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June 19, 2009, Vol. 7 No. 9

Table of Contents

What inspires you?

Which came first: the chicken or the egg?

Dressing a chicken

Scrambled eggs

My recipe file

Creating your omelet

A fun project for your leftovers

Crazy for Crayons

What inspires you?
Recently I received a note from reader Sandy Carr asking if I choose a specific project and then choose the fabric or whether sometimes fabric drives the project. I believe the design of a project is about inspiration. The topic of inspiration has been written about by experts and novices alike, and although there are similarities, I believe inspiration can be triggered by so many things that perhaps it might be more interesting to ask what inspires you to sew. So readers, does a fabric or a particular project inspire you, or is there something else that inspires you? I would love to hear from you and will post a selection of the comments in my next newsletter.

Sandy wrote:

I really enjoy all of your ideas and articles. I do have a question. When you make fabric selections, do you have a project in mind? Or do you just pick out the colors you like and then do something with the fabric? I ask because I ALWAYS want to pick out fabric without any notion of what to make.

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Which came first: the chicken or the egg?
An age-old question, that is for sure, the chicken being the project we have in mind when heading out the door to the fabric store and searching for the perfect fabric and notions to dress our chicken. The vision might perhaps have already been formed in our minds, the color, button styles and even the trim. We know what we want and go searching for it, changing our minds only if we spot something we feel will create a better-looking chicken. The idea might morph slightly, but the chicken remains a chicken.

Perhaps the egg, that beautiful fabric we just have to have, is our inspiration. We know we like batik eggs, especially in all those wonderful colors. We may be uncertain as to what the fabric will become but are inspired to create something. Then the thought crosses our mind, do we need more eggs? Maybe not, but alas we are still drawn to them, and being the creative sort, we know we will use them sometime. If you are anything like me, you probably design with both the chicken and the egg, and are still not sure of the correct answer.

Dressing a chicken
I worked for many years as the manager of an independent retail fabric store back home in Winnipeg, Canada. I was pretty young at the time but believe I always had a sense of color and loved helping people select fabrics. It always amused me when customer after customer would ask for a particular color or print because it was featured on the front of the pattern envelope clasped tightly in her hands. It might not have been the most flattering color for her, but that is what she wanted to purchase. It looked good on the pattern model, so her thought process may have been "why not me?"

Wanting to sell fabric and perhaps having already sold out of the one the customer desired, I helped the customer choose a replacement. This was where my color sense came in to play. After asking a few questions and showing the customer the fabric draped across her shoulder in a full length mirror, I usually would make the sale, and a happy customer was sure to return the next time she needed fabric. I have wondered at times if my former customers are choosing fabrics on their own now. It has been some time since I have seen a mirror in a fabric store or enough staff on duty to provide customer service beyond cutting fabric and ringing up the sale ...

Scrambled eggs
I have read many books about color theory, how to balance print fabrics and focal-point construction. While I have always appreciated another viewpoint, I usually find myself drawn to what I like, forgetting all the rules and just going for it with the hope that it will turn out OK. This is perhaps unorthodox to some, but I guess I sew by the seat of my pants, so to speak. I am hoping all the books I have read have helped, but I am not consciously aware of rules or theories when making my fabric choices. However, I have found that I typically choose odd numbers of prints and tend to come away with either a good mix of print scales in small, medium and large, or a combination of one size -- so I guess I learned something from all that reading.

I recently returned from the Spring Quilt Market in Pittsburgh and must say that one of the things I noticed over and over was wild combinations of prints and colors. Throw out all the rules and just go for it seems to be the motto of many young designers. I love it because it is so carefree -- how could sewers make a mistake? Check out the following links to see what I am talking about.

Amy Butler Design

Art Gallery Fabrics

Westminster Fabrics - Kaffe Fassett Collective

Michael Miller Fabrics - Laura Gunn

Benartex - Abbey Road by Isadora Phoenix & Daydreamer

South Sea Imports - lindsay lane by Tara Reed

Andover Fabrics - Cogsmo/Cosmo Cricket

My recipe file
When I need inspiration, I go to my files of clippings in my studio. I have made some hard choices about what to keep because I have a limited amount of space; therefore, it has become a necessity to tear items from magazines, catalogs and newspapers, keeping just what I need instead of the whole thing. My files are broken down into the following categories: Color, Clothing, Home Decor and Embellishment.

The Color file contains color combinations that have made me stop and take a second look.

The Clothing file is filled with clippings of bright prints, color combinations and motifs that I find interesting.

The Home Decor file is more about trends in color, print and texture and not just clippings of traditional home decor items. When I first saw each clipping, I immediately thought "home decor," but anyone who goes through the file is just as likely to find a photo of a zippered tote bag as a pillow.

The Embellishment file is probably my most interesting, and my good friend Barb constantly avails me with catalog clippings that sport interesting embellishment ideas.

You might wonder how I decide which clipping goes in which file. I go with my first instinct and don't think too hard about it since I spread them all out on the table anyway when looking for inspiration.

Creating your omelet
So that is my omelet recipe. Please feel free to add whichever spices or culinary tricks you might have picked up along the way. If I have a particular project in mind, I try to answer some basic questions prior to getting started:

Who is the intended end user of the project?

Where is the intended project to be used, worn or displayed?

Why am I creating this project? Is it for personal use, a gift or an item to sell?

What am I creating? This is important when dealing with fabric characteristics such as weight, drapability, stretch, or wear and tear.

When will I start creating the project, and do I have all of the necessary ingredients? There is nothing worse than coming up short by one egg.

While answering these questions, I start to make conscious choices, concentrating on colors, fabric characteristics and print combinations. Trends might need to be considered if choosing a project or fabric for a different age group or when creating items for sale. Get out those clippings from your inspiration file and have fun!

One last point: If I come across that perfect piece of fabric in the perfect combinations of colors but have no idea what to do with it but find myself drawn back to it more than twice in one shopping trip, I just break down and buy it. Through experience I have found that I have had to turn around and drive back to the store the next day because, well, it was perfect, and how many things in life are perfect? So, to finalize my thoughts, sometimes it's the chicken and sometimes it's the egg!

A fun project for your leftovers
Whether you choose to color the center panels using fabric crayons or create a center panel on your own with a selection of fun prints, these pillows are fun just because of the wacky log-cabin piecing technique and combination of fabrics.

Crazy for Crayons

Designs by Lucy B. Gray

Remember how much fun it was to color? Bring back that creative childhood experience by coloring cool treats on bleached muslin, and then converting them into pillows by framing them with wacky Log Cabin piecing.

Finished Size
Each pillow: 14 x 18 inches

Techniques
Crayon "prints"
Wacky Log Cabin foundation piecing

Materials for Two Pillows

44/45-inch-wide cotton fabric:

1/4 yard each 6 different fabrics (plaids, gingham checks, prints and solids in sherbet colors)
3/4 yard sherbet-colored plaid for the pillow backs and piecing
2/3 yard black-and-white polka dot for welting and piecing

2 1/8 yards 36-inch-wide bleached muslin
All-purpose thread to match or contrast with fabrics
2 (16 x 20-inch) pieces white paper
Template plastic and sharp pencil
20 x 32-inch piece low-loft polyester batting
1 yard snap tape for pillow-back closures
4 yards 1/4-inch-diameter cable cord for welting filler
Black carpet and button thread
Hand-quilting needle with a large eye (for carpet thread)
2 (14 x 18-inch) pillow forms
Optional: several handfuls loose polyester fiberfill
Spray-on fabric protector
Optional: walking foot
Optional: 1/4-inch presser foot
Rotary cutter, mat and ruler
Zipper foot
Iron, ironing board and press cloth
Basic sewing tools and equipment

Art Supplies

Crayons (bright greens, yellows, pinks, grays, red, dark aqua and white)
Acrylic paints (bright pinks and white)
Artist's brushes
Optional: ice-cream salt
Paper towels
Plastic drop cloth or other material to protect work surface

Cutting for Two Pillows

Preshrink all cotton fabrics and the bleached muslin before cutting the pieces.
Draw one 14 x 18-inch rectangle on each 16 x 20-inch sheet of paper. Draw a 6 x 8-inch rectangle in the center of each 14 x 18-inch rectangle. Referring to Figure 1, measure and draw in the lines for pieces 9, 8, 7 and 6 in that order.

Referring to Figure 2, complete the lines for the inner pieces (5, 4, 3 and 2).

Trace shapes 2-9 onto template plastic, adding 1/4-inch-wide seam allowances all around as shown for piece 2 in Figure 3. Label each template on the right side with the appropriate number. Use a rotary cutter and ruler to cut each shape from the template plastic.

From the plaid fabric, cut one 24 x 32-inch rectangle for the pillow back with the lengthwise fabric grain running along the 24-inch length of the rectangle. Cut the rectangle into two 16 x 24-inch pieces. Cut these in half again vertically, yielding two sets of 12 x 16-inch pieces (Figure 4).

Note: Pin the sets together with the plaids matching so they will still match when you make the pillow backs.

On your worktable, arrange the six piecing fabrics, plus the black-and-white polka dot and the remainder of the plaid to determine which one you want to use for each of the eight patchwork pieces surrounding the colored center panel (piece 1). Refer to the pillow photos and notice that the solids are next to prints or plaids for the best contrast. Attach numbered tags to each fabric as a reminder of the piecing order.
Place each template faceup on the desired fabric for that piece and trace around it twice. Cut out each piece and set the two pieces aside with their template piece on top. Cut two each of pieces 2-9 in this manner.
From the bleached muslin, cut four 16 x 20-inch rectangles and four 12 x 16-inch rectangles. Cut two 7 x 9-inch muslin pieces for the colored center panels for the pillow tops (piece 1).
Cut two 16 x 20-inch pieces of low-loft batting.
From the black-and-white polka dot, cut enough 1 3/4-inch-wide bias strips to cover 4 yards of cable cord for the welting.

Note: Make the welting really dynamic by using that portion of the fabric's design that will stand out when wrapped around the cord. For example, cut polka-dot fabric on the bias so that the dots will be centered on finished welting when the fabric is wrapped around the cord.

Create the Cool Treats Drawings

Center one 7 x 9-inch piece of bleached muslin over one Cool Treats template. Trace the image in pencil lightly. Repeat with the second template. Follow the directions that follow to color each one, unless you feel comfortable coloring them on your own.
Note: If you prefer, draw and color your own images on the muslin or see More Crazy Crayon Options. Read through the directions to understand the coloring process first.

First test your crayon colors on a scrap of bleached muslin.

To color the gelatin-cube image:

Color the whipped cream with the white crayon, really working the crayon's waxy color into the cloth.

Add some gray shadow to the lower right side of the whipped cream to give it some dimension.

With the white crayon, make a white highlight on the cherry.

With a dark pink crayon, color in the cherry. Add dimension with red crayon around the cherry's edge.

Pick the lightest yellow-green and color the gelatin-cubes in their centers. With the dark aqua and bright yellow, draw in some of the gelatin-cube outlines. Lightly sketch in the shape of the goblet's sides with gray crayon (Photos 1 and 2).


Photo 1	Photo 2

To color the sherbet image:

This drawing differs because you are creating the illusion of both glass and metal. It's not more difficult to do -- the coloring technique is just more sketchy and impressionistic.

Outline the glass dish with a gray crayon. Mix white and pink crayon in a sketchy fashion to color in the bowl.

With white crayon, outline the right side of the spoon, and then fill in with gray. You can also use pencil to help define the spoon and features of the glass dish.

Use white crayon to create a soft, "out-of-focus" highlight on the sherbet scoops.

Color the sherbet scoops with a stippling (dotting) motion, simulating frost on the surface (Photo 3).

Photo 3

Place the drawings between several layers of paper towels on your ironing board. Press them firmly with a hot iron (no steam at this point).
The goal is to melt plenty of crayon color into the fabric, while blotting excess wax. Notice that the colors have blended and become much richer. If desired, add more crayon color and press again with the iron.

Replace the crayon highlights that the hot iron removes by loading a stiff artist's brush with a small amount of white acrylic paint and lightly brushing paint onto the faded highlights. First dab most of the paint onto scrap muslin so the brush is almost dry, and then lightly brush the remainder onto the lightest parts of the drawing -- don't overdo it!

Place the drawings on a protected work surface. Dip a paintbrush in water and then "paint" the muslin in the area surrounding the crayon image on one piece of muslin. Next, use two colors of pink acrylic paint to paint broad brushstrokes on the wet cloth. Stay clear of the colored images, but notice that the crayon acts as a wax resist to the spreading paint. Some of the paint will migrate into the crayon areas on its own as it dries, adding wonderful texture to the finished drawings (Photo 4).

Photo 4

If you want to add more texture to the drawings, sprinkle ice-cream salt over the painted surfaces while still wet (Photo 5).

Photo 5

Allow several hours for the paint to dry. Rinse the drawings in cool water and allow to dry. Set the paint permanently by pressing the drawings between scraps of muslin with a hot iron and steam.

Pillow-Top Piecing

Trim each colored panel to 6 1/2 x 8 1/2 inches, keeping the image centered in the rectangle. Center a colored panel, faceup, in the center of each 16 x 20-inch muslin rectangle. Attach the 1/4-inch presser foot to your sewing machine. (If you don't have a 1/4-inch foot, draw 1/4-inch-wide seam lines on the right side around each colored panel.) Machine-baste 1/4 inch from each raw edge (Figure 5).
Note: Begin and end the stitching at the raw edges of the panel, rather than pivoting at the corners, to make sure the panel remains smooth and flat on the muslin.

If you don't have a 1/4-inch foot, use a sharp pencil and a ruler to draw 1/4-inch stitching lines all around each piece on the wrong side. Accuracy is important.

Position piece 2 right side down on the left-hand edge of piece 1. Stitch 1/4 inch from the raw edges (Figure 6).

Flip piece 2 onto the muslin and press (Figure 7).

Position piece 3 facedown at the upper edge of the panel with raw edges aligned. Stitch 1/4 inch from the edges (Figure 8).

Flip piece 3 onto the muslin and press (Figure 9).

Continue in the same stitching-and-pressing fashion to add the remaining pieces in numerical order around the colored panel.

For each pillow, make a quilt sandwich with the pieced pillow top on the batting and a second 16 x 20-inch muslin rectangle underneath the batting. Attach a walking foot to your machine if available. Machine-baste 1/4 inch from the outer edges of the pieced pillow top through all layers. Trim the excess muslin and batting even with the pillow top.

For added design impact, do a hand running stitch through selected fabric pieces of the patchwork using black carpet and button thread and a large-eyed quilting needle (Photo 6). Give both pillow fronts several light coats of spray-on fabric protector, following manufacturer's directions.

Photo 6

Pillow Assembly

Cut the snap tape into two 18-inch lengths.
Note: For a fun touch, separate the two halves of the tape and paint them in a color to coordinate with the plaid -- hot pink in this case. Allow the tapes to dry, and then rinse in cool water to remove excess paint. When dry, steam-set the paint with a hot iron and several layers of paper towels.

Position a muslin piece on the wrong side of each plaid piece and machine-baste in place around the outer edges.

Arrange the back pieces on your worktable as shown in Figure 10. Turn under and press 1/4 inch at each opening edge, and then turn under and press 3/4 inch. Pin the female side of the snap tape right side up on top of the pressed folds of the bottom piece. Using a zipper foot, machine-stitch along the female tape edges, making sure to catch the edges of the hem underneath.

Sew the male half of the snap tape to the underside of the upper half of the back panel, making sure the snaps and plaid lines match.

Snap the male and female tape sides together, joining the top and bottom pieces. Machine-stitch several times over the lapped edges at each long side of the back and treat the joined pieces as one.

Sew the 1 3/4-inch-wide strips together using bias seams. Trim and press the seams open. You should have one 4-yard-long piece.

To make the welting, wrap the fabric around the cable cord and stitch close to the cord using a zipper foot (Figure 11). Cut the welting into two equal lengths, one for each pillow.

Beginning on one long edge of the pillow top, pin the welting to the outer edge with raw edges aligned. Make 1/4-inch-long snips into the welting seam-allowance edges at the corners to make stitching easier. Make a neat join where the welting meets itself at the beginning as shown in Figure 12.

With contrasting thread in the bobbin, stitch close to the cord with the zipper foot.

10.

Center the pillow top facedown on the plaid back. Pin in place and stitch just inside the previous welting stitching. Stitch twice over the area where the snap tapes overlap for added strength.
Note: The back is oversize, so make sure the opening is centered and that there are no snaps in the way of the stitching on the long edges. Remove any that are before stitching by cutting the tape around them.
After stitching, trim the excess plaid back even with the outer edges of the pillow top. Zigzag the seam allowances together all around the pillow cover.

11.

Turn the completed pillow covers right side out through the snap opening and insert a pillow form into each one. If needed, add loose polyester fiberfill in the corners to plump them up. Snap the covers closed and pat the pillows into shape as needed.

Click here for a printer-friendly version.

Once again, I would love to hear where you get your inspiration from, and I will include some of the comments in the next newsletter.

Sew far, sew good,

Lorine Mason
Editor, Sewing Savvy newsletter

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