WildCraft had a back to school sale, so I signed up for a four week introduction to oil painting course with Rachel Warkentin. I busted out my decades old oil paint and I’m having a blast. The last session in next Monday (sad face) and I’m hoping to start up an at home practice. In the second week we painted rocks and eggs. My egg and rocks are in the lower right.
Here’s the progression of some spoons. I’m most excited to have learned some less toxic options for working with oils. Canola and walnut oils are way less stinky too!
Sadie designed this fun top (there’s a dress version too) for Tauko Magazine. I got to make it over the summer and it’s finally cool enough to wear it! This fabric is from Anuprerna.
And another WildCraft class – visible darning with Erin Eggenburg. Getting to her level of skill is going to take some practice.
Here’s my hot mess!
I learned just how well WD-40 cleans and conditions metal. I bought this vintage desk chair to make my work from home space a little more comfortable but it was GROSS.
There was a long abandoned spider nest in the back rest and it had so much rust and grime. It cleaned up so much better than I thought it would.
I learned so fricking much knitting this. I learned how to shape a neckline on a bottom up sweater, the kitchener stitch, how to pick up stitches, how to create a folded neck with a stretchy BO, math to adjust for row gauge, K2tog-L for sleeve decreases, the sewn tubular cast-off technique, and how measure and block a sweater. SO COOL.
Shortly before starting this, I learned how to knit continental and decided I would knit the Towns entirely in this style. I should have realized during the hem ribbing that my purls were much looser than my knit stitches, but I pushed through, hoping that magical blocking would smooth things out (that only sorta worked). Things got weird once I was knitting flat and there’s definite striping above where I split for the sleeves.
Joining the shoulders was where things got real spicy. I messed up both shoulders. The first one had what looked like only a small imperfection but I couldn’t leave it alone and once I snugged everything up, it turned into a giant, loopy knot. The second shoulder had a section where I slipped the stitches the wrong direction. It took going to a LYS to learn how to fix this mistake. I also bought some super thin cording to use as lifelines, which I throw in all the time now.
The neckline BO was a mind bender. It took a while to figure out how to hold everything and there’s a sliiiiiiight twist, but not enough to impact the wear.
My row gauge is always off, so the first sleeve I made was much too long. Thanks to math, I was able to figure out how many rounds I needed to remove to get the sleeve to be the right length. It was so exciting when it worked, but I did need to knit three whole sleeves to figure it out.
Despite having purchased skeins from the same dye lot, there’s a clear color difference between them. I feel like it’s less noticeable when it’s worn, but is super obvious when laid flat.
Despite its flaws, I am so pleased with this sweater! It’s going to get a lot of wear once it cools down.
I saw this post last month and immediately wanted to make one. Just like in the post, I used the Seamwork Orlando. I made a size 8 and shortened the length by 1/2″.
Lyrical Fabrics has a great selection of cotton pointelle, which I think might be deadstock. There are a few prints and colors I missed out on so I was quick to grab these “Lemoncello” and “Champagne” pointelles when they were released.
I followed Lyrical’s shell tuck / picot hem tutorial on their blog. I wasn’t sure if this stitch would work on the sleeves and hem but I haven’t heard any popped stitches yet!
I don’t know why but both necklines produced one skipped stitch on the same side so I had to hand-sew one “tuck” on each tee. I hope they hold up to wear… I think it might have been a combination of the foot straddling the seam and the needle not quite dropping off the edge. Skipping only happened on the necklines.
I used my coverstitch machine to hem everything and was delighted to find that the white cones worked for both colors and I didn’t have to rethread it. I sure do love having a coverstitch machine.
The cuts of fabric are unusually wide so I have a decent amount leftover. I’m thinking maybe a True Bias Zoey tank with the same scalloped edges on the bands.
I haven’t made, or really worn, hard pants in quite a while, but this post caught my eye and I knew it was time to make some pants that didn’t include elastic. After I’d downloaded and printed the pattern, Open Studio reached out to offer a $100 stipend and the pattern in exchange for a review/IG post. They kindly sent their two other patterns since I’d already purchased the Shop Pant.
Based on my measurements, I decided to make a size 3. Aside from shortening the leg length 1″, I didn’t make any other pattern adjustments. Being out of hard pant practice, I knew I needed to make a wearable muslin and actually wear them to assess if I chose the best size, or if I just need some small tweaks to size 3.
After wearing them for a day, I think I need to grade to a size 2 at the waist and potentially shorten the front crotch (see crotch wrinkles in first photo). The intended fit of the waistline is high, but they fall down to my mid waist. Although they are VERY comfy to sit in, they’re just a wee bit too roomy.
I love the front pockets! They’ve got a fun angular opening and very deep, functional bags. Seriously super deep. My whole phone fits in there. I used a thrifted Indian cotton print for the pocketing and made it so the right side was facing the inside of the pants.
The fly constructions is straightforward, but I ordered a “jeans zipper” which is obnoxiously huge and kept getting stuck under my presser foot. If you want to sweat and swear a lot, order a #5 jeans zipper and you’re guaranteed a challenge.
The topstitching was interrupted by the zipper on both the fly extension and the fly front when I had to take the whole presser foot off my machine to zip it up. Quite annoying.
#5 jeans zipper (left), vintage zip (right). Look at how massive it is and this pic doesn’t even capture its girth.
I really love the barrel shape. I did an extra line of topstitching here to match the stitching on the butt pockets.
One construction step that I’ll be adding to future pants is attaching the waistband to the wrong side of the pants first, then folding it to right side to topstitch. No more having to redo the topstiching because you didn’t catch the inside folded edge of the waistband! Brilliant!
I do plan to change up the waistband construction a little since I didn’t get the crisp corners I can achieve with a different method. The right waistline must have gotten a little stretched out while I was sewing so it didn’t match with the band. I had to do some easing and got some annoying puckers because of that. Wild how it only happened to one side!
I really like this pattern and totally plan to make at least one more pair!
After two years of only going to 100% necessary inside places, I cracked and took an in-person workshop. There were a lot of bare faces, but us masked folk all gravitated to the same table near the open the door. I didn’t realize how much I missed making stuff with other people until the six hours had whizzed by and I felt super energized. Anyway, I’m really hoping we’re all healthy after spending so much time breathing in a room together.
The end product of marbling isn’t really my jam but it’s a fucking fun process. Wildcraft provided a beautiful little booklet with instructions for doing this at home.
Each participant was given a cut of pre-treated cotton fabric, one cotton bandana, one large piece of silk, and an individual marbling tub. Each table also had a larger basin to share and everyone rotated through doing one large sample in the big tub pictured up above. I had so much fun playing I only took three photos during the workshop so here’s a short video of what the process looks like.
Marbling really forces you to let go – you don’t really know how the paints are going to interact with each other, or which colors are going to actually show up on the fabric. Most of the colors I’m drawn to weren’t very vibrant once transferred to fabric.
Knowing I was going to have a lot of small cotton samples, I tried to stick with the same colors so they could be used in a mini quilt project, which I started sewing immediately at home.
I decided to cut up this blue piece because the fabric wasn’t great quality, I didn’t think I’d ever use it as bandana (its edges were finished), and I needed something to bind the wall hanging with. All of my other scraps didn’t quite work with the marbled fabric.
I just pieced the samples together and did a simple stitch in the ditch quilting pattern. The binding was machine sewn onto the front then folded and pressed to the back for hand-stitching.
I added little triangles to the corners so it can be hung on the wall and drilled some holes in scrap wood to mount.
I’m still very much in loungewear mode, so I whipped up these sweatshirts over the long weekend.
This is the Seamwork Lex sans kangaroo pocket. I made a size 8 and reduced the length of both the sleeves and the body by 2″. The main fabric is a cotton french terry in the color ‘spice’ and the bands are a wide bamboo rib knit in the color redwood from Stonemountain. The rib knit is a bit too lightweight for this purpose, but it was the only stretchy fabric I had that sort of matched the french terry.
Daisy Chain Dale
This is the Dale sweatshirt, of which I’ve made three! See the color blocked one here. I made a size M with the long sleeves and no mods. The fabric is ‘maple’ sherpa and ‘toast’ 2×1 rib knit.
My quilt is done and here’s the post about it! Click here for part 1.
Since the first post, I decided to add another 15 blocks because I wanted all four corners to have a 9 patch block. With 98 blocks and a square throw shape, that pattern wasn’t happening. Plus once the top was all sewn together it was a smidge smaller than I wanted.
After the top was complete, I combed through my remaining scrap pile and pulled out all of the black and white fabrics since those seemed to be the most plentiful. Some of these ikats are from some of my first ever garment projects, which is pretty fun.
I waffled for a bit on how to bind this quilt. I started with wanting to use the greenish Calvin Klein bed sheet I’d used for my Tamarack jacket. Then I though about using the backing to do mitered corners. There was a brief time where I thought about doing prairie points to use up even more scraps but ultimately I went back to that thrifted bed sheet/traditional binding method.
I cut up the last of the bed sheet into straight of grain strips because there weren’t any curves that’d require a bias cut. I have a lot leftover which I’ll use to bind some small scale quilted projects. I really love this color.
Once the quilt backing was assembled, I realized I didn’t have enough space to baste the layers in my sewing room and would have to do this step in the basement. It took a couple of weeks before I got around to washing the basement floor.
For the quilting pattern, I wanted something that would showcase the blocks. A simple stitched in the ditch grid pattern was done and I love it. I had to move my sewing machine to my cutting table to quilt since my machine is usually up against a wall. It took a couple of days to quilt. I went too hard the first night and my hips were very angry from a long stand up sewing session.
I then machine stitched on the binding to the right side. To finish, I hand-sewed it to the back, which I did at the beach. I’d say this is the best environment for finishing a multi-year quilt project!
And here she is, my fourth quilt (see the others here). I ran around with it on the beach to celebrate.