Welcome to my blog on sewing machine stitchery. I have produced 3 tutorials that show you some simple but fun ways to use your sewing machine.


Crazy Patches is a variation on the crazy patchwork theme that has been handed down through the generations.

Mosaic is a modern version of crazy patchwork, using tiny pieces of fabric.

Reverse Applique is a variation on the theme of Reverse Appliqué. You may be familiar with the colourful reverse appliqués worked by Cuna Indian women.


Please read the introduction and before starting sections first.

Mosaic


A wise owl takes care to wear eye protection while machine stitching. Fragments from a broken needle can fly in any direction, including into the eye. 
TENSION SWATCH 
I find it useful to use a tension swatch when starting a new project or setting up a new stitch style. Stitch settings and upper tension can easily be adjusted by using a tension swatch. Shapewell interfacing (or similar heavy weight interfacing) and calico fabric (or similar woven fabric) are suitable for this. Pin a double thickness of calico and the interfacing together. Use contrasting colour threads for the bobbin and upper machine to spot tension problems.

For stitches similar to straight stitch, such as:
  • three-step zig zag
  • zig zag,
  • blind hem,
  • scallop, and
  • foundation elastic...
... if bobbin thread is visible on top of the work - reduce the upper tension. If upper machine thread is visible underneath - increase the upper tension.

For satin stitch (which is simply closely spaced zig zag) and decorative stitches like spots, stars, leaves, and hearts, the upper machine thread should be visible underneath. To get this effect, reduce the upper tension.

Trial stitch width:
  • Start with normal setting; 
  • If stitches are too wide, fabric may pucker and bubble; 
  • Find happiest setting by reducing width. 
Trial stitch length:
  • Start with normal setting; 
  • If stitches bunch up, they are too close; 
  • Find the happiest setting by gradually increasing the stitch length, so that stitches and fabric move freely. 
Consult your handbook for further hints on upper machine tension, length and width of stitch.


It is important to select the correct needle. Denim/jeans needles (size 90 – 100) are a good choice. These have a bigger eye, and the strong, sharp, points will pierce through layers of tightly woven fabric more readily than a universal needle. Remember that needles can become blunt.

Good quality dressmaking sewing threads can be used for the upper machine and in the bobbin. There’s a very wide range of colours available. Other threads that can be used in the bobbin include Bobbinfil. This is a very lightweight thread.

Specialty threads such as metallic threads and machine embroidery threads require a metafil or embroidery needle. The larger eye helps to prevent the thread shredding. This needle type is available in size 80. When using heavy weight interfacing fabrics like Shapewell, I would opt to use the larger size Denim/Jeans needles. Some metallic threads will still be liable to some shredding. These threads need more attention but patience will win the day!

HOW TO CONSTRUCT A SAMPLER (10 cms x 14 cms) 
You can use this as a reference, and as a ‘jumping off point’ for your own machine stitchery style.

Requirements:
  • Scraps of fabric of various colours and different textures. 
  • Tulle, which is a fine net. There’s a range of colours available. Iron with care. 
  • Fusible webbing (Vliesofix is one brand). This is available with or without a paper backing. 
  • A stable fabric like Shapewell interfacing or a similar heavy weight interfacing for the base. 
  • Glad Bake no stick baking paper. 
  • Colour threads for upper machine. 
  • Thread for bobbin. 
Method:
  1. Cut one piece 10cms x 14 cms from Shapewell interfacing or equivalent, to be used as the base. 
  2. Cut fusible webbing to the same size as the base. Place a large piece of Glad Bake paper on the ironing board. Place interfacing base on top and then fusible webbing on this. Cover with Glad Bake paper, to prevent the fusible webbing from sticking to your iron and its surrounds. Then, using the iron, fuse the fusible webbing to the interfacing base. The heat of the iron melts the fusible webbing, creating a sticky surface to which fabric can be firmly attached. If using fusible webbing that has a paper backing, wait until cool before peeling off paper. 
  3. Cut small pieces (‘mosaic’) from fabric scraps and lay on top of the base that has now been prepared. Make sure that the ‘mosaic’ pieces overlap each other and the edges of the sampler (the coarsely woven fabrics fray more readily). Cover with Glad Bake paper and press with the iron until the ‘mosaic’ pieces are fused to the base. 
  4. Cut tulle larger than the sampler. The tulle layer is placed on top of the patches and becomes the top layer. Pin tulle to sampler. 
  5. Use machine stitches to decorate the surface.
STITCHES THAT I USE


From Top to Bottom
  • Row 1: Straight Stitch 
  • Row 2: Three-Step Zig Zag Stitch 
  • Row 3: Zig Zag Stitch 
  • Row 4: Blind Hem Stitch 
  • Row 5: Scallop Stitch 
  • Row 6: Foundation Elastic Stitch 
  • Row 7: Satin Stitch 
  • Row 8: Spots, Stars, Leaves, Hearts 
  • Row 9: Eyelashes 
  • Row 10: Zig Zag and Straight Stitch Using Twin Needles 
  • Row 11: Adding Texture Using Straight Stitch 
Straight Stitches:
  • Use two threads. For fun use two different colours. 
  • Use a large-eye needle, like a denim/jeans 90. 
  • Set stitch length a little longer than normal. 
  • Treat the two threads as if one when threading the upper machine, and thread the two threads through the eye from the same side of the needle. 
Twin Needles:
  • Should be used at slow speed, as the needles are mounted in a block. 
  • Consult your handbook for needle recommendation and for correct upper tension. Make sure twin needles are the correct way round and inserted to full depth. Use the recommended presser foot. Turn the handwheel to test that the twin needles pierce the fabrics easily. If they do, follow the instructions in your handbook for threading the upper machine and twin needles. Make sure the threads don’t twist together. 
  • Adjust stitch settings and upper tension on tension swatch. 
  • For fun, use two different coloured threads. 
  • Try these stitches: straight stitch or zig zag.
  • Consult your handbook for other recommended stitches. 
Stacking Zig Zag:
  • Stitch one row of zig zag on top of another row of zig zag. For variation, use different coloured thread for each row. Tension for this needs to be looser than when stitching one row of zig zag. For further fun, vary the length and width of zig zag. 
Satin stitch:
  • Using zig zag stitch, set the stitch length so that stitches are close. Set the stitch width to the desired width. Sew a few stitches. If the stitches and fabric feel tight, gradually increase the stitch length. Fabric and stitches should move freely. Upper thread tension will also affect a good satin stitch!! 
Adding textures:
  • Using straight stitch, attach fluffy pieces of fibre and interesting pieces of knitting yarn to surface. Use a bamboo satay stick to guide fibres under the needle. KEEP FINGERS AWAY. 
Play with the length and width of the stitches by stretching them out to exaggerate the length and width until you like the look.

Some machines have animals, spots, stars, leaves, hearts and other small motif stitches. These are excellent fun for decorating the surface.

Finishing:
  • Fasten off loose threads, and trim thread ends. Using scissors, even up the edges of the sampler. For those individual motif stitches that you fear may unravel, use a tiny spot of clear fingernail polish and dab on the back of the stitches. For further decoration, embellish with beads or buttons. 
PROJECT IDEAS

Think of a project. Some suggestions if all else fails:
  • small wallets for licences and business cards; 
  • bags; or 
  • purse for makeup.
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