Inch by Inch: Updated Tools and Canterbury Knight

Inch by inch I am getting closer to my goals for “Betty Jo’s Fabric Arts”, which is my new name for my coming micro-business.  Up until now, it has been a hobby, but I need to make enough money to keep on, and I want to be able to share things I have learned and my journey with my friends.  It will just be a micro business.  I am not going to take in quilting, for instance.  I may do more workshops and lectures, but I’m not going to get into the big circuit that requires a lot of travel.  I want to work here in my studio for the most part with an occasional visit elsewhere.  I plan on selling the how-to books I’m currently writing, a few quilts, some downloadable videos, in-the-hoop embroidery (software), and some print-on-your-own fabric digitally painted appliques…just enough to keep on buying supplies and equipment with maybe a little on the side for fun.

I updated my Bernina embroidery software to v7 this week.  It’s pretty fancy, and it does seem to have a lot of new tools.  It also has a completely different interface and it will take a while to find all the old tools and figure out how to use the new ones, but I think it is going to be a big improvement overall.  I’m going to take advantage of my dealer’s class on the software on the 31st.

Digitizing has become an important part of my quilting artwork.  Nearly every quilt now has at least one thing on it that I drew myself and then digitized myself and embroidered in my Bernina Embroidery module.   I have also been developing a flower quilt using my daughter in law’s wonderful photographs for in-the-hoop applique.  I felt I needed to update from v6.  V6 is a powerful program, but there are some things I believe v7 has that will help me a lot.

For a long time I have recorded my quilting progress with a little Nikon Coolpix pocket camera that I bought about ten years ago.  Most of the photos I share here were taken with that.  Last week, the motor that drives the lens died.  I bought a Nikon Coolpix s9700 to replace it.  It’s very like the old dead camera except that it’s a little bigger (but still fits in a pocket), the zoom is much more extensive in both directions, the macro can be much closer so I can really show stitches, the controls are much more extensive, so I can use manual aperture and other manual or auto settings.  It has several scene settings, like my old one did, so I can get a quick picture, but they are more extensive.  And it has the cutest little pop up flash.  My old camera could do a little video, but this one can do a really nice video…up to 29 minutes long.  I tried it out successfully, setting it up on a tripod and demonstrating how to cut out a fabric square just for practice.  I will be doing a lot more practice over the next few weeks.  Once I get handy at this, and figure out how, I will share some videos with you, and eventually, will make some downloadable videos for sale from my website.

Between all the nice technology, machines, cameras, and computer software I have assembled over the past three years since I retired, and the additional video and audio equipment my son Ken gave me, I should be able to realize my plan of  writing books and making videos to share my techniques and some patterns, embroidery software, and downloadable printable fabric designs from my website by the middle of the year.  Inch by inch I’m getting there.

Canterbury Knight Rides Forward:  I have just completed getting the big central block properly set into the seamless border.  Let me tell you, this was a HUGE struggle.  The fabric of the central block is 100% silk charmeuse…hand dyed…and the appliques are silk/cotton Radiance.  It is slippery, drapey, soft, and decidedly hard to control.  The challenge was to get the central block into the seamless black piece of black radiance in a perfect rectangle and perfectly aligned with the straight of grain of the black radiance.  It has taken me a full week, but I just accomplished this.  It probably would not have been so long if I had done two things…not gotten it in upside down in the first place, 🙂  and used more stabilizer from the beginning.  I ended up stabilizing BOTH the border AND the block.  I used Madeira Cotton Soft tearaway, which I love.  Contrary to its name, it is stiff.  It tears away easily, but stays together until you are ready for it to come away.  I have also found that the little bits that get left in soften when washed.  Perhaps that’s why they call it “Soft”.

I also used my fairly new laser square, designed for builders and carpenters, to make the rectangle as perfect as soft drapy, slippery silk can be.  I marked my central block cutting line with it with a thin chalk line and then cut it out with my rotary cutter.  I then marked the stabilizer along both the cutting and the seam lines for the border.  Here’s a picture of that (ignore the stuff in the background.).  See the red laser line and the level on the laser?  When it is level, it makes a perfect 90 degree angle and marks it for as far out as the table goes.

Using my laser square

Using my laser square

Sew happy everyone!  Learn how to do a new technique or practice one you know!  Inch by inch we can learn the techniques and gather the tools to realize our dreams.  It does not have to be done all at once.

Progress on Canterbury knight design?

I’ve been working all week on the design for my new Canterbury Knight quilt that is the companion quilt to Canterbury Silk. It may be questionable whether I really made progress yet or not.  🙂

I thought that getting the knight and horse right would be the toughest part, that is until I started trying to get the border right. LOL. I am still thinking about it…is this the right border? Should I redraw the knight and his horse? I researched and found that a lot of Medieval illuminated manuscript central pictures have fairly elaborate backgrounds, especially where knights are concerned. Almost all of them I could find on the Internet and in my reference books appear to have a castle, so I put in a castle. They also often have trees and streams. I plan on adding those, but just haven’t gotten to it yet.  I found a piece of pure silk that has some wonderful colors for the background of the central part.  It will require backing with a fusible interfacing, but I think I will use it.  It kind of resembles what I put in the drawing, but is much prettier.

Anyway, here’s my design concept so far. There is much work on it yet. PLEASE DO NOT copy and paste this design elsewhere. If you want to share this whole post, that’s ok.

Design concept for Canterbury Knight

Design concept for Canterbury Knight

 

I am still unsure about the border.  I have identified several potential border designs from ancient manuscripts.  I may back the whole thing in black and use the rest of this design.  I may replace the berries with flowers in some places.  But I do want creatures…birds, and especially an owl, and animals…mixed into the border.  I am thinking I will have to draw it from scratch (another week of work).  The A is only a placeholder.  I’m hunting through my resources for the right embellished A in the verse.

Sew have I really made progress, or am I going to redraw everything…that is the question.  🙂

Sew happy everyone!  Merry Christmas!

 

Printing on Silk/Cotton Test Results

In preparation for some of my planned quilts using silk/cotton blend Radiance by Kaufman fabrics, I decided to try some printing on the fabric to see how it came out. I chose a picture from Dover Pictura Fantasy collection because it is rich with colors that could fade or bleed. Here is the picture as it appears on the screen:

Test:  Screen shot

Test: Screen shot

I ironed two layers of freezer paper onto the back of prepared for dye white radiance and using a rotary cutter and ruler, I cut the edges carefully to fit a letter size 8.5 x 11 inch sheet. I set up my printer as described in The Quilt Show episode 702 and taking into consideration some information that Jeanie Sumrall-Ajero provided on TQS–increasing the saturation, contrast, and darkening the picture a bit. Then I printed it in my Epson Workforce printer. Here is how it looked after printing and removal of the freezer paper:

After printing and before rinsing

After printing and before rinsing

Then I heat set it, rinsed it in cold water. squeezed it out, and ironed it dry (thereby adding to the heat setting). Since silk is easy to over-press and damage the look of the sheen, I pressed it from the back placing the right side on a fine piece of cotton on the ironing board. Here is how it looked after all of that:

post rinse and heat set

My eye cannot see a difference. My camera shows a very slight difference, but my camera skills may be responsible for some color differences, so take that into consideration. I believe this is a successful print test. I have not washed it with soap or hot water, but rinsing in cold is sufficient for my purposes, because that allows me to soak off glues and markings and properly block my quilts I might use this method for. More wash testing should be done before using it in a quilt that will be washed repeatedly.

I think it is necessary to use “prepared for dye” fabric, and back it stiffly and all over with freezer paper and set the ink intensity up to make this a success. Also be prepared for slight lightening of your printout on the first rinse. I did repeat rinse and had no additional lightening that I could see.

Sew happy everyone! Hope you find this of some use.

Working With Hot Fix Fibers (Angelina Fibers)

Stellar Nursery, inspired by NASA photos of "Mountains of Creation".  My first deep space quilt.

Stellar Nursery, inspired by NASA photos of “Mountains of Creation”. My first deep space quilt.

I have made two deep space quilts that used large “appliques” of Angelina Fibers…or holographic fibers that make a “fabric” when ironed together and their sister fibers that do not iron together.  I used these fibers to try to represent the exquisite colorful gas clouds pictured in NASA’s Hubble and Spitzer telescope photographs.  I also have used this product to represent foamy tops of waves on a stormy sea on other quilts.  I believe they would also make wonderful steam clouds from a steam locomotive, wings of butterflies, dragon flies, fairies, or angels.

Working with the fibers is not really difficult, but I have discovered some things that make them work better for my purposes.  First of all, one cannot simply place a pile of fibers down and iron them flat if they are to look right. It’s more like painting with your fingers.

You need the following tools:

  • sheets of either a teflon pressing cloth or a saved sheet of backing paper from fusible webbing (note the hot fix fibers only stick to themselves and the bottom of your iron…you can work directly on your ironing board, though I cover mine with backing paper).
  • an iron
  • a pointy something, like a chop stick or a bamboo cooking skewer or a sewing awl to move the fibers around.
  • a hard pressing surface works better than a well-padded ironing board
Set up ready to start

Set up ready to start

Working with very thin layers, I laid the fibers on a backing paper and arranged them as much like I wanted them as possible with such a lively set of fibers, and carefully placed the teflon sheet over the top.

Really thin layer

Really thin layer

Blues change color the most

Blues change color

Sometimes, sliding the pointy thing under the pressing sheet, I made a few adjustments.  I then  ironed over the sheet, drawing the iron across slowly but steadily and without stopping.  That is all it needs to turn it into a “fabric”.

Carefully cover with pressing sheet

Carefully cover with pressing sheet

Here are some of the other things I learned about it:

  • If you iron the fibers too long….and that may be just a few more seconds…it will darken.  This can be useful if you are making a dark nebula, for instance, like the Horse Head.
  • They tend to change colors a bit.  Blue fibers are the hardest to keep their colors.
  • Not all Angelina Fibers are hot fix, but if you are going to cover the fibers with a nylon veiling and sew down, you can use them if they are the color you need by sandwiching them between a very thin layer of the hot fix crystal colors.
  • Work like you are finger painting…round shapes, good for cloud puffiness, are best done in circular motions with your fingers, and carefully laying the pressing sheet over them and pressing. ‘
  • You can kind of comb the fibers with your fingers and the pointy thing if you need them to stretch out sort of straight.
  • The only way to get a hard edge is to make a flat sheet of the fabric and then cut it.  If you want a soft edge (in appearance), don’t cut it, but pull it straight out flat with your fingers until it  tears  off in order to fit into your desired shape.
  • Once the fiber is made into a fabric, this fabric cannot be pulled into any additional shape…there is absolutely no stretch.
  • Sometimes it is possible to remove a layer if you haven’t over-melted your fibers together and don’t like what you have done.

 

layer ready for horsehead

layer ready for horsehead

If you are working out a pattern of some sort, you need to realize you will not be able to mark it except perhaps with a soft chalk marker that will just go away while you are working with it.  I worked on black fabric and printed out a smaller picture of what I was trying to accomplish in color.  Laying it next to my work, I referenced it.  I did mark approximate sections within the nebula on my black fabric using a chalk for sizing purposes.

The resulting artwork should not be washed after completion, so you have to be aware of that during the entire time.  It is possible to block your quilt by laying it on the floor and spritzing it with a fine mist of water, but do not wash it in your washer.  Also, once quilted, don’t pull your quilt too forcefully to try to block it.  So I use a quilt sandwich somewhat larger than I need and square it up by cutting rather than blocking.  The blocking is so it lays nice and flat.

I also printed the horsehead full sized and cut it out like a pattern.  This enabled me to cut out the horsehead part of the nebula by holding it together with the fiber applique before applying it.

Horsehead cut out after making as close as possible with fiber "painting"

Horsehead cut out after making as close as possible with fiber “painting”

The background needs to be completed before you start adding the Angelina Fibers.  In the case of the Sky Horse, I painted some of it first, sandwiched the quilt, spray basting it together, then laid the appliques on the background and covered them with black nylon veiling.  Black veiling virtually disappears in this case.  Then I placed my pressing sheet over that and did a light ironing to join all the appliques together.  Once I did that, I pinned it together with safety pins and did the quilting.

Horsehead layer in place

Horsehead layer in place

I used both black 100 wt silk thread and Superior’s Glitter.   This thread looks almost like the Angelina Fibers and works well for special places, such as the horse’s head.  I heavily quilted it.  Once it is quilted together with the nylon veiling it is much less fragile and I found it went through the shipping to and from and the showing at the Houston show with no apparent damage at all.  Before it is quilted, though, it is kind of easy to crease it.

You can't mark this, so lay a picture beside your work.

You can’t mark this, so lay a picture beside your work.

When used as just a small accent on a quilt, you don’t necessarily need a veiling, but you do need a heavy amount of quilting.  I found that Superior’s Glitter works very well for this also, since it looks like the fiber, but it sews easily.

Tatum_SkyHorse_Full 2014

Sew there you go….that’s how I work with  Angelina Fibers.  It’s harder to describe than it is to do, sew give it a try.  I’d love you to let me know how you find working with it yourself and if you have any tips to add.

Sew happy everyone!

 

Alex Anderson, A Bit of Progress, and Some Plans

ALEX
Today I went to G Street in Falls Church, Virginia, to attend a lecture by Alex Anderson. I had a lot of fun. I got there early enough that I could get a seat close to the front just behind the chair Alex came and sat down in while waiting for the time to start, and we had a lovely conversation about Bernina sewing machines. A Bernina representative was sitting next to Alex and joined in. I never expected to have time to chat with her, so this was an added treat for me.

Her lecture was entirely fun and very inspiring.  She told us about her life centered around quilting, family, and quilting friends, and how many times she had taken one step at a time to learn something new for her books, for her quilting, for her job as a show hostess.  In all of that and in clear statements she encouraged us to try new things and take one step at a time no matter how difficult they seemed at first to accomplish, learn, improve, and experiment in quilting.  I loved her speech, I enjoyed meeting her, and found myself wishing that we lived close so I could become a good friend of hers.  Thank you Alex for such a fun time today and all the shows and teaching you have provided.

I have been slowly building a network of really fine quilting friends across the country and occasionally I meet them face to face.  I hope to continue this as the years roll out in front of me.

Anyway, as to the progress on my clothing project.  I have now finished making the black embroidered reversible vest and embroidered slacks.  The vest fits nicely, but I’m not as happy with the slacks.  I have one idea for improving the slacks, and will do that, but I think I’m going to have to improve my slacks pattern before I make the other two pairs.

I also finished the silk brocade vest and it fits to perfection.  I will make the black blouse and slacks next, and hope I can improve the slacks pattern enough to be really happy with them.  If I can, I have at least one more pair I will make, and I found a nice piece of Rayon Batik I had stashed in the closet that will make a great loose casual lightweight jacket.  I’m going to make at least one bag and then I’m going to stop with the clothes for a while.  Later on, I want to use one of my four nice pieces of heavy wool I have to make an overcoat.  I even have all the specialized interfacing and lining for two of them and some faux fur to make cuffs and a collar.  But I will do that closer to winter.  I think I’ll blog the making of the overcoat when I do.  It should be interesting.

I have two quilts I want to make.  One has an end of the year deadline, and I will wait until early in the new year to tell you about it.  The other one is a quilt based on some line drawings by the Wright Brothers of their planes that I found on The Wright Brothers organization site and obtained their permission to use for the quilt.

The Wright Plane quilt will be one in my line-drawing series.  The first of that was Perspective in Threads, which has been juried into the Houston special architectural quilts exhibit this year, that will be traveling for a year.  The second is Dad’s House Plan that will soon be in AQS Chattanooga.

Sew I’ll put in a few pictures of my clothes when I get them done.

Sew happy! Teach someone to sew or quilt…your BFF, your brother, your daughter, your pets.

 

Whan That Aprille: The words section

I am currently in the process of stitching down all those little applique pieces on the red section of my little Chaucer quilt. I’m about halfway through that and my shoulders and neck are kind of hurting now, so I thought I would stop for a bit and work on the words section. Think of this as a page in a Medieval illuminated book. The red part is in the upper center and below that is the verse in a Medieval style text box. The border around the edge is probably still going to be black, but will be quilted in metallic threads (I think…may change my mind on that). I did a mock up of what I am thinking as far as the text box. I am planning on trying a tea-dye on some white silk/cotton Radiance and will try adding some additional aging with a very thin bit of watered down brown Setacolor inks. Here are the words I am going to include. I am going to try to digitize this in Bernina v6 so I can get it embroidered in the hoop.

text box for web

The “W” has to be fabulous and I will probably color it somehow (I’m thinking fabric markers). I have one choice in the mock up, and here are 4 more. If I use the first one, I will probably not use the mermaid somehow, but I kind of like the rest of it. With that in mind which one do you like? (Reference as “Mockup”, Top left, top right, bottom left, bottom right)

Whan Ws

Just so you get the idea for the look I’m kind of going for, I thought I’d include this example–I probably will add a decorative border down the side, and maybe even the man on the horse…in keeping with the Chaucer’s Canterbury Tales…if it doesn’t fight too much with the red floral center, which represents the opening prologue:

Chaucer_ellesmere

Anyway, as you can tell I am adding a bit of difficulty to the overall quilt, but I think it should be splendid if I can only realize the vision I have in my head. Then there is the matter of quilting it…. 😯

Sew happy Everyone! 😉

Whan That Aprille: Machine Applique

Fused and Ready to Stitch

Fused and Ready to Stitch

I have all the appliques cut and fused down. They are made from silk/cotton blend Radiance that I purchased at a quilt show. The appliques are tiny with little pieces, so I was able to do all of them from the 10 inch squares I bought in a collection of colors. I even have enough left to do a second quilt like this.

I love doing machine stitched appliques both fused stitched raw-edge, like I am doing here, and turned edge, machine stitched. Since these are so tiny with complex edges, I decided on the stitched-raw edge for this quilt. The stitch I use depends on the look I am going for. In this case, this folk-art influenced quilt works well with the blanket/applique stitch. Note that satin stitch, double blanket stitch, and some decorative stitches also work well. Here’s a little example, and I do mean LITTLE!  The flower here is a little more than one inch across.


stitchin-begun
It always interests me how I can miss problems when I’m looking at what I have done, but see them when I photograph them. I had a little tension trouble when I did the black perle cotton number 8 bobbin work at one point. I thought I had found it all and fixed it already, but here you see I missed a couple of spots:


Photo-test
Sew remember to use the photography test for your own work.  I’ll fix this.

I am experimenting with a new setup for my stitched-raw edge applique because it is SO SMALL and requires so much turning to keep the blanket/applique stitch at the right angle. I took an old super slider I had that was a little worn around the stitch hole and cut it so my feed dogs are exposed. I think this will help me move the quilt top around easier and more accurately. You see the disadvantage, though is I have to change thread colors a lot for this quilt, which means taking it up and putting it back every bobbin color change.  I’ll let you know if it makes enough positive advantage to use it despite the thread changes.

New-setup

Sew happy everyone, and happy Mother’s Day to all you mothers out there.

On Managing Stashes for Busy Sewists

stash-building-web

I hear a lot of embarrassment out there from my sewing friends about the size of their stashes, but I say don’t be embarrassed, but be grateful and manage those stashed right into productivity.  It just needs a realization that there is a huge value to having well-stocked stashes  collected over time and properly managed.  I began this practice decades ago when I first used sewing as a supplemental income when my children were very small and improved it substantially since retiring a couple of years ago.

Since retiring and reorganizing my stashes I have found the value of spending just a little time each week making sure things are put where they belong and taking note of what needs replacing.  Now don’t get me wrong.  I am not very good at this.  Instead of carefully ironing and folding my fabrics and organizing them carefully on shelves, as some of you do, I sort of fold them straight from the dryer, and then stuff them into my generically labeled drawers.  I just dump my threads in similar plastic bins according to type.  Libby Lehman, bless her dear heart, had a magnificently organized studio, properly labeled (I would guess it sits there waiting for her full recovery still in its organized splendor).  She was my inspiration, but I will never reach her level of organization.   Still, she helped me see that at least SOME organization is needed.  I’m sure some of you would be horrified if you saw what I considered “organized”…LOL

studio3

Imagine that you have a great idea, found that perfect pattern, or have designed a special project in Electric Quilt whatever version and want to get going on it.  In your dreamworld, you go into your studio, select your fabrics from your impeccably organized stash, and get started.  Then you pull the perfect threads out of your thread stash just right for your project.  Your small amount of time is well spent and you make significant progress on your project in that little bit of time.  Now I know it is fun to go shopping in your local quilt shop, but my time and budget is limited even since I retired, so I needed to develop a list of what I needed for several projects ahead.   Since retiring to full-time fabric artist, I have had to organize my projects, deadlines, show quilt schedules.  It saves me far more time than it cost to set this up initially and keep it going.  I use simple computerized spreadsheets and it seems to work.  I also put deadlines on my computer calendar so it reminds me when I need to do something to help counter that vanishing-time problem.  🙂

What kinds of stashes do you have?  I have several types of stashes–quilting cottons, various types of silks, light woolens, denims, etc. in the fabrics sections.  But my thread stashes have significantly grown since I retired.  My favorite threads are #30 and #40 polyester solids and variegated embroidery threads,  #100 silk threads, #12 and #16 perle cotton threads, and #8 perle cottons and Razzle Dazzle and other decorative bobbin and hand embroidery threads, and hand quilting threads that I use for hand sewing beads onto my creations.  I also have a collection of buttons, beads, sequins, fabric paints and markers, brushes, stabilizers, interfacing, bag making specialty parts, and needles of all descriptions.  I also have a very nice collection of tools.  I did not collect these all at once, but over the course of many decades and some of these items are inherited and older than me.

In the past few years I have given away a large amount of fabrics for clothing that I know I will never make.  I had decided I need to give away a lot out of my quilting fabrics stash because they no longer appeal to my tastes (funny how that happens), but instead I decided to design several very quick to make quilts that are still pretty, and take those fabrics and make them into pre-cut kits, using my die cutter, that I will either sew up myself or convince some of my friends to sew for people in need.  We’ll see if this works  or not.  I’ve only just started this. 

My ultimate goal is to reach a point where the fabrics in my stash are the ones I will use so my stuffed full drawers will once again resemble a nicely organized stash, that I have the stabilizers, battings, beads, buttons, and threads I need most of the time and don’t have to delay a project to order them (my “local” quilt shop is 45 minutes away, and the brands I like are not often available, so I buy my threads online).

Sew I have learned that a small part of my in-the-studio time has to go to managing my projects and stashes in order to keep more productive  and the costs spread out across time (as you know threads and fabrics are so expensive…it just helps to have built a stash and keep it stocked so I don’t have to spend a big amount at the beginning of each project), and my fabric art humming along.  I realize a lot of you are far better organized than me, but I encourage you if you haven’t done so to take a look at your own stashes and projects and do a little managing and organizing and your productivity and imagination may just take off and soar in ways you don’t expect.  And you’ll probably save a little money too.

Sew happy everyone!

Whan That Aprille: Begin Again

new-fabric-stitching-web

 

Sew!  I completed the in-the-hoop embroidery on the new piece of wine red dupioni.  I had digitized this from my design and it required five jumbo hoopings for Gibbs (my Bernina 830 LE) to stitch it out.  I have a problem getting those alignment marks they put in there in good places. As far as I know, there is no way to adjust the placement of them, so I ignore them.  This requires that I print out the full sized template from my software, tape it together, mark where the hoops go and the center mark for each hoop, and cross my fingers as I hoop them.  For the most part, I am usually successful, but it requires close watching and sometimes a large amount of adjustment.  For some reason when I get the hoop placement just right so everything is green in the computer (that means they fit in the hoop and the whole design is covered), and then save it to the USB stick, it isn’t the same when I sneaker net it to Gibbs, and is often totally off.

Nevertheless, I generally manage to get it to line up by some finagling, and often have nothing out of place.  This one was tricky though because of that long central trunk vine curving up through three hoopings.  So I got it a little bit off, but just in one spot and I think I can fix it ok using a satin stitch (out of the hoop).  It’s quite narrow, but here’s a close up of the misalignment, and it also shows that one black berry was not stitched fully (it came outside of the hoop on Gibbs despite being in the hoop on my computer, and so I just let it go…to fix that later too:

misalignment-web

 

Anyway, I’m very happy overall with the embroidery, and the next step, after I fix those small errors in the embr is a lot of bobbin embroidery from the back using # 8 Perle Cotton.  Once that is completed, I will start on the appliques.  I have so many lovely colors of Radiance 10 inch squares and a few larger pieces from which to make the appliques.  I think the hooping was the most stressful part of making the quilt top, so I’m glad that is behind me.   I have to embroider the words, but thanks to a friend’s suggestion, I have a new idea for how to go beyond this central part of the quilt that places the words better and will also make them easier to embroider.  Hopefully I can fit them all in one hoop!

I know I  will have to do a dramatically wonderful job of quilting this, and I am planning on marking it pretty fully once I figure out how to quilt it.  I’ll be asking you all for suggestions once I have the top finished.

Have a wonderful weekend!

Sew happy!