Stylish Bags to Make 2

presents... stylish bags to make 2

3 4 stylish bags to make

Bags are a must-have accessory and are super easy to stitch, and we’ve included four bag projects in this e-book that will satisfy and style or need. If you’re looking to stitch a fashionable tote to add to the mix, check out “Blossoming Bag” on page 13 to make a unique bag embellished with a pretty 3-D design, “International Inspirations: Indian Reflections” on page 9 to make a lovely Shisha bag or “Budget Friendly: $8 is enough” on page 3 to make a cute tote for under $8 (download the free pattern for this bag at cmemag.com/ articles/Budget_Friendly). Or if you’re in need of new travel luggage, look to “Travel Tote” on page 6 for tips and ideas for making your own embroidered luggage. Have fun and express your creativity when stitching these fun, stylish bags!

Thanks for reading! Colleen Exline Associate Editor, CME

TABLE OF CONTENTS “budget Friendly: $8 is enough” Ellen March ...... PAGE 3

2 “travel tote” Linda Griepentrog ...... PAGE 6

3 “international inspirations: indian Reflections” Rebecca Kemp Brent ...... PAGE 9

4 “blossoming bag” Shannon Dennis ...... PAGE 13 CMEP-090600-Budget-028-030:Layout 1 7/14/11 11:34 AM Page 28

Budget Friendly

pennywise project $8 IS ENOUGH by Ellen March

Make a new purse for $8 or less. Download the pattern for free at cmemag.com and use a button from your stash.

3 CREATIVE MACHINE EMBROIDERY cmemag.com CMEP-090600-Budget-028-030:Layout 1 7/14/11 11:34 AM Page 29

SHOPPING LIST

purse pattern...... FREE 1 yard of solid fabric...... $2.49 1 yard of 22"-wide lightweight fusible interfacing...... $1.19 button...... FREE embroidery design...... FREE embroidery & sewing thread...... $3.19 cut-away stabilizer...... $.84 temporary spray adhesive...... $.19

total: $7.90

Preparation • Prewash, dry and press the fabric. • Download the purse pattern at cmemag.com; cut out the pattern. Cut two purse bodies each from the fabric and interfacing. Cut two purse fronts each from the fabric and interfacing. Cut 1 one pocket from the fabric. Cut two 4 ⁄2" x 40" strips for the purse strap. • Fuse the interfacing to the corresponding fabric pieces, following the manufacturer’s instructions. • Choose an existing design from your embroidery machine or design library. Or use embroidery software to create a chain of interlocking circles. Print out the chosen design.

Embroidery • Use the printed design template to audition the embroidery design placement on one purse body piece. The featured circle design was stitched three times as a border along the left-side edge. • Mark the design center on the fabric right side using a removable marking pen or tape. • Hoop the stabilizer only; spray with temporary adhesive. Position the fabric over the stabilizer, $ave centering the design center mark in the hoop. Choose an embroidery Press lightly to adhere the fabric to the stabilizer. design that you already •Embroider the design, clipping jump threads have, or create a design after each thread change (if applicable). using embroidery • Remove the fabric from the hoop and carefully software. remove the stabilizer from the fabric. • Press the fabric from the wrong side.

cmemag.com CREATIVE MACHINE EMBROIDERY 4 CMEP-090600-Budget-028-030:Layout 1 7/14/11 11:34 AM Page 30

A Stitch pocket to purse body. B Stitch strap ends. C Stitch strap to purse body.

• Piece together the strips to create a strap approxi- Construction 1 2 1 mately 79" long. Fold one end ⁄ " toward the wrong Use ⁄4" seam allowances unless otherwise noted. side; pres s. Fold the strap in half lengthwise with • Fold the pocket in half widthwise with wrong sides right sides facing; press. Stitch the long edge. Turn facing; press. Stitch the three raw edges, leaving a the strap right side out; press. Push the raw end in- 2" opening along the lower edge for turning. Turn side the folded end, making sure the strap isn’t the pocket right side out; press, folding in the twisted. Stitch along the fold (B). opening edges. • Align the purse-body lower edge and the strap long • Mark the pocket placement lines on the non- edge with right sides facing and the strap seam embroidered purse body piece. Position the pocket along the lower-edge center. Pin the strap to the along the fabric right side with the fold as the purse body, beginning a nd ending at the flap foldline pocket upper edge. Align the pocket edges with the 1 mark; stitch using ⁄8" seam (C). Align the purse-front pocket placement marks; pin. Stitch the pocket in lower edge and the opposite strap edge with right place, leaving the pocket upper edge free (A). sides facing and the strap seam along the lower-edge • Stitch the purse fronts together with right sides center. Pin the strap to the purse front; stitch using 1 facing, leaving a 4" opening along the lower edge a ⁄ 8 " seam. Turn the purse right side out. for turning. Turn the purse front right side out; • Fold the flap along the foldline and mark the button press, turning in the opening edges. placement. Hand sew the button in place. • Stitch the purse bodies together with right sides DESIGN f acing, leaving a 4" opening along the lower edge for Circles: Intertwining circles created using Creative DRAWings software; turning. Turn the purse body right side out; press, (800) 356-9584, creative-drawings.com turning in the opening edges. Fold the flap along the SOURCES foldline and mark the buttonhole placement. Stitch Coats and Clark provided the bobbin thread: (800) 648-1479, coatsandclark.com. the buttonhole through all layers; cut open the Hilos Iris provided the embroidery thread: hilosiris.com. button hole using a seam ripper. Janome supplied the Memory Craft 11000 used to make this project: (800) 631-0183, janome.com.

5 CREATIVE MACHINE EMBROIDERY cmemag.com CMEP-090800-TravelTote-034-36:Layout 1 7/14/11 12:46 PM Page 6

Travel Toteby Linda Griepentrog

If you’re planning a trip this summer, make your own embroidered luggage that will stand out in the crowd.

Fabric Options A sturdy bottom is important for luggage to support the weight and bulk of its contents. Add stability with Almost any sturdy fabric may be used to make multiple layers of craft interfacing, plastic needle- luggage, but some perform better than others. point canvas, acrylic or pressed board. Cut the chosen Faux suede, leather, heavy wools, denim, duck, component to size and cover it with fabric for hidden twills, tapestries and home-dec cottons are all strength and so it’s easily removed for laundering. good choices, as they tend to hold their shape and wear well. Use lining to offer another layer of support to the outer luggage fabric and to hide the bag's infra- Avoid lightweight and fragile fabrics, such as structure. Select a lining that’s tightly woven and sateens and jacquard patterns, as thread tends coordinates with the outer fabric. If the bag is deep, to snag in these types. light colored lining will help to showcase the contents. Darker colored fabric will show less dirt than lighter colored fabric. Print fabric will conceal dirt better than solid fabric. Outside Offerings A huge assortment of buckles, loops, clips, metal findings, zipper pulls and ready-made handles are Inside Story available for luggage. Check online or at your Most fabric types aren’t sturdy enough for toting favorite fabric store for options that will work with much weight. Add stiff fusible or sew-in craft-wt. the chosen pattern. interfacing to add rigidity to the structure. Use piping to protect the bag edges. Look for tightly Sturdy sportweight or metal zippers provide strong twisted piping in the home-décor section of the fabric closures for bags and pockets and eliminate contents store, as it's sturdier than the loosely twisted vari- falling into elusive overhead bins. Choose two-way eties found in the fashion section. Since luggage zippers to easily access luggage contents. Or use tends to be exposed to the elements, protective coat- zipper-by-the-yard for large luggage pieces where ings, such as 3M Scotchgard, DCS19 or Nikwax, help a single standard zipper may not be long enough. shield fabric and embroidery from stains and water.

6 CREATIVE MACHINE EMBROIDERY cmemag.com CMEP-090800-TravelTote-034-36:Layout 1 7/14/11 12:46 PM Page 7

Amy Butler Weekend Tote

cmemag.com CREATIVE MACHINE EMBROIDERY 7 CMEP-090800-TravelTote-034-36:Layout 1 7/14/11 12:46 PM Page 8

Tip Embroider a tag for your bag! Add your name in stitches, or create a window to insert a card with your contact information.

Handle Hoopla as both work well with heavyweight if applicable. This function may be fabric. Fusible cut-away stabilizer automatic on some machines if Make the fabric handles on your may be an option, depending on the the fabric weight can be inputted. luggage sturdy by applying stiff fabric's tolerance for heat. interfacing or woven webbing to the • Slow the machine's speed, if fabric. Or omit the fabric and simply Position the fabric over the stabilizer, possible, and elongate the stitch use webbing for the handles. Nylon, matching the design placement lines len gth slightly. polyester and polypropylene webbing to the hoop markings. Depending on • Trim and grade seam allowances are available in a wide variety of col- the fabric weight, a large needle may to reduce bulk. Topstitch for added ors and sizes, including some prints be needed for quality stitching.Test- strength. stitch the motif to determine if any and stripes. • Use a zipper or cording foot to tension or needle adjustments are The featured flower bag has ribbon stitch close to the piping for a needed for the chosen fabric. handles fused to the faux suede fab- professional look. If the fabric has a deep pile or tex- ric. Paper-back fusible adds stability • To protect the embroidery, cut tured surface, such as corduroy or while firmly securing the layers. a clear vinyl overlay to fit the chenille, use a topper to keep the em- Depending on the siz e and shape embroidered pattern section and broidery stitches from sinking into the of the tote, add D-rings to the bag attach it before construction. fabric surface. Use a water-soluble sides or ends and attach a clip-on stabilizer or a permanent vinyl topper. shoulder strap. DESIGNS Black bag: A Bit of Stitch, Traveling Girls, Dallas; abitofstitch.com or secretsof.com Embroidery Sewing Hints Luggage tags: Designs by Hope Yoder, Tag-A-Long No matter what fabric you choose, Collection, Dragon Fly Ch arm & Trisha Tag; Look for a bag pattern with a sepa- (941) 378-5019, hopeyoder.com; Embroidery Library, rate pocket piece to showcase it's bound to get thick with multi- Cruise Ship Luggage Tage & Not Your Bag luggage Tag; ple layers of fabric, stiffeners, emblibrary.com designs, or add embellishment di- Pink bag: Oklahoma Embroidery Supply & Design (OESD), rectly to the tote body, depending on fasteners and piping conceivably Floral B, GNLT86405 & Bees Corner, FM490 (both designs modified); embroideryonline.com the shape and size of the piece. in one seam. Follow these hints for successful stitching: Embroider fabric pieces before con- SOURCES structing the bag. Polyester or cotton •Use a large needle to penetrate the Amy Butler provided the Weekender Tote pattern: (740) thread is a good choice for durability. multiple layers without shredding 587-2841, amybutlerdesign.com. the thread or breaking the needle. Fabric protectants provided by Scotchgard, 3M.com; Rayon thread works well if you plan Nikwax, nikwax.com; DCS19, dcs19.com. to use the bag lightly. • Use binder clips to hold layers in place, Jo-Lydia's Attic provided The Quilted Carryalls pattern, (503) 892-8265, joyofsewing.com. Mark the design placement lines as pins may bend or break going Sulky of America provided the Fuse 'n Stitch stabilizer, through multiple thick fabric layers. KK2000 Temporary Spray Adhesive and rayon embroidery on the appropriate cut fabric piece(s) thread: (800) 874-4115, sulky.com. using a removable marker. Hoop an • Adjust the presser foot pressure to The Warm Company provided the Steam-A-Seam 2 paper-back fusible web, (425) 248-2424, adhesive or water-soluble stabilizer, accommodate the added thickness, warmcompany.com.

8 CREATIVE MACHINE EMBROIDERY cmemag.com international inspirationsPart 4 of 6

IndianBy Rebecca Kemp Brent ReflectionsColorful, crowded and celebrated, India provides a feast for all the senses. Explore a shining example of South Asian design in the fourth installment of this series.

India Near the middle of the 20th century, India was an enormous conglomeration of hereditary kingdoms and British outposts. When the Imperial government withdrew after World War II, the territories were offi- cially split into primarily Hindu India and primarily Muslim Pakistan. A bloody upheaval accompanied Partition, as those displaced by the religious division sought to settle in locales where they would be safe and welcome. This migration, like those before it, mixed and mingled the aesthetic sensibilities of residents across the subcontinent. The heritage of this region, from Afghanistan to Bangladesh, extends as far back as the dawn of civiliza- tion, and archaeological expeditions have uncovered a wealth of artifacts from early societies. Place names and ancient structures memorialize waves of cultures that overflowed the territory: Alexander the Great, Mughal emperors from Persia, and eventually European traders fro m England, the Netherlands and Portugal. Each conquering army found itself assimilat- ing, rather than eradicating, characteristics of the established culture, resulting in one of the richest and most complex aesthetic traditions in the world.

9 Creative Machine Embroidery Shisha Work India. A wide range of colors One quintessentially Indian decorative available in both fabrics and art is the application of tiny mirrors that threads contributed to the capture and reflect light. This technique, familiar Indian palette of many called shisha work (from the Persian colors used in cheerful juxta- word for glass), probably originated in position, where miscellaneous 13th century Persia, but is now commonly colors are piled one on top associated with the Indian subcontinent. of another. Mirrors are applied not only to textile Both cotton threads and items, but to architectural details and sumptuous silks have a place decorative items as well. The Shish in traditional Indian textiles. Mahal, in what is now Lahore, Pakistan, Silk fabrics often feature jewel- features walls and a ceiling completely toned backgrounds with covered in bits of mirrored glass. A sin- designs worked in a single gle candle at the center of the room is contrasting color or a multi- reflected again and again to create an colored thread palette. The awe-inspiring display of thousands of most expensive fabrics are sparkling lights. embellished with the most Unlike sequins and beads, shisha detailed and subtle patterns. mirrors don’t have holes through which Cotton threads are associated thread can pass to attach the glass to with coarser fabrics and a less fabric backings. In traditional shisha refined finish, but are often embroidery, a framework of stitches is used to work especially stitchery as frames for the mirrors. In this constructed by hand to overlap the mirror charming, rustic designs. technique, the base fabric is left whole, edges, holding the shiny glass in place Metal threads are frequently used in with the mirrors sandwiched between the within the design. Indian textiles. While expensive threads of embroidered cloth and the stitched dough- In the beginning, shisha work probably pure gold or silver were and are used in nuts. The doughnut edges are then sewn or incorporated mica flakes rather than glass weaving and adorning the finest and most glued to the embroidered cloth, securing mirrors. Shisha mirrors are available today expensive fabrics, metallic embroidery the shisha glass. through craft and sewing retailers and, threads can be used to add sparkle to With either technique, ensure that the unlike their antecedents, are consistent in designs on a smaller budget. securing stitches don’t strike the mirror. shape and size. Remove the presser foot or use a small Alternatives to glass mirrors for re- Choosing Designs embroidery or darning foot, lower the feed creating sparkly folk embroidery designs Specially digitized designs are essential for dogs, and circle the mirror with free-motion are shiny Textiva (Angelina film) and re-creating shisha work using real mirrors stitches. If machine stitching so close to the Mylar, a polyester film that’s washable and in machine embroidery. They incorporate mirrors is disconcerting, stitch around them can be stitched through, as well as light- openings created in machine-embroidered by hand instead. In either case, use the weight craft metal sheets. These materials cutwork, where the top fabric is cut away same thread as the embroidered stitches can be used in a wide variety of designs as within the mirror openings and the edges for nearly invisible attachment. appliqués, or as a topper that lies between finished with satin stitches. The mirror is Another option is to secure the backing the embroidery stitches and fabric. Other then sandwiched between the embroi- fabric or stitched frame with glue. Use per- options for adding glassy sparkles to dered fabric and a backing. Stitching manent, washable glue, or choose fusible embroidery are crystals and rhinestones through the backing and embroidered interfacing or fabric backed with fusible applied with heat or washable adhesives. material traps the mirror securely behind web. Secure the mirror between the back- the stitched opening. ing and embroide ry, or between the Colors & Threads Another possibility for machine- embroidered fabric and frame, and allow Dyestuffs, even when rare and highly prized embroidered mirror work is to create small the glue to dry or use heat to fuse the lay- in Europe, have always been available in doughnut-shaped pieces of freestanding ers. Glass mirrors are unaffected by heat.

Creative Machine Embroidery 10 Shisha Bag The featured Indian-inspired bag is sewn from a mediumweight twill fabric for durability. To use lighter weight fabrics, fuse interfacing to the fabric wrong side before cutting the pieces to give the fabric body. The embroidery designs are stitched with cotton threads in traditional colors, and sparkle is added with touches of silver embroidery thread. While the bag design is functional and mod- ern, its silhouette is reminiscent of saddlebags used by camel drivers on the Grand Trunk Road. The flap and the front pocket provide the canvas for embroidered embellishment, with decorative machine stitches used to augment the embroidered border and to decorate the box pleat between the embroidered pocket halves. Supplies Bag pattern, such as the Gadabout pattern (See “Sources” on page 19.)

Black body and batik lining fabrics as indicated on the pattern

Zippers, magnetic closure, interfacing and notions as indicated on the pattern

Embroidery designs: approximately 3" x 91 ⁄2" for flap and 5" x 41 ⁄2" for pockets

Embroidery, bobbin and sewing threads Adhesive wash-away stabilizer Gadabout Pattern, Tear-away stabilizer (optional) Studio Kat Designs

11 Creative Machine Embroidery Construction Use additional tear-away stabilizer under the hoop using the machine's built-in the hoop for a smooth stitchout. capabilities (D). Cut out the pattern pieces as directed Embroider a motif at the indicated on the pattern guidesheet. Rather than Create an overall pattern of decorative cutting the flap and front pocket placement on each piece. stitches on a fabric scrap, using cotton pieces, trace their outlines with a Cut out the mirror circles and remove fabric and metallic threads. Use this pat- removable marking tool on the fabric the stabilizer. Press the pieces carefully terned fabric to cut out the pieces that right side. Leave a fabric margin from the wrong side. Place the pattern form the box pleat between the pocket around each piece to allow for any pieces over the embroidered fabric, pieces (E). making sure the embroidered motif is shrinkage during embroidery. Complete the bag as directed by the positioned correctly. Cut out the Print full-size templates of the embroi- pattern. dery designs. Audition them against the pattern pieces. pattern pieces to determine fit and Prepare the mirrors by gluing each to Rebecca Kemp Brent is a freelance author, educator and placement. the center of a 11 ⁄2" fabric square cut designer who enjoys travel and exploring the rich visual from lining remnants. Or fuse each mir- heritage of societies around the globe. She is the author of On the featured flap, the red stars and light blue borders form the embroi- ror in the center of a 11 ⁄2" square of Fill in the Blanks with Machine Embroidery and co-author dery design. The motif was created for fusible interfacing. of Machine Embroidery Wild & Wacky. a continuous border application, with Position a mirror under each circle. an additional yellow square at one Attach the mirror to the embroidery Designs end. To make the symmetric design around the embroidered circle, using Bag designs: Shisha Mirrors Collection, Leaenda's Sew Biz, www.leaendasewbiz.com.au on the featured flap, the additional hand or machine stitches and matching thread. Or fuse the interfacing that holds Additional stitches created on the Brother Innovis 4000D, square wasn’t embroidered (A). www.brother-usa.com, (877) 276-8437 To fit the shisha motif on each front the mirror to the embroidery wrong side. When fusing, follow the manufac- pocket, two mirrors were eliminated Sources turer's guidelines for a secure bond. Use from the full design, one on each side Coats & Clark provided the metallic thread: of the center star (B). the iron tip to press the interfacing to www.coatsandclark.com, (800) 648-1479. the fabric wrong side all the way to the Use the design templates to mark center- DMC provided the cotton threads: www.dmc-usa.com, mirror edges (C). (973) 589-0606. lines horizontally and vertically on the flap and pockets. Sew rows of decorative machine stitches Leaenda's Sew Biz provided the Shisha mirrors: above and below the flap design to fill www.leaendasewbiz.com.au. Hoop adhesive water-soluble stabilizer the entire flap. In the featured sample, Studio Kat Designs pr ovided The Gadabout pattern and and attach the fabric to the stabilizer. magnetic closure: www.studiokatdesigns.com, the decorative stitches were added in (866) 409-8634.

A Flap embroidery design with deleted circled portion. B Shisha on each side deleted C Attach mirrors with fusible interfacing. on pocket embroidery.

D Add decorative stitches to augment flap motif. E Create contrasting fabric using decorative stitches.

Creative Machine Embroidery 12 Blossoming Bag by Shannon Dennis

Make a fashionable spring-inspired tote to carry all of your belongings. Use 3-D embroidery designs to create a bag that’s sure to turn heads.

• Once satisfied with the color arrangement, print a SHOPPING LIST template of the design. Find the center of the tote front panel by folding it in half lengthwise and o tote pattern (See “Source.”) widthwise with right sides together; mark the fold o fabric & notions according to pattern envelope intersection using a removable fabric marker. Po- o embroidery software sition the design template over the panel center, o thread: all-purpose & embroidery matching the centers. o water-soluble stabilizer • Hoop the front panel with a piece of water-soluble o removable fabric marker stabilizer. Embroider the design. Once the embroi- o 3-D flower embroidery design dery is complete, wash away the stabilizer; let dry.

Cut • Cut out each pattern piece from the chosen fabrics. For the featured tote, the tote front, back and lower panels were cut from pastel green home- A Change outline and décor fabric. The tote upper panel, straps and piping petal colors. were cut from cream-colored home-décor fabric.

Embroider • Open a new page in the embroidery software. Resize the chosen 3-D flower design to 110mm. Change the design outline and petal colors, if desired. For the featured design, the outline is purple and the petals are cream colored (A).

13 CREATIVE MACHINE EMBROIDERY cmemag.com Reverse the outline and petal color scheme of several flowers to add Amy Butler, contrast and Sophia Carry-All interest.

cmemag.com CREATIVE MACHINE EMBROIDERY 14 - Effects 3-D designs add dimension and interest to embroidering designs, such as houses, buildings projects. give traditional embroidery designs and landmarks. Use lightly textured thread, such a 3-D effect using a few simple tricks. as silk, when embroidering delicate designs, • Use different thread colors to create shadows. such as flowers, hearts and clouds. Choose several thread shades that are darker than the chosen thread color. Graduate the colors within the embroidery design to create the effect of a natural shadow. Use four to five colors of dark-colored thread or two to three colors of light-colored thread for optimal results. • Use a combination of thread weights. Heavy- weight thread makes designs appear denser and creates shadows. Lightweight thread makes designs appear delicate. Blend heavy- and lightweight thread within the design to create striking dimension. • Use textured threads to create dimension. Use heavily textured thread, such as wool, when

• Return to the open page in the em- flower petals (C). Repeat to layer the broidery software. Resize the original remaining flowers in descending flower to 30mm, 50mm, 60mm, order, positioning the smaller petals 69mm and 81mm (B). Change the between the larger petals. Pin the petal and outline colors, if desired. flower sandwich. • Hoop two pieces of water-soluble • Thread the sewing machine with co- stabilizer. Embroider each flower ordinating all-purpose thread. onto the stabilizer. Once the embroi- Position the flower sandwich over dery is complete, remove the hoop the tote front panel, aligning the from the machine and the stabilizer flower centers. Select a tacking B Resize folwers. from the hoop. Cut out each flower. stitch on the sewing machine. Stitch Rinse the flowers in lukewarm water through the flower centers to se- to remove the stabilizer; let dry. cure. B HTC. • Construct the bag following the pat- Construct tern instructions. • Place the 81mm flower right side up on a flat work surface. Position the Design 3-D Flower: Husqvarna Viking, #84, Elegant Embellishments, 69mm flower right side up over the design #3; (800) 446-2333, husqvarnaviking.com 81mm flower, aligning the flower C Stack small flower centers and positioning the smaller source over large flower. Amy Butler provided the Sophia Carry-All pattern: flower petals between the larger (740) 587-2841, amybutlerdesign.com.

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