I'm finally getting back into the swing of things after visiting family for a few weeks, moving out of one apartment and into another, and putting my little studio together (more on that soon).  I promise to get my newsletter out on Thursday for those who've signed up.  I have so many neat things to share, I'm excited to send it out again!

But on to today's post!  I recently finished up a swap with one of my sisters.  It was great fun.  The bag I made is from Kay Whitt's book Sew Serendipity Bags.  This is a great book and I'm glad to have a copy of it in my library.  The book contains 12 patterns for bags in a wide variety of styles ranging from simple to complex, basic to fancy.  The book begins with some pictures of bags patterns included.  Although this was useful, it did not show ALL the bags in the book or provide page references, so some page-flipping is necessary to see an example of bags not shown.    One thing I love about this book is that, once you open the book to a pattern, it will stay open because of the wire binding.  If you've ever put a heavy object in the middle of a book to hold it open, you know how awesome this little detail is.

Every bag pattern includes at least one photo of the finished bag before the instruction section, so you have an idea of how it should look.  There is also a written overview of the features of the bag, which is helpful for visualizing the parts of the bag not visible in the photo.  Although dimensions are given for all the bag patterns, the photographs don't always show the scale relative to a person or other object (as in the photo below of the pattern I ended up using).
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The materials list includes all necessary notions and fabric yardages.  This made it easy to gather everything I needed before starting.  One problem, though, is that I ended up using more of one print than was listed.  I would recommend adding a bit of length to whatever fabric you purchase or use.  Cutting diagrams would also have been useful to ensure that the fabric was being used efficiently and in the amounts listed.

The author divides the instructions into easy-to-follow steps.  Most of the steps are accompanied by a sketched illustration of the relevant pieces and how they come together.  For complex, three-dimensional projects, these sketches are ideal.  There are no hands holding the pieces to get in the way of what you want to see, and everything is simplified to the essential parts.  The sketches for the handle-making steps were less clear than I would have liked as a novice bag-maker, but I managed, in the end, after reading the instructions several times.  Once I figured it out, I made a note in the margin (something I recommend doing for all patterns you plan to make again).  The instructions on making the decorative pocket ruffles were obviously written for someone with a ruffle foot attachment.  I had to make a guess as to how densely to gather by hand.  I opted for gathering as much as pleased me, but I ended up having to make a second batch of ruffles in order to have enough.

I made a couple simple changes to the pattern.  First, I opted for a continuous cut for the main bag body fabric and interfacing piece, which meant deducting a little for the seam allowance.  I like that it reduced bulk at the bound edges, but I would not recommend doing this if you are using a very directional print, which I was not doing.  Second, I finished all the binding by hand rather than having a line of visible stitching through all the layers.  I'm not so good at keeping straight lines through bulky pieces, so hand-finishing gave it a much nicer look.  It was a time-consuming change, so don't do it if bulky sewing is one of your skills.

Overall, I recommend this book.  It is clear enough for beginner bag-makers as long as they have some sewing experience, and there are projects for every skill level except beginning sewist.  The instructions and sketches are generally clear and easy to follow.  And the dozen bag patterns are a great range for any pattern library.

I recently purchased a copy of Anna Graham's book Handmade Style.  It was an easy decision to buy this book because there are so many beautiful projects in it.  Flipping through, it begins with a look-book of sorts for the projects inside.  I like this format for sewing and craft books because I can easily find the pattern I want to make, see what it looks like finished, and on what page I will find the pattern.  This section is followed by step-by-step instructions for each pattern that include simplified sketches to illustrate most steps.  It also includes a resource list, glossary, and full-size pattern pull-outs at the back.  Overall, I recommend this book, and I know I will use it over and over as the patterns are timeless.
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I chose to make the Double Zip Wallet for my first project from the book.  Even though it's the only one I've done so far, I think it's the most challenging pattern in the book.  There are several complex maneuvers that are required that are difficult to visualize how they will work out.  There were a couple points where I had to just stop, read through the instructions a few times, and think through it to make sure it would turn out right.  I even tried to find a video of someone making it to make sure I was interpreting the instructions correctly.  Most of the instructions are easy to follow, but a couple are less specific than I would have liked.  For example, in step 5, there was no mention of which way to place my zipper (i.e. teeth up or down).  I made an educated guess that turned out to be right, then made a note in the margin.  In case you're wondering, it's teeth up.

My other trouble came when the word "lining" was used for both the interior fabric for the zipper pockets and the inside card/money pocket section.  Granted, they are both linings in a sense, but the instructions would have been easier to follow if they had referred to the zipper pocket lining as "canvas lining" as it was described in the materials section.

I enjoyed making my Double Zip Wallet.  I used a canvas duck cloth for the zipper pocket lining and coordinating quilting cotton for the rest.  The canvas definitely adds stability to the wallet, so don't using quilting cotton for it unless you use additional interfacing.  Luckily, I also had a scrap of navy binding that pulled nicely from the teal and yellow print.  Instead of using the prong-style magnetic snap, I chose a sew-in version in a lovely antique brass color.  The zippers are also antique brass with neat zipper tabs that add a custom touch.  I did have some trouble with my zipper installation, though, which you can see in the photos.  I could not get the corners squared no matter what I did.  I'm sure I just need more practice.  Everything else turned out exactly as it should and I love how it looks.  Unfortunately for me, it's not for me, but will find it's way to a new home in a couple weeks.  But now that I've got on Double Zip Wallet under my belt, I'm sure I'll make another one.

​Have you tried any patterns from this book?  What did you like or not like about it?

I have my first ever publication experience!  One of my goals for this year was to submit something to a magazine.  A couple months ago I responded to an open call for submissions from UPPERCASE Magazine.  The topic for the issue is paper, books, and folding.  There is such a wide range of projects on display within the pages, all of them amazing.  And, tucked inside, sandwiched between Lucinda Kidney's altered books and Deborah Bray's alteration of the book The Seducer's Kitchen, is my upcycled food pouch book (which I wrote a tutorial for here).  It's an amazing feeling having my work published, knowing that thousands of people will see it.  If you'd like to see inside the latest issue of UPPERCASE, watch as Janine flips through and adds a bit of commentary.  And let me know if you see my book!

Have you noticed how popular English Paper Piecing has become?  It seems to be everywhere, or at least all over the places I frequent on the internet.  But let me back up for just a moment.  Perhaps you've not heard of English Paper Piecing, also known simply as EPP.  Perhaps you know only that it involves lots of little pieces that must be sewn together by hand.  Yes, it's true, though, in everything I've read, people say it's a meditative process they enjoy. 

After reading so many good things (particularly this review) about the new resource book All Points Patchwork by Diane Gilleland, I decided to purchase a copy of the book to see what all the excitement was about.  While I waited for my book to be delivered, I did all kinds of research into the mathematical aspects of EPP, the geometry of the shapes, and how to create repeating designs (cause I'm nerdy that way, and I enjoy learning about stuff).  I'll definitely write more about that in a future post.

But back to the book.

As soon as I saw the cover I knew it was going to be a good book.  And, flipping through the pages, I saw so many beautifully-photographed projects and well-illustrated instructions.  I took it with me on my very next trip to the park with my toddler and got started learning about EPP.  Diane's excitement for her craft comes through on every page.  Her comfortable, easy-going style of writing is like an old friend siting beside to you explaining what to do next.  I enjoyed reading it both for this fact as well as the wealth of information and ideas it provides.

The book begins with a brief, but concise, guide to selecting materials and tools.  The next section includes clear instructions on basic techniques, including cutting fabric, using templates, making knots, appliqueing by hand or machine, and more.  And every instruction is paired with a clear image to illustrate it.

One of the first things I noticed is that there are slightly different "rules" depending on the shape and size of each piece you are working with.  For example, basting a piece through the paper and fabric is most helpful for pieces with sides longer than an inch, but tacking through the fabric only will generally suffice for everything else.  And the photographs clearly illustrate this fact.  Once you have read through the book once or twice, these images provide a quick reference guide. 

Each category of shape is given its own chapter.  Triangles and tumblers, for example, are the subjects of Chapter 6.  This is helpful since the rules, or guidelines, really, are similar for each type of shape.  Diane explains how each type of shape is measured, either by one of its sides or by its height.  For those wanting to purchase or create their own templates, this information is essential to accurate piecing.

For the mathematically inclined, drafting instructions are included for every shape.  I particularly appreciate this since my favorite part of any project is making up a pattern.  But don't get scared off if you aren't skilled at arithmetic.  The instructions are simple to follow even without a background in geometry.

Diane also gives suggestions for repeating designs for each shape (though they tend to be basic and often limited to only one shape).  The patterns she shows are created by changing the color and/or orientation of the shape to make interesting designs.  It is by no means an exhaustive list, but a helpful way to see how to manipulate the overall look of the finished piece.

She also provides alternate methods on stitching together shapes.  Although EPP is appealing, in part, because the pieces can be sewn in almost any order, there are ways to make it easier on yourself and reduce tension on the stitching that is already in place.

In addition to the traditional, straight-edged shapes, All Points Patchwork includes several curved shapes.  Although many people feel intimidated by machine-sewn curves, EPP can actually be easier since it removes the tension differential caused by the feed dogs and the presser foot.  The tips and tricks for curved shapes are quite different from the other shapes, so a thorough reading of this section is essential for increased success in sewing curves.

One of my favorite things about this book is that it does not assume you want to make a quilt.  In fact, it does not assume you want to make anything.  What I mean by this is that the book covers the techniques of English Paper Piecing and includes ways of applying it, but it does not include project instructions.  Instead, there is a project inspiration page for each shape that is meant to give you ideas.  I appreciate this because I rarely make projects from a book or other source as outlined.  I prefer to use the ideas and expand on it or put my own spin on it.  This book encourages you to do just that.

My journey into EPP began with this book, not more than two weeks ago.  I have yet to cut out any shapes, but my mind is brimming with ideas.  I will share my experiences (and even some designs!) with you as I delve deeper and continue to learn.  On my last trip to my local quilt shop I purchased a few bold prints that I think will be perfect for fussy cutting into some EPP shapes.  I can't wait to see what I make!

I recently found a used copy of the book Annie and the Wild Animals.  The story is beautifully written and illustrated by Jan Brett.  Although we have only had it a few weeks, I have already read through it at least thirty times.  Goen requests it over and over and I often read it several times in a row.  What I love most about this book is that it actually gets more interesting as you read it more (as opposed to some books that just get tiresome).  The artwork is what keeps the book fresh.  The first few times through, my eyes followed along with the text.  Once I became familiar with the story and the words, I didn't need to focus on it as much, and my eyes began to wander across the page.  I amazed to find that there was as much story in the drawings as in the text itself!  The main page art goes along with the text, but with the addition of showing the passing of time and the changing of the seasons.  The borders are just as detailed.  Some expand on the written part of the story.  Some are a prelude to the text on the following page.  Others tell a parallel story about what is happening with Annie's cat.  Between the writing and imagery, this story is much more detailed than a typical toddler book.  The up-side is that we both enjoy it each time.

Although there is a lot I love about Annie and the Wild Animals, one thing I don't like is the transition from the first page to the second.  The first two sentences read "It had been snowing for days.  Winter was lasting too long."  The page following says "Something was wrong with Annie's cat..."  Perhaps I'm just used to stories that introduce the characters right away, but I think the abrupt change of scene from outside to inside has something to do with it as well.  Whatever the reason, I have taken the liberty of adding my own line to the end of the first page: "Annie and her cat were stuck inside."  Problem solved!

I am starting to realize that story time does not have to be torture for the reader.  There are many children's books that appeal to parents as well.  I have found a few so far that I love.  When I find more I'll be sure to write about them here.  In the meantime, I would gladly accept recommendations for books that you enjoy reading to your little one as much as they love hearing them.

Does writing a book with a single copy in its first edition make me an author?  Um, I like to think so.  But that could just be wishful thinking.  Not counting all those books I wrote in second grade about a poor eagle without any "frends," this is the first kid book I've written.  I spent time playing with different ideas to come up with something that would be fun for a toddler to hear, but also fun for me to read.  After brainstorming a few story lines (and scrapping most of them), I settled on a book about bicycles.  My little man and I have logged many hours on my bicycle, so they have a special meaning for me.  The text is full of wordplay related to bicycles, so I think it's a story that he can grow with.

I finished the book a few weeks ago, just in time for Christmas.  The most time-consuming part was the illustrations.  I tried to just let the pictures flow out without letting my perfectionist side take over.  I'm happy with the way it turned out, even with the many little "mistakes."  Whenever I show it to someone, the first thing they want to do is read it out loud.  And, I gotta say, it's pretty cool to listen to someone reading a book I wrote.  The first day he had it, right after pulling it out of its muslin bag, he wanted me to read it a couple times in a row.  I think it has a better chance of staying fresh and interesting than most of the other board books on the shelf, but then, I'm sorta partial.

Here are a few of my favorite pages from the book.  And come on back in a couple days to see my tutorial on connecting two board books to make one with enough pages to tell your story without rushing it (or running into multiple volumes.  Eek!).