Blog posts tagged with 'embroidery'

Journal and book covers are quick and easy projects and are perfect for showing of your embroidery! They also make great gifts and can be customized for almost anyone of any age.

PROJECT NOTES

For these samples, I used designs from Victorian Crazy Patch in the Hoop. Related YouTube videos are available for stitching the designs and making the cover:

• How to Sew a Journal Cover
• How to Stitch Victorian Crazy Piecing In-the-Hoop

These links were correct at the time of this writing. If they don’t work, please visit my YouTube channel to locate them: https://www.youtube.com/ lindeegvideos

These covers were made for standard composition books but you can make them for just about any book by changing the measurements.

Mine are just basic covers with sleeves on the inside to secure the book covers. I’ve added a ribbon for a book mark, a narrow elastic to secure the book closed, and a wider elastic loop to hold a pen.

The inside sleeves ofer more real estate for extra pockets and personalizing. Plan for any extra embroidery because you may need to complete that before final cutting to size.

SUPPLIES

• Fabrics for project (you’ll need to determine what you need based on how many fabrics you use and how large your book is)
• Cove
• Lining
• Sleeves
• Pockets
• Interfacing. I just used Pellon ShirTailor for mine but you may want something stifer.
• ¾” wide elastic (or a fabric loop) for the pen holder (~2½” or circumference of your pen plus ⅝”)
• ¼” wide elastic to hold the journal closed (height of book + 1”)
• Ribbon for book mark (about 3” longer than height of book)
• Optional: charm for bottom of ribbon
• Basic sewing supplies

START BY MEASURING

You’ll need several measurements:

• Height of your book cover
• Width of book measured around the circumference of the closed book from front edge around the spine to the back edge (not a full circumference)

This book is 9¾” tall by 15½” wide. Add 1” to both the height and width for your cutting size. Cut one piece for the cover and a second one for the lining.

Although we’ll only be using ¼” seams, we’ll need a little extra room for ease. When cutting the front cover fabric, I added a 2” extension to the right side for hooping and an extra ½” on the other sides for squaring up after stitching.

• Inside sleeve depth, which will depend somewhat on how wide your book can open and how thick your book is. The wider your sleeves, the more difcult it will be to get the cover on your book. Also, you need at least a 3” space between the sleeves along the spine to turn the project right side out. (More if your fabrics are thick or heavily interfaced.)

I cut my sleeves to 14” wide by 10¾” tall. Fold each sleeve in half, wrong sides together for a 7” x 10¾ size, then edge stitch along the folded edge.

INTERFACING

While not strictly required, interfacing will make your project look more professional by adding structure and will help it wear longer.

Fusible interfacings are easy to use. Be sure to follow the pressing directions included with your project.

I interfaced the outer cover with Pellon ShirTailor, which is a medium light interfacing, before embroidering. I also interfaced the lining piece and one side of each sleeve. I didn’t interface any of my pockets.

The striped pocket was cut 10” wide and folded just like the sleeve and top stitched along the edge. The top pocket is narrower and was stitched to the striped pocket to form several smaller pockets. (Pockets weren’t interfaced.)

On other journal covers, I’ve just placed one small pocket for business cards. Consider making a larger, clear vinyl pocket for an ID pocket if you’re making a cover for a student.

PREPARING TO SEW

Cut all your pieces to size, interfacing as desired. As mentioned earlier, you’ll want to complete any embroidery before cutting to make sure you have enough fabric for proper hooping. Also, embroidery can distort your fabric so having extra fabric to square up is a good idea.

Sleeves and long pockets are folded in half right sides together and edge stitched along fold. Attach any pockets to the sleeve panels.

Patch pockets are edge stitched in place. Pockets that extend into the seam allowances can be stay-stitched into place.

If you want curved corners, use your book to trace the corners in place. Remember to trace them on the seam line and not just around the book itself.

ASSEMBLING

When I took these step-by-step photos, I was working from the front cover. However, in the video, you’ll see me working from the lining side.

Working from the lining side seems a little easier because you are layering all the elements face up with only the outer cover face down. Plus, you can do all the stay stitching in just one pass. It really makes no diference to the fnal project which way you work.

STAY STITCHING

Stay stitching is another thing the pros do to reinforce various areas that are likely to get more abuse, such as the bookmark ribbon, elastics and pockets.

Stay stitching is done within the seam allowance. On the ribbon and elastics, I stitched forward, back and then forward again for extra security. On the pockets I just stitched them down once Stay stitching in this manner has the added beneft of holding everything in place when you have so many layers to stitch through.

Place your ribbon pretty side face down if applying to the front, face up if working from the lining side.

I only inserted one piece of elastic to hold the book closed. However, you could add a second to the back and then use the elastics to hold the book open to a specifc page.

Finally, layer on the lining, face down and then stitch around the outside edge using a ¼” seam allowance, leaving an opening on the bottom edge between the sleeves for turning.

Trim the corner seam allowances to reduce bulk. Turn right side out through the opening, taking care to push out the corners smoothly. Press well, tucking in the seam allowances at the opening; edge stitch closed.

WHOOPS!

Did your sleeves or pockets end up on the outside instead of the inside? Don’t panic! This can happen during turning. Simply flip them over to the inside.

OPTIONAL

Add a small charm or bead or just tie a knot at the end of the ribbon.

THE MOMENT OF TRUTH!

Now all we need to do is dress our book. Fold back the covers and slide them into the sleeves, then pull on the cover.

NOW THAT YOU’VE MADE ONE, MAKE ANOTHER!

Once you’ve got your measurements worked out, making multiples for books of the same size is pretty speedy.

Having an embroidery machine along with some basic sewing skills makes it easy to make a gift stash so that you always have some little something on hand. Finger tip towels, kitchen towels, and journal covers are perfect for stocking that stash because they’re small, quick and easy to make, and can appeal to a wide range of people without having to deal with sizes!

Recycle a plastic container with screw on lid for button storage that doubles as a pin cushion. This easy project requires only minimal sewing to attach the binding and the buttons; your embroidery machine does the rest!

Using embroidery designs to quilt makes it easy for anyone to create intricate designs quickly and easily. An important difference with embroidery designs is how the machine is tensioned. In normal sewing and quilting, the needle and bobbin threads are evenly balanced. This is not the case with embroidery. Here the top thread is pulled to the back and the back is likely to look rather messy—especially if your machine has automatic trimmers that pull all the thread tails to the back. To minimize this, match your bobbin thread to the top thread and choose a busy fabric for the back that blends well with your thread color. You may also wish to adjust your tensions for a more even balance. The back of this project is not prominent but neatness is always a good thing!

Most quilting motifs are continuous and will only have one pair of tie-offs.
Redwork designs with many distinct elements will have more tie-offs.

The Bluework Sewing designs collection from Lindee G Embroidery includes 10 decorative, redwork style designs with a sewing theme. Each design is available in 2 sizes: one for smaller hoops) and one for 5 x 7” hoops. Due to the amount of detail in these designs, I don’t recommend shrinking the smaller size, which all have shorter stitch lengths.

Additionally, I’ve included the design used in the jar wrap for your convenience. This design is a resized version of an existing design in the collection and it has had two additional basting runs added for placement. I’ve added custom digitized lettering and provided “Buttons” as a stand-alone design for other use.

These instructions are for machines with a 5 x 7” sewing field. If you have a smaller sewing field, adjust accordingly.

Skill Level

Basic sewing skills are required to piece binding strips, apply the binding (standard method used in quilting), and sew on buttons. Instructions are included for mitering corners on binding.

Designs Used

• Bluework Sewing lgs01205 Buttons
• Bluework Sewing lgs01221 Button Jar Bonus design

Fabric Requirements

I used scraps and bits from my stash. While this project doesn’t need much, depending on the circumference of your container, fat quarters may not be wide enough. I used two colors: solid white and a blue print.

Supplies

• Batting—Choose one that is not too lofty; I used a fusible one for quilts.
• Wash-Away stabilizer
• No-Show Mesh stabilizer
• Small amount of thin or round elastic for button loops
• 3 buttons
• TESA (KK2000 or similar temporary embroidery spray adhesive)
• Construction thread
• Embroidery thread
• Matching bobbin thread for embroidery, if desired
• Rotary cutter, ruler, and mat
• Plastic container with screw on lid (pick one with straight sides). This one is an Isagenix container.
• Tape measure
• Rotary cutter, ruler, mat
• Hot glue gun
• Heavy cardboard (I used a scrap of matte board)
• Basic sewing supplies
• 5 x 7” hoop
• 4 x 4” hoop

Preparation

1. I used matching thread in the bobbin. The back won’t show on the lid and the back will only show on the wrap if you remove it. This is your call. You won’t even need to wind a full bobbin if you choose to match your thread.

2. Measure your container to determine the fabric requirements for the wrap. My wrap just meets at the back and is slightly taller than the straight part of the container. (15-1/2” by 4-1/4”).

For the wrap, you’ll need:

• 1 front
• 1 back
• 1 batting

Layer these into a “quilt sandwich” with your back fabric face down, your top fabric face up, and the batting as the filling in between. If you are using a fusible batting, fuse according to package instructions.

3. Measure the circumference and height of the lid rim. This one is 1” tall. I cut a 3” wide strip on the bias. You’ll be folding this in half. The folded edge will be at the bottom of the lid rim and the top raw edges will be hot glued to the lid. Make sure you have enough excess fabric to wrap over the edge of the lid.

The checked fabric I used was printed, not woven. By cutting it on the bias, I avoided any off grain stripes, matched the bias binding on the wrap, and had stretchy piece with a little give to it for a snug fit. Sew the ends together with 1/4” seams, press open and fold the strip in half.

4. Cut a circle from heavy cardboard to loosely fit inside the center of the lid.

5. Cut a generous square of fabric for the pincushion cover. You can trim this down later after you decide how full you want the puffing on the lid. Cut a piece of batting to be hooped with the fabric for embroidery.

6. The binding strips for the wrap are 2” wide bias cut strips pieced to the required length and folded and pressed lengthwise.

Embroidering

For the pincushion top, you’ll be using the 4” x 4” hoop. Sandwich your batting between the top fabric and a piece of no-show mesh stabilizer and hoop together.

1. Load design lgs01205 and embroider.

For the wrap, you’ll be using the 5 x 7” hoop. The Baby Lock Ellisimo I’m using doesn’t come with this size hoop and I recommend getting one if one is available for your machine and you don’t have one. Many designs are sized for this hoop and best embroidery practices dictate using a hoop that most closely fits the design being sewn.

1. Hoop a piece of wash-away backing.

2. Load design lgs01221. The project design has been customized to sew a basting stitch as the first color stop. This is a shorter than normal basting stitch and it has four indents to help you with perfect placement.

3. When the machine stops, lightly mist the back of your quilt sandwich with TESA and smooth into place. In the following photo you can see I’ve used pins to mark the center. Line the pins up with the stitch markings, which should coincide with the center marking on your hoop. This technique will work on any machine. Be sure to remove the pins before sewing.

4. Sew the second round of basting to attach the fabric securely to the stabilizer. These basting lines mark a 4” wide area that can later be used as guides when trimming your fabric to size after embroidering.

5. Finish sewing the design.

6. Remove from hoop and trim way excess Wash-Away. Use a rotary cutter and ruler to trim the wrap to the desired size. You don’t need to add any extra for seams if you are binding the edges. Remove basting stitches.

Finish the Wrap

The wrap is held onto the container with buttons and elastic loops. The elastic loops allow for some give and require less precision (and work!) than normal button holes. Other options for fastening include ties. I used 3 mismatched buttons from the button jar.

1. Position the elastic loops at one short end of the wrap, matching raw edges. The top and bottom loops are 3/4” in from the closest edge and the middle one is centered. Stitch over your loops to secure. A shortened zigzag stitch works very well. Give a tug on the open ends of each loop to make sure they are secure.

2. Attach the binding, mitering the corners. If you don’t know how to miter corners, see separate steps below.

3. Press the binding open and fold over to back covering the raw edge. I prefer to hand stitch on the back; choose any method you prefer, such as top stitching or fusing, if desired.

4. Attach buttons, positioning them along the binding seam line to match the loops.

5. Soak out the Wash-Away stabilizer while you finish the rest of the project.

Be sure that all the TESA has dissipated before wetting your project. To force dissipate, press with a dry iron.

How to Miter a Corner when Binding

1. With raw edges matching and right sides together, sew binding to the edge of the wrap using a 1/4” seam. Start on a long edge at least 1” from the corner.

2. Sew to 1/4” from the next corner, back stitch and cut threads.

3. Rotate the fabric for the next seam and fold back the binding fabric so that it’s at right angles to the previously stitched binding.

4. Pin at the previous seam line.

5. Fold the binding strip straight down matching raw edges of the wrap. The fold line matches the raw edge of the previous seam.

Repin to mark the starting point 1/4” from the top edge and at the edge of the diagonal fold of the miter. Remove pin before sewing. Sew to within a quarter inch of the next corner and repeat.

Finish the Lid Rim

1. Stretch the rim cover you made in step 3 of Preparation over the lid. The folded edge is at the bottom of the rim and the raw edges should be sticking up beyond the top. Using the hot glue gun, squirt glue in between the fabric and rim and press in place.

I tried applying the glue before stretching the fabric on and this proved to be a mess. The glue just cooled too quickly and I couldn’t get the fabric positioned ideally.

2. Apply hot glue to the lid and wrap the raw edge of the rim wrap over the lid edge and glue to lid. You’ll need to glue each layer of fabric individually.

Finish the Pin Cushion

1. Cut a stack of fleece circles to pad the lid. The amount is up to you as to how padded and pouffy you want the lid.

2. Cut your embroidered lid cover into a circle large enough to cover the padding and wrap under the cardboard. I used a soup bowl (6-1/2” diameter) to trace a circle. Trim back the stabilizer and batting as required for your lid to allow a smooth gathering.

3. Run a basting stitch 1/4” or so from the edge. You can do this by hand or machine.

4. Layer the batting pieces on top of the cardboard, cover with the embroidery (face up), and then tighten the gathering thread over the cardboard side, adjusting fullness evenly.

5. When the cushion is covered, secure the thread and hot glue the fabric to the cardboard.

6. Hot glue the pin cushion to the lid by applying glue to the lid and the firmly pressing the assembled pin cushion into place.

Fill Your Button Jar & Enjoy

These little container covers are easy to make and are perfect for gift giving. With simple modifications and a design change, you can cover boxes and jars for all sorts of storage containers!

Bobbin work allows you to embroider designs with beautiful textured threads and ribbon— threads that cannot be sewn through the needle. For best results, you not only need a specially digitized design but you need to modify your technique and make some machine adjustments.

Please note: Bobbin work requires some testing and adjusting of your machine tensions. Please refer to your machine manual or consult your sewing machine dealer for specific help with your machine.

Supplies

• Design specifically digitized for bobbin work
• Heavier threads such as Pearl Crown Rayon, 2mm silk ribbon, Madeira Decora 6, other decorative threads and fibers generally used for bobbin work. (Note: Heavier yarns are not recommended due to the short amount you will be able to wind on the bobbin.)
• Monofilament invisible (polyester or nylon) upper thread
• 70/10 or 75/11 embroidery needle
• Specialty or second bobbin case
• Screw driver for adjusting bobbin case tension
• Fabric, stabilizer

Preparation: Filling the Bobbin

Bobbins can be wound by hand or by machine. If winding by machine, wind slowly. Since you probably will not be able to run the thread through the normal thread guides, use your fingers to control the winding tension. Be careful not to wind too tightly or too loosely.

Be sure to check the amount of thread on the bobbin each time you start a new design. If the bobbin runs out during stitching:

• Remove the hoop
• Thread the “tail” to the back (top side of hoop_ using the tapestry or chenille needle
• Wind and insert a new bobbin
• Replace the hoop
• Reposition the needle to where the “tail” comes to the back
• Bring the bobbin thread to the wrong side by hand as when beginning a design
• Continue stitching the design

Avoid using heavier yarns as you will not be able to wind enough on the bobbin to complete a single design. I tried winding a textured knitting yarn and only got about 30” on the bobbin before it was full.

Preparation: Machine Tensions

Most home embroidery machines have automatic tensioning that cause the top (needle) thread to be pulled to the bottom side of the hooped fabric. This is perfect for traditional embroidery because under proper tensions, the bobbin thread will never be seen on the design side.

However, with bobbin work, the design will be sewn on the bobbin side using thread many times heavier than embroidery bobbin thread. Also, monofilament thread is quite thin and slips through the tensions easily. These three issues will require tension adjustments to accommodate the thread weights and to prevent the monofilament from pulling through to the design side.

Proper bobbin and needle thread tensions will take some trials. Use a small design and be sure to test with the same weight and type of thread you will be using in your project.

Using a separate bobbin case for bobbin work will make switching between specialty stitching and standard easier and more enjoyable. Be sure to label your bobbin cases if they do not look different. Be sure to read the manual for your machine; some threads may be so heavy that bypassing certain tensioners is the best route. I found that with Pearl Crown Rayon I had to loosen the tension screw on the bobbin case quite a bit (be careful not to unscrew it all the way!) and raise the needle thread tension for a good result.

How much should you loosen the tension? I suggest inserting embroidery bobbin thread in your regular case and feeling the tension of the thread as you pull it through the bobbin. This should give an idea for what the tension should feel like after adjusting for a heavier thread. If you have a front loading bobbin case, you might try the “bobbin drop test.” Hold the threaded bobbin in one hand by the thread tail with the other hand cupped a few inches below. Give a little jerk on the tail and see if the bobbin drops a bit. If the bobbin doesn’t drop, loosen some more; if it drops a lot, tighten a bit.

Allow plenty of time for testing since you can’t see the results until you remove the hoop from the machine because they are on the bottom. Chances are that you won’t be pulling these heavy threads to the back of the embroidery but you don’t want the needle thread pulled to the design side.

While you’re at your machine, turn off the automatic thread cutter if your machine has one and slow your machine down.

Preparation: Fabric

The only trick here is remembering that the right side of the fabric faces the bed of the machine and the stabilizer goes on top. In general, bobbin work designs are open and lower stitch count, which means a lower distortion type of design. Choose an appropriate stabilizer for the fabric. I prefer to use a light-weight, no-show cutaway when the stabilizer can stay in. Tearaways can be difficult to remove since these designs do not have a lot of needle penetrations to perforate this type of stabilizer. You may want to choose a water soluble product.

Embroidering the Design

Advance your machine to the first stitch in the design. Manually turn the hand wheel of the machine to pull the bobbin thread to the top. Many machines will sink the needle in the center of the design and then travel to the first stitch. If you pull the thread up here and the design doesn’t start in the center, you will probably end up embroidering over a long thread tail later in the design.

Hold both thread tails for the first couple of stitches; do not trim.

You may get better stitch formation if you slow your machine down.

When the design is finished, leave a bobbin thread tail several inches long. Pull the bobbin thread to the back or use a tapestry needle to inserted near the stitch to bring the tail to the wrong side. Tie off the starting and ending thread tail with a knot close to the fabric to secure if desired and trim threads to about one inch long.

Other Notes:

You will need to change the bobbin whenever you want to switch to a new color. Stop the machine, remove the hoop and follow the steps for running out of thread.

Detailed instructions and patterns are not included with individual design fle downloads. Please refer to the color sequence information for a basic guideline for stitching. You can print the design using any embroidery software to make a template. For a fully illustrated step-by-step tutorial formatted for printing along with actual size printable patterns, please purchase the full collection. Free instructions can be found in the following blog posts:

• One Hoop Wonder: An In-the-Hoop Zippered Accessory Bag
• How to Make a Quick & Easy ITH Mini-Zip Bag
• How to Customize A Basic In-the-Hoop Project to Make Your Own Designer Bag

HOW TO DETERMINE FABRIC SIZES FOR ANY BAG IN THIS SERIES

1. Using your embroidery software, print the design at the actual size. You’ll use this as a pattern to cut all your pieces.

2. If you don’t have any software, then stitch out color 1 on the cutaway to use as a template and add the same seam allowances.

3. I added an extra quarter inch to the sides and top and an extra half inch along the bottom for seam allowances. Precision cutting is not required, just don’t make them too small

4. The outer line is the initial placement line, and the final seam allowance is a mere 2mm inside this line so cutting them larger than I did for the photo sequence makes the final steps easier. The measurements listed here and shown on the cut-out pattern pieces to the right are sufficient and will work for the other bags that use this construction technique.

5. Batting may be cut slightly smaller than the placement lines to reduce bulk in seam allowances. Batting is only cut for the front pieces and as a single layer (not on the fold)

Remember those delicate fragile family heirloom Christmas ornaments that you were never allowed to touch as a kid? Now you can get that same shiny look with your embroidery machine and a small bit of Mylar. And they can't shatter on the floor!

Introducing "All That Glitters" for the Designer in You!

All That Glitters Mylar Christmas Designs was thoughtfully designed for the creative embroiderer. It includes 11 round ornaments and 9 "add-on" embellishments plus a bonus ornament. These embroideries are designed for maximum flexibility! You can stitch them with or without Mylar.

You can stitch them as standard applique with or without the background fill. You can stitch them as direct embroidery or free-standing applique. You can combine the add-ons to the Mylar filled versions or the plain applique. You can even mix in other designs from your stash to extend the designs even further. The following sample uses one of the included monogram fonts with Essentials combined with a bow add-on and the center feature ornament.

To make them fast and easy, they have few color changes and low stitch counts. Also, since all but one ornament use the same applique shape, you can easily mix and match fabrics. If you have a digital cutter, you can really go to town and still whip up a batch before Christmas! In addition to the designs, the collection includes applique templates for hand or machine cutting. All the round bulbs use the same shape so cutting enmass is simple. There is also the circular pattern for the center feature and the shape for the "mint" shape, which is somewhat of an extra with this collection.

Sometimes it's the simpler designs that offer the most creativity and flexibility!

Designing with the Center Feature Ornament

The center feature design offers quite a bit of possibilities. I've fussy cut a piece of fabric from my stash as an insert. You could also you a photo printed fabric insert or a pretty holiday colored fabric with a monogram or short word.

With a little more work, you can drop out the Mylar fill and replace it with a standard applique fabric. Then with your lettering software, arc some text into the area. How about a fabric print of your child's school picture with the year underneath for the grandparents?

If you're observant, you'll notice that this design was digitized in StitchArtist. I had hoped to release these as BX design library but that part of the program is not functioning yet so I'm just releasing the standard stitch file formats I usually support. The highlighted object in the Objects panel on the upper right is the Mylar fill section. Just delete it if you don't want it for your edited version.

Maximum Flexibility Designs!

These designs have been programmed with multiple color stops to make customizing easy. For example the light fills intended to stitch over Mylar can easily be deleted in software or skipped at the machine. Likewise, the second color on the ornament cap—which I've run in the same color as the rest of the cap—is only necessary if you want to do free-standing applique. Otherwise you can skip or delete it. I've included multiple Mylar fills so you can select one you like. Here's one that doesn't have any Mylar under it so you can see the stitches:

Appliques & Extra Colors

If you've never sew machine embroidered applique, there can be up to 3 color stops in the design for each applique. First is the position stitch, which is most often a run that outlines where the applique goes. Second is the tack down stitch. In my designs, I most often use a zigzag here because it catches the fabric better and is less likely to push a little pleat into the fabric. Finally the cover stitching—usually a satin—runs. When you look at your actually stitch file, these all need to be separate colors if they run consecutively, otherwise your machine won't stop. Therefore you need to refer to the color sequence list. I do understand there are people who think this might be too difficult—skipping colors or using software—so I have included a plain applique ornament. I promise you though, simple modifications like this really are simple once you try it!

Add-On Embellishments

The add-ons can be combined with any of the Mylar fills or the plain applique. You can combine them either at your machine or in software. While all the designs and individual add-ons will fit a 4x4 hoop, if you add a bow to the top of an ornament, you'll likely need a larger hoop or you can rehoop or use a multi-position hoop. (Instructions not included for that!)

Of course, the add-ons can work stand alone and feel free to sort through your stash for other suitable designs you can combine. The basic round ornament and the Mylar fills are perfect for that!

Advanced Customizing

I've done all my designs on the first few ornaments on top of the curved fill variation. Depending on the color of thread and Mylar you use, the various background fills may be more or less prominent. If you decide you like the swirly design on Swirls 2 and the meandering fill on Mylar Fill 6, it's not terribly difficult to isolate and copy the color block for the swirls and paste it into the right place on the other design. For the designs on the first few ornaments that are more "finished" it was important that the designs be a little more integrated than just dropping in an add-on at the end of the design. But that doesn't mean it's major surgery to extract them and use them on one of the other ornaments.

Customize with Color

These designs can be stitched with any colors you like. In fact, when I started stitching them, I chose entirely different colors from what I picked when digitizing. On Swirls 2 I used a light blue Mylar and stitched over it with white to soften it a bit. I was going for a wintry, cold look here. The white softened the blue color even more and the stitches breaking up the Mylar gave it almost a crystalline appearance.

How to Embroider with Mylar

Mylar works best when stitched under a light fill. The lighter the fill, the more the Mylar can sparkle through. All the sparkle in the designs you see here comes form the Mylar. Of course you could add even more with metallic thread. For these designs I've created curved and motif fills use Embrilliance StitchArtist. I have two YouTube videos on how to create the curved fill and the stitch carving you see on the caps of the ornaments. If you have StitchArtist Level 3 you can duplicate these techniques.

Mylar is available in colors from Nancy's Notions. I sprung for the mega pack because I couldn't decide which colors to order. According to the description, this product is machine washable but I haven't actually tried that.

Another alternative to Mylar that I've used for years and years is party balloons. I think these fill densities might be a little too open for the printed side of the balloon but the inside is silver and looks just like those old family heirloom ornaments. Below you can see some early samples, one that was modified and two that didn't make the cut for various reasons. These are stitched on the "wrong" side of the happy face balloon shown following. Ask for damaged balloons at the party store and you can often get them for free!

hese designs are set up as standard appliques. Sew the first color to get the placement line.

Then lightly mist the back of a 4x4" square of Mylar with TESA (I use KK2000) and smooth it over the stitching line.

Sew the design up through the background fill then stop the machine and carefully tear off the Mylar. If you tear toward the stitching line you'll get a nice clean finish.

Don't forget the middle!

Then complete the rest of the stitching. This design has a second applique for the center. Place the precut fabric and then stop the machine after the zigzag tack down (if it doesn't stop automatically) to inspect your work. The zigzag should just cover the edge of the fabric and there shouldn't be any excess extending out beyond the edge.

I usually precut all my appliques before placing them in the hoop. However, Mylar is a bit tricky to work with and since it is so easy to tear off after stitching it in place, I just use the "blob method" of applique in this case.

Stitching with Fabric?

If you're doing actual applique with fabric, then use the pattern pieces to precut your fabrics. You can either cut by hand or by machine as long as it's accurate. I also like to use a fusible web on the back of my fabrics for a smooth, long lasting great appearance. Instead of placing the Mylar, position your pre-cut applique exactly within the sewn lines. The next color will zigzag tack it in place. If any fabric is extending beyond the zigzag you either incorrectly cut or placed your fabric and you'll likely have fabric extending beyond your applique. Carefully try to trim off any excess without cutting any stitches or disturbing your fabric tension in the hoop.

What's Included with the Collection

All That Glitters Mylar Christmas Designs includes 21 designs in all the supported formats usually found in my shop. The collection also includes color sequences, templates, and instructions for standard applique and a reprint of this blog post as a PDF for off-line reference.

The designs are also available individually. Please note that instructions are not included on individual designs. I'll be posting videos on how to use these designs on YouTube so go there and subscribe and you'll get an email notification of when they're available.