

piece. To gather, set the machine for a

long stitch length (3.0–4.0 mm; use the

shorter length for lighter-weight fabrics)

and loosen the tension slightly. With the

fabric right side up, sew on the seamline

and again 1⁄8" (3 mm) from the seamline,

within the seam allowance. Sometimes

you will be instructed to place the first

line of stitches 1⁄8" (3 mm) from the

seamline within the body of the garment

so the stitches don’t become tangled in

the permanent seamline. Leave thread

tails at each end and do not backtack. Pin

the fabric to be gathered to the shorter

piece right sides together, matching

edges, centers, and pattern markings as

directed in the pattern. Pin at each mark.

Gloss ary of Sewing Terms

+ Techniques A quick reference to the technical

sewing terms used throughout the project instructions.

Gloss ary of sewing terms cont.

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Grasp the bobbin threads from both

lines of stitching at one end and pull

gently. Work the gathers along the

thread until the entire piece is gathered

and lies flat against the shorter

fabric piece. Pull the bobbin threads

from both ends to gather long

pieces. Stitch the seam, then remove

the gathering threads.

Grainline A pattern marking showing

the direction of the grain. Make sure

the grainline marked on the pattern runs

parallel to the lengthwise grain of your

fabric, unless the grainline is specifically

marked as crosswise or bias.

Lining The inner fabric of a garment or

bag, used to create a finished interior that

covers the raw edges of the seams.

Interfacing/Interlining Material

used to stabilize or reinforce fabrics.

Fusible interfacing has an adhesive

coating on one side that adheres to fabric

when ironed. Interlining is an additional

fabric layer between the shell and lining,

used to change the garment drape or add

structure or warmth.

Miter Joining a seam or fold at an

angle that bisects the project corner.

Most common is a 45-degree angle, like

a picture frame, but shapes other than

squares or rectangles will have miters

with different angles.

Overcast Stitch A machine stitch

that wraps around the fabric raw edge to

finish edges and prevent raveling. Some

sewing machines have several overcast

stitch options; consult your sewing

machine manual for information on stitch

settings and the appropriate presser foot

for the chosen stitch (often the standard

presser foot can be used). A zigzag stitch

can be used as an alternative to finish

raw edges if your machine doesn’t have

an overcast stitch function.

Pink To trim with pinking shears, which

cut the edge into a zigzag pattern to

reduce fraying.

Placket A finished garment opening,

a placket is usually closed with buttons,

snaps, or zippers.

Preshrink Many fabrics shrink when

washed; you need to wash, dry, and press

all your fabric before you start to sew,

following the suggested cleaning method

marked on the fabric bolt (keep in mind

that the appropriate cleaning method

may not be machine washing). Don’t skip

this step!

Right Side The front side, or the side

that should be on the outside of a finished

garment. On a print fabric, the print will

be stronger on the right side of the fabric.

Right Sides Together The right

sides of two fabric layers should be facing

each other.

Satin Stitch (machine) This is a

smooth, completely filled column of zigzag

stitches achieved by setting the stitch

length to 0.2–0.4 mm. The length setting

should be short enough for complete

coverage but long enough to prevent

bunching and thread buildup.

Seam Allowance The amount

of fabric between the raw edge and the

seam.

Selvedge This is the tightly woven

border on the lengthwise edges of woven

fabric and the finished lengthwise edges

of knit fabric.

Shell The outer fabric of a garment or

bag (as opposed to the lining, which will

be on the inside).

Stitch in the Ditch Press a previously

sewn seam open or to one side. Lay

the seamed fabric right side up under the

presser foot and sew along the seamline

“ditch.” The stitches will fall between the

two fabric pieces and disappear into the

seam.

Squaring Up After you have pieced

together a fabric block or section, check

to make sure the edges are straight and

the measurements are correct. Use a

rotary cutter and an acrylic ruler to trim

the block if necessary. Because you might

trim off the backtacking on seams when

you square up, machine-stitch across any

trimmed seams to secure.

Topstitch Used to hold pieces firmly

in place and/or to add a decorative effect,

a topstitch is simply a stitch that can

be seen on the outside of the garment

or piece. To topstitch, make a line of

stitching on the outside (right side) of

the piece, usually a set distance from an

existing seam.

Underlining Fabric used as a

backing for the shell of a garment to add

structure and/or aid in shaping. It is also

sometimes used to make a transparent

fabric opaque. Underlinings are cut to

the size and shape of each garment piece

and the two are basted together and

treated as one during construction.

Understitching A line of stitches

placed on a facing (or lining), very near

the facing/garment seam. Understitching

is used to hold the seam allowances and

facing together and to prevent the facing

from rolling toward the outside of the

garment.

Wrong Side The wrong side of the

fabric is the underside, or the side that

should be on the inside of a finished garment.

On a print fabric, the print will be

lighter or less obvious on the wrong side

of the fabric.

Gloss ary of Sewing

Terms + Techniques

A quick reference to the technical sewing

terms used throughout the project instructions.

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stitch Gloss ary

A quick reference to the hand and machine

stitches used throughout the project instructions.

1 3

1 2 3

Backstitch

Working from right to left, bring the

needle up at 1 and insert behind the

starting point at 2. Bring the needle up

at 3, repeat by inserting at 1 and bringing

the needle up at a point that is a

stitch length beyond 3.

Basting Stitch (machine)

Using the longest straight stitch length

on your machine, baste to temporarily

hold fabric layers and seams in position

for final stitching. It can also be done by

hand. When basting, use a contrasting

thread to make it easier to spot when

you’re taking it out.

Blanket Stitch

Working from left to right, bring the

needle up at 1 and insert at 2. Bring the

needle back up at 3 and over the working

thread. Repeat by making the next stitch

in the same manner, keeping the spacing

even.

BlindStitch/Blind-

Hem Stitch

Used mainly for hemming fabrics where

an inconspicuous hem is difficult to

achieve (this stitch is also useful for

securing binding on the wrong side). Fold

the hem edge back about ¼" (6 mm).

Take a small stitch in the garment, picking

up only a few threads of the fabric,

then take the next stitch ¼" (6 mm)

ahead in the hem. Continue, alternating

stitches between the hem and garment

(if using for a non-hemming application,

simply alternate stitches between the

two fabric edges being joined).

Chain Stitch

Working from top to bottom, bring the

needle up at and reinsert at 1 to create

a loop; do not pull the thread taut. Bring

the needle back up at 2, keeping the

needle above the loop and gently pulling

the needle toward you to tighten the loop

flush to the fabric. Repeat by inserting

the needle at 2 to form a loop and bring

the needle up at 3. Tack the last loop

down with a straight stitch.

Couching

Working from right to left, use one

thread, known as the couching or working

thread, to tack down one or more

laid threads, known as the couched

threads. Bring the working thread up at

1 and insert at 2, over the laid threads

to tack them down, bringing the needle

back up at 3. The laid threads are now

encircled by the couching thread. Repeat

to couch the desired length of thread(s).

This stitch may also be worked from left

to right, and the spacing between the

couching threads may vary for different

design effects.

Cross -Stitch

Working from right to left, bring the

needle up at 1, insert at 2, then bring the

needle back up at 3. Finish by inserting

the needle at 4. Repeat for the desired

number of stitches.

2 4

stitch Gloss ary cont.

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stitch Gloss ary

A quick reference to the hand and machine

stitches used throughout the project instructions.

Fly Stitch

Working from left to right, bring the

needle up at 1 and insert at 2, leaving the

thread loose. Bring the needle back up

at 3, keeping the needle above the thread

and pulling the needle toward you gently

to tighten the thread so that it is flush

with the fabric. Tack the thread down by

inserting the needle at 4. Repeat for the

desired number of stitches.

1 2

French Knot

Bring the needle up at 1 and hold the

thread taut above the fabric. Point the

needle toward your fingers and move the

needle in a circular motion to wrap the

thread around the needle once or twice.

Insert the needle near 1 and hold the

thread taut near the knot as you pull the

needle and thread through the knot and

the fabric to complete.

Herringbone Stitch

Working from left to right and bottom to

top, and keeping the length of the stitches

and the spacing consistent, bring the

needle up at 1 and *insert at 2. Bring the

needle back up to the left of 2 at 3, then

insert the needle at 4 and bring back up

at 5. Repeat from * to continue with the

next stitch, overlapping the first.

3 2

Lazy Daisy Stitch

Working from top to bottom, bring the

needle up at 1 and create a loop by

reinserting at 1; do not pull the thread

taut. Bring the needle back up at 2,

keeping the needle above the loop and

pulling the needle toward you gently to

tighten the loop so that it is flush with the

fabric. Tack the loop down by inserting

the needle at 3. Repeat for the desired

number of stitches.

Lazy Daisy Clusters

with French Knots

Create three-petal clusters of lazy daisy

stitches as shown (with the center petal

slightly longer than the others), with a

French knot directly across from the

base of each cluster.

Overcast Stitch (machine)

A machine stitch that wraps around

the fabric raw edge to finish edges and

prevent raveling. Some sewing machines

have several overcast stitch options;

consult your sewing machine manual for

information on stitch settings and the

appropriate presser foot for the chosen

stitch (often the standard presser foot

can be used). A zigzag stitch can be used

as an alternative to finish raw edges if

your machine doesn’t have an overcast

stitch function.

stitch Gloss ary cont.

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stitch Gloss ary

A quick reference to the hand and machine

stitches used throughout the project instructions.

Standard Hand-

Appliqué Stitch

Use this stitch for either the Freezer-Paper

(or Template-Plastic)-and-Starch method

or the Needle-Turn method.

Cut a length of thread 12" to 18" (30.5 to

45.5 cm long). Thread the newly cut end

through the eye of the needle, pull this

end through, and knot it. Use this technique

to thread the needle and knot the

thread to help keep the thread’s “twist”

intact and to reduce knotting. Beginning

at the straightest edge of the appliqué

and working from right to left, bring the

needle up from the underside, through

the background fabric and the very edge

of the appliqué at 1, catching only a few

threads of the appliqué fabric. Pull the

thread taut, then insert the needle into

the background fabric at 2, as close

as possible to 1. Bring the needle up

through the background fabric at 3, 1⁄8"

(3 mm) beyond 2. Continue in this manner,

keeping the thread taut (do not pull

it so tight that the fabric puckers) to keep

the stitching as invisible as possible.

3 2

straight stitch

Slip stitch

Working from right to left, join two

pieces of fabric by taking a 1⁄16–¼"

(2–6 mm) long stitch into the folded

edge of one piece of fabric and

bringing the needle out. Insert the

needle into the folded edge of the

other piece of fabric, directly across

from the point where the thread

emerged from the previous stitch.

Repeat by inserting the needle into

the first piece of fabric. The thread

will be almost entirely hidden inside

the folds of the fabrics.

Split stitch

Working from left to right, bring the

needle up at 1, insert at 2, and bring the

needle up near the right end of the previous

stitch (between 1 and 2, at 3), inserting

the needle into the thread to split

the thread in two. When you’re working

Whipstitch

Bring the needle up at 1, insert at 2, and

bring up at 3. These quick stitches do not

have to be very tight or close together.

with multiple strands of thread, insert

the needle between the strands.

Zigzag with

French Knots

Working from right to

left, bring the needle

up at 1 and insert at 2.

Bringing the needle

back up near 2, repeat

for the next stitch, but

work from left to right.

Complete a French

knot near the open end

of each zigzag.

Straight Stitch

+ Running Stitch

Working from right to left, make a

straight stitch by bringing the needle up

and insert at 1, 1⁄8 to ¼" (3 to 6 mm) from

the starting point. To make a line of running

stitches (a row of straight stitches

worked one after the other), bring the

needle up at 2 and repeat.

Overhand Knot

Make a loop with the thread. Pass the

cord that lies behind the loop over the

front cord, then through the loop and

pull snug.

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Binding Techniques

A quick reference to creating your own binding.

Fold Binding

A. Double-fold Binding This option will

create binding that is similar to packaged

double-fold bias tape/binding. Fold

the strip in half lengthwise, with wrong

sides together; press. Open up the fold

and then fold each long edge toward the

wrong side, so that the raw edges meet

in the middle (1). Refold the binding along

the existing center crease, enclosing the

raw edges (2), and press again.

B. Double-layer Binding This option creates

a double-thickness binding with only

one fold. This binding is often favored by

quilters. Fold the strip in half lengthwise

with wrong sides together; press.

Folding Binding

Attaching Binding with Mitered Corners

Cutting Bias Strips

Attaching Binding with Mitered Corners

Folding Binding

Attaching Binding with Mitered Corners

Folding Binding

Attaching Binding with Mitered Corners

Cutting Straight Strips

Cut strips on the crosswise grain, from

selvedge to selvedge, cutting to the

width indicated in the project instructions.

Use a rotary cutter and straightedge

to obtain a straight cut. Remove

the selvedges and join the strips with

diagonal seams.

Folding Binding

Attaching Binding with Mitered Corners

Cutting Bias Strips

Folding Binding

Attaching Binding with Mitered Corners

Cutting Bias Strips

Cut strips to the width indicated in the

project instructions. Fold one cut end of

the fabric to meet one selvedge, forming

a fold at a 45-degree angle to the

selvedge (1). With the fabric placed on

a self-healing mat, cut off the fold with

a rotary cutter, using a straight edge as

a guide to make a straight cut. With the

straightedge and rotary cutter, cut strips

to the appropriate width (2). Join the

strips with diagonal seams.

Binding with

Mitered Corners

If using double-layer binding (option B at

right) follow the alternate italicized instructions

in parenthesis. Open the binding

and press ½" (1.3 cm) to the wrong side

at one short end (refold the binding at the

center crease and proceed). Starting with

the folded-under end of the binding, place

it near the center of the first edge of the

project to be bound, matching the raw

edges, and pin in place. Begin sewing

near the center of one edge of the project,

Diagonal Seams

for Joining Strips

Lay two strips right sides together, at

right angles. The area where the strips

overlap forms a square. Sew diagonally

across the square as shown above. Trim

the excess fabric ¼" (6 mm) away from

the seamline and press the seam allowances

open. Repeat to join all the strips,

forming one long fabric band.

project back. Slip stitch or blindstitch the

binding in place, tucking in the corners to

complete the miters as you go (3).

along the first crease (at the appropriate

distance from the raw edge), leaving

several inches of the binding fabric free

at the beginning. Stop sewing ¼" (6 mm)

before reaching the corner, backtack,

and cut the threads. Rotate the project 90

degrees to position it for sewing the next

side. Fold the binding fabric up, away

from the project, at a 45-degree angle (1),

then fold it back down along the project

raw edge (2). This forms a miter at the

corner. Stitch the second side, beginning

at the project raw edge (2) and ending ¼"

(6 mm) from the next corner, as before.

Continue as established until you have

completed the last corner. Continue

stitching until you are a few inches from

the beginning edge of the binding fabric.

Overlap the pressed beginning edge of

the binding by ½" (1.3 cm, or overlap

more as necessary for security) and trim

the working edge to fit. Finish sewing

the binding (opening the center fold and

tucking the raw edge inside the pressed

end of the binding strip). Refold the binding

along all the creases and then fold it

over the project raw edges to the back,

enclosing the raw edges (there are no

creases to worry about with option B). The

folded edge of the binding strip should

just cover the stitches visible on the

create binding

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