Cindy, of LiveAColorfulLife, called me up one day and said she had a great idea and a great name for a bee: Mid-Century Modern Bee, and that everyone had to be at least mid-century in age. Maybe it was the exasperation I felt that all the newbies were claiming invention of tried and true blocks and methods, or that I was ready for another bee, or that Cindy’s charm could not be turned down, but I jumped at the chance to be a part of this new group. We’ve been going strong for three years, so I’m dividing this post into parts, and am grouping them by the participant, rather than going through the calendar years. We now have a blog, courtesy of Susan and PatchnPlay, so I guess you could say we are all grown up. I wanted a place where all our blocks, quilts, and tutorials could be listed; you’ll find links to many tutorials of these blocks, so have fun browsing. The first project we did was Carla’s Church Dash quilt, with the tutorial found *here.* The next year, Carla (Lollyquiltz) had us make another block churn dash block for her, and the beautiful quilt above is the result. Carla is still working on this year’s batch of blocks, a birthday cake block using *this* tutorial. This bee also does signature blocks, which I love, and you can see the array at the top of her pin wall. My birthday cake block is the blueberry with mint filling, as one of the fun things she had us do was list what “kind” of cake we would make for her. If you use the tutorial, remember to set your print scaling settings at 100% so your block will be 12″ square. Cindy thought for her first turn, she would do the Winged Square Block with the tutorial found *here.* When I sent around the letter asking for photos of blocks/quilt tops/quilts, she sent me a photo of all the blocks together. For her second round, she fell in love with Rene’s spiderweb block (another member in our bee) and decided she wanted one too. This became common–we are so well matched that we borrow ideas for each other regularly, tweaking them slightly. We used *this tutorial* for these blocks. Using *this* tutorial, and again borrowing from Rene’, Cindy went with a rainbow Dresden plate, with a black and white center. Unlike the Always Bee Learning Bee, we make from our stash, not sending out fabrics to each other. It is fun to see how many of us have the same fabrics. Her last request was matched by another bee she is participating in, so her design wall was flooded with circles. Debbie, of A Quilter’s Table, asked for a variation of the Hugs and Kisses Block, but done in soft hues and colors (aka “Low Volume”). Her stunning completed quilt, above, titled Common Affection, has gone on to be published and to win ribbons. I love that blue wall, as it really shows off the low volume fabric choices. Debbie’s next block (in 2014) was a pair of rolling diamond blocks, from *this tutorial.* Here’s her completed quilt, Vivid, adding a few more to round out the original collection.Rene’ of Rene Creates, and who inspires many of us with choosing blocks, asked us for a spiderweb block (tutorial link found above), but in scrappy fabrics. She made this cool quilt with the colors moving all around–a real scrappy treat. She took it with her when the family did Christmas photographs together; I love the setting. Her 2014 block was this cool-in-blues-and-greens Dresden block (tutorial listed above). She laid them all out on her bed to show us how they look together. Because of different printing sizes, they range from smaller to larger. She plans to place them scattered across a solid background for her quilt. Deborah, Simply Miss Luella, asked for house blocks, and here are a few. Mine is in the upper left; link to the blog post about it, with the pattern is *here.* You can find her on Instagram. I made this house for Linda, drawing from my collection of free house patterns that I had worked up for my in-town sewing group. The reason she asked for houses, is that her house burnt to the ground, and she lost everything shortly before Thanksgiving of the year she was with our group. We all made houses, our hearts going out to her as she worked hard to rebuild her life. (to be continued)
Lora suddenly moved away and two of us in our church group decided she needed a quilt to remember us. One day she was here, puttering around in her house. Then a fall, where she wasn’t discovered, which led a brief stay in a skilled nursing home. Her children rallied round her and took her to live near them, where Lora can be cared for. So I went looking for ideas for a signature quilt (see them at the bottom of this post), and decided on the basic signature quilt block since it needed to be put together quickly. My friend Lisa (who is our friend’s niece) and I decided on a 6″ block.
For every signature block, cut one bigger square in a light color (so the signatures will show) and two contrast squares. The dimensions are above. You can see that I double-stitched the diagonal seam, the lines 1/2″ apart. I then cut in between that line so I could have some HSTs in case we needed more places for signatures. In case you haven’t done one of these, the directions are:
1–Line up the contrast square with the light-colored square and sew a diagonal. I use The Angler tool from Pam Bono so I don’t have to draw lines. Stitch a batch of blocks, then go back in and stitch 1/2″ away.
2– Cut in between the two stitched lines, then press the contrast fabric away from the center white block. (Set aside the cut-off triangle. You’ll now have a growing stack of Half-Square Triangles (HSTs) for another project!)
3– Sew the other side (which is what you see above).
Done. I then cut a bunch of strips of freezer paper and ironed them on the back of the white strip, so to make it easier to sign. We’ll have them sign with a Micron Pigma Pen .08 as it leaves a nice line.
This same process is the one I follow when we make Signature Blocks for our bee, only we use the light colored fabric cut to a 3 1/2″ square and the contrasting “snowball” blocks are 2 1/2″. I don’t save the triangles on those.
I finished 74 squares this past couple of days. Isn’t the fabric beautiful? Lisa has a whole collection of batiks which she graciously contributed to this project. (Yeah. I contributed the Kona Snow.)
I signed mine so you can see what it looks like.
Here’s a signature quilt, pulled from the web (sorry, I don’t have the attribution), and they used their extra HSTs in the borders.
Lora, in her earlier years, made wedding cakes. The rich, the famous, the well-heeled, and well, all of the young girls in our church all sought out her cakes, because not only did they look elegant and beautiful, they tasted good. Rich and yummy, full of vanilla fragrance and just the right amount of sweetness to make you come back for seconds. Or thirds. For my daughter’s wedding, she also made a double-fudgey chocolate groom’s cake. It was only at the very end, a year ago, that she gave two of us her secret recipe for the frosting, and the secret ingredient that made my kitchen smell like her cake was baking right there. She also did flowers, interior decorating, and we loved it when she decorated the church hall at Christmastime for our church dinner, transforming it to a winter wonderland, making us all feel like we were the rich, the famous, and the well-heeled, instead a bunch of modest church-goers. Lora did everything up Big. Every year she would get the giant wreath out of the storage closet at our church, get a ladder and hang it up on the wall behind the speaker’s podium, arranging and re-arranging the red glass balls so they looked like someone just tossed them up there. That look takes real skill. Lora was part of the warp and weft of our church, and while some say she’ll be back, others say she won’t.
I think the reason why this affected us all so much is that within the space of a couple of weeks, Lora’s life spun around on a dime and her life in her home, which she had decorated in rich autumns and golds, was probably over. That quickly. Yes, she’d had some health problems. Yes, we knew she was more frail. But how our lives in our carefully curated homes end is not something any of us like to think about. So a fall can happen, or a sudden health reversal, and like a flash, we can be taken from our collections, our quilts, our memories: a sudden shearing off of a life. And what happened to Lora is right around the proverbial corner for all of us, and we know it. So perhaps by making her this quilt, we are saying we understand. To the best of our abilities at this younger times in our lives, our hearts ache for you.
With this quilt we are saying, Lora, you are not forgotten.
It had been nearly a month since I’d threaded the needle of my sewing machine and sent it to humming, and I felt like the sad seamstress in the photo, above, pining away. I wanted to get to the machine and have a good sewing session and have something to show for it. As one Instagrammer said, “My sewjo is missing.” But I wasn’t idle. First, I had a root canal, which ought to occupy anyone for a few days. And I also cleaned out the stash a bit, filling two large mall shopping bags with swatches of fabric to let my quilting group, the Good Heart Quilters, rummage through before donating the rest to our quilt guild. And here’s some photos to prove I have tidy cupboards, before I start messing it up again:
I like to organize mine by color and value (light-to-dark).
The lower half of the cabinet. Inside the pull-out box are browns and blacks–easier on the back this way. I keep the Kaffe Fassets in another place, and I also have a stack of cream/tans and a stack of “low volumes” (neutrals or pastels), and stack of predominantly white/light background fabrics.
Here’s a close-up of my Molly Qee collection (the characters with the crowns). They are hard to find in the States. I started my collection when my sister Christine and I happened into a collectibles shop in Lyon, France.
And on the other shelf are other doodads. My husband gives me the little Japanese dolls (ningyō). And those fabric-covered binders are all my journals, began when I was a young woman of twenty-one years old. Since the advent of email and cheap phone calls, I’ve stopped writing them, but I love having them around (they hold all my secrets!).
When I begin, I use my standby translucent paper, cutting, then pasting a strip on one side so it measures 10 1/2″ square. Then I draw lines on it to keep the selvages on straight. Do I cut all my selvages off when I buy fabric? No. I like having them on to keep track of the newer stuff in case I need more. Most of these selvages happen when I’m going through older fabrics that are in my stash (like those to be donated), of which I know I’ll never need the information again. Then I slice it off, leaving about one-inch to 1-1/2″ of the fabric on top of the selvage so I have Lots of Options.
I get started by cutting two 4 1/2″ blocks, then slice them on the diagonal to make up the four triangles you see in the center above. I pin them down, then start sewing on the selvages, placing the selvage edge 1/4″ in from the raw edge of the triangle, as shown. Sew closely along the edge. I like it best when the first selvage next to the color is the same, or nearly all the same, so I look for a longish piece. I think it just helps set the stage. Sometimes I piece selvages to get the printed symbols and the words closer together (above) and other times I just let it be. Then it’s random, random, random after that, some thinner strips, some thicker strips. Some people like to trim the fringey pieces, but I just leave it that way. Sometimes after I sew on a strip of selvage, I’ll go in and trim down the underneath piece just to keep it tidy.
Sometimes I get things off balance, like in the pink block way above (too much deep maroony-pink in the lower left) but then I figure I’m teaching myself how to let go a bit and just enjoy the process. And I do. I now have five colors of four 10″ (finished) blocks, so the block will be twenty inches square after all four parts are sewn together. This is going to be one big quilt, but I’m in no hurry.
To close with, here’s a quote from The Rise, by Sarah Lewis (the book I wrote about in the Creativity post):
“Perhaps we have grown impatient with the incomplete. We are part of a generation that, as the African proverb goes, wants to eat dinner in the morning, that longs for the immediate, fully prepared for consumption. Yet the strength to linger over the long-left unfinished reminds us that something inexhaustible in us is empowered by striving, that we sense unnaturalness in blunt ends of journeys, of lineage. And that power comes from where we least expect to find it.”
Go tackle something incomplete, and enjoy the power of taking another look at something that in our hands, has had a long journey.
In June of this year, I made this quilt for my sister. As you can see there are lots of peaks and valleys in this thing–lots of Y-seams going both ways (some people call them Y-seams and V-seams) but really, let’s keep it simple.
They are called Y-seams because the V-part of the letter Y usually has fabric with no seam, and the tail of the Y has a seam. I’ve marked the Y for you in red in the picture on the left. The picture on the right is the other type of Y-seam. I’ll show you both.
Let’s start with the first type of Y-seam, where the “tail” of the Y is facing toward you and the “V” of the Y is underneath. Place a pin at the 1/4-inch mark through the seam, and into a spot that would be the peak of the 1/4″ seamline, if you could draw it on and imagine it.
Most beginners want to pin that seam to death. Run screaming in the other direction. The success of the Y-seam depends on the “float” of the fabric.
I sometimes will place one pin on either side of the seam, just to anchor it as I get going, then another pin or two along the starting point. Then I take out the (above) pin. I want my fabric to float — don’t want to anchor that second half of the seam too much, as I need it to pivot.
Start sewing from the left edge, as the seam faces you, using a 1/4″ seam allowance. Fold the seam toward you, and as you approach the seam, slow down and use a bit smaller stitch. You are trying to anchor the stitching a bit.
When you get to the seamline, when you are on top of the thread marking that other seam, STOP. Make a tiny stitch on top of the one before to anchor, but DON’T GO OVER THE SEAM LINE.
Lift your needle out of the cloth. I pulled it away to show you what I mean, but you don’t need to do that. Just give yourself a little room to smooth the (green) seam allowances out of the way, and to find the place to insert your needle again.
Re-insert your needle just on the other side. Then line up the next two raw edges, smoothing the fabric away from the needle and your presser foot. Sounds more confusing than it is. Take a few tiny stitches to anchor, then change your stitch length back to normal.
Another shot of my needle placed just on the other side of the seam allowances (which I flipped to the back of my presser foot).
Depending on the amount of cloth in your Y-seam, and if you just feel better about it, go ahead now, and pin those raw edges together and stitch the rest of the seam.
When you are through sewing, clip the thread if it is restricting the ability of the seam allowance to open up and lay flat. If you left a bit of thread there (pulled it away from the needle as in my photo above) there should be no problem.
Press, keeping the tail of the Y-seam open.
From the front, it looks like this.
Now we’ll tackle the other kind of seam–where the seam of the Y’s tail is underneath, and you see the “V” part of the Y.
First locate the valley of the one-quarter-inch seamline and put a pin there.
Snip to within a couple of threads of the pin. Leaving the pin there insures that you won’t cut too far. If that happens, curse a little. You can sometime rescue the piece with a bit of fusible interfacing. Better to not cut too far. Half of the seam (1/8″) is all that’s needed.
Just as in the first type of seam, start stitching from the left side of the seam, towards that center pin.
When you get to the pin, STOP with your needle down in the fabric. Remove the pin, then pivot the fabric so that you can match raw edges. Move the first seam out away from you, as you align the new sides. It may feel a bit bulky under your foot, but smooth any excess fabric out away from you.
Here you can see that I’ve pivoted, repinned the new raw edges together and am starting down the other side of the seam.
This is what it looks like from the back. That deep fold is the V part of the Y-seam.
The front. Give it light press. Resist the urge to saturate it with your pressing goo and mash it flat with your iron.
Sometimes your seam gets a little jig-jaggy. As long as it’s not too bad, it will be fine. I did the same kind of stitching process on this one: shorten your stitches as you approach the point, then lengthen them out on the other side.
A better point. All of these work fine in the quilt, because you haven’t a) stitched it to death, and b) murdered it with your iron.
You can see one type of Y-seam where I joined the green roofs to the yellow houses. And you can see the other type where I joined the purple roofs to the sky.
Now you know all my dressmaker/quilter tricks: never be afraid of Y-seams again!
One more time, thanks to Leanne, of She Can Quilt, for hosting a series of guest tutorials for the Finish-A-Long Motivational Program. (Just kidding on the name of it, but it does help get those UFOs out of the closet and onto the bed. Or wall.)
Elizabeth’s Project Folio, front and filled with my next project, a bag made of Keiko Goke fabric
Elizabeth’s Project Folio, back
Elizabeth’s Project Folio, interior of blue folio
These are not only good for holding sewing projects they can also be used for:
• long car trips, holding each child’s stash of car junk
• teaching, corraling all the supplies for each lesson unit
• teaching, holding copied pages in place so they don’t go all over your bag
• errands–one for the Post Office, one holding grocery lists and coupons (you can make that one smaller by adjusting your dimensions), carrying swatches for decorating (one folio for each room you are working on)
• hand-sewing projects, such as cross-stitching a sampler
• knitting, as they are big enough to hold your needles, or needle-kit
• packing for a weekend away (one can hold lingerie, one your workout sweats, one can hold rolled-up T-shirts, etc.)
I’m sure you can think of others. Send me a note telling me what you used yours for!
Finally, to thank you for your readership, I’m giving away the white flowered project folio to one of my followers or Bloglovin’/Feedly readers. In your comment (at the end of this post), tell me what you’d use your portfolio for, and tell me how you follow me. I’ll close this giveaway on early Monday morning (8/26), and send it off.
They fit in my tote bag easily. Because one side is vinyl, you can see what’s in there quickly. Because the other side is fabric, they don’t stick together and slide out without difficulty.
Reminder: All of these measure roughly 11 x 17. You are more than welcome to make these for your own use, or sell them in a craft faire, but please please, don’t take any of my tutorial and copy it onto your blog. Practice Friendly Attribution, if you please, by linking back here, if you would. And please please don’t
steal borrow my content to make your own pattern, and call it your own.
Okay, the folios are in the home stretch. Let’s bring ’em home!
STEP FOUR: Zipper
A zipper is made of two narrow pieces of tape (think of it as stiff fabric ) joined by an interesting plastic coil. Usually these strips of fabric are hooked together at one end. Years of no Home Economic Education has scared most sewers when it comes to zippers, but when you think about it as two strips of fabric that have to be sewn into a seam, tempers and anxiety seem to lower. And when you get to sew the zipper in flat, like in this bag, things couldn’t be easier. Note: Some of this tutorial is for beginners, so if you are experienced in zipper-putting-in, just scroll on down.
You’ll be stitching this to the interfaced backing piece. Set aside the fabric lining for a later step.
(You see the vinyl front window laid on top of the backing in the above photo, but you’ll be sewing the zipper ONLY to the interfaced backing at this point.)
I usually buy zippers a little bigger than what I need, so if you have done the same, lay out your zipper along the 17″ longer edge of the project folio backing. Put one pin 1/2″ in from the raw edge, and one pin 1/2″ away from the raw edge, as shown up above on the left.
At the outer pin, you’ll be doing a bar tack, which is only a zig-zag stitch done in place. Set your sewing machine for a wide zig-zag (so it will clear the zipper teeth), your stitch length to zero, and sew the bar tack in place. Then about 1/2″ away from that towards the zipper stop, trim off the zipper tape. If you are using a plastic zipper, you can cut right through it. If you are using a metal zipper, snip the tape to the teeth, then kind of wiggle off the excess zipper tape.
One of the challenges of zipper-sewing, is 1) sewing straight and 2) sewing close enough to the teeth, and 3) getting around that zipper pull. Use a zipper foot (shown above) for the second, and the first? Practice makes perfect, so don’t worry about it. I’ll walk you through the third, below.
First, unzip the zipper for about 4 inches, then:
• lay the edge of the zipper tape even with the raw edges, as shown above,
• zipper FACE DOWN
• on the RIGHT SIDE of the interfaced back folio fabric
• along the 17″ side.
I align the outside long edge of the zipper with the raw edge in this application. Stitch to the top stop (the silver metal piece), re-align the long edge of the tape with the outside edge and stitch for another couple of inches.
Stop, and put the needle down into the fabric. Then grab the zipper pull tab, and wiggle it past the needle and close the zipper. Now you have unlimited easy access to sewing it down.
Remember that inner pin, set 1/2″ in from the raw edge? Sew to that spot. You want to leave the last 1/2″ unseen. I usually hit the stitch-in-place button on my sewing machine, but you can also backstitch to secure it. Now you’ll be attaching the lining to the back–that piece of fabric that is the same size as the back.
Lay the lining for the back on the zipper. The zipper is face down so the RIGHT SIDE of the fabric will be facing the WRONG SIDE of the zipper. I pin the raw edges of the fabrics together in a few spots so I’m not scrambling as I sew. You’ll be sewing from the OTHER side of things, along the already-stitched line, so FLIP over the assembly, as shown below.
You’ll begin at the bottom edge of the sewn-in-zipper. Remember to stay 1/2″ away from the raw edge as you begin. Stitch along the already-stitched line until you get about three inches from the end. Stop, and leave the needle in the fabric. Reach inside and and slide the zipper pull tab down past your needle, wiggling it as you go by the needle, then continue stitching until the edge.
Press both sides away from the zipper, then topstitch close to the edge, about 1/8″ away.
The other side is easier because you only have don’t have a lining to deal with. The zipper is now flat, intalled on the back. Working on a flat surface, line up the back with the front, aligning the side raw edges, as shown. Place a few pins anchoring the zipper tape to the front upper edge of the front vinyl window.
Slide the zipper pull tab down a couple of inches, and start stitching. When you get close to the zipper pull tab, keep the needle in your fabric, and ease the pull tab past your needle, closing the zipper. Continue stitching. Remember to STOP stitching 1/2″ in from the other edge.
I was racing through making these, so you get to see my hideous white bar tack on my zipper in white thread. No one is going to see this, so don’t worry. But do notice that I stopped 1/2″ away from the side raw edges.
Stitch alongside your first stitching line, about 1/8″ away. Notice how both stop at the right place, above. This second stitching will help anchor the zipper tape. You can stitch 1/4″ away, if you like.
STEP FIVE: Bottom Edge Closure
Remember how the back of this thing is longer than the front vinyl window part? You’ll now stitch them together.
First, treat the back two pieces as one, pinning them together at the lower edge.
Now, lifting aside the lining on that 2 1/2″ piece on the bottom of the vinyl window, pin the interfaced strip to the back of the folio, matching raw edges, along the 17″ dimension. Another view is below.
This is taken from the vinyl window side, and you can see it gleaming there in the photo. But again, you are sewing the interfaced strip along the lower vinyl window to the two pieces of the back, treating them as one piece. Stitch in a 1/4″ seam, then press to one side, towards the front.
Fold down the loose piece, tucking the raw edge up to the inside, and pin in place, hiding that seam you just sewed. You can sew this by hand, taking small stitches, or you can machine stitch this closed.
To do that, open up your nifty zipper all the way, and this will slide in right under your presser foot. Stitch close to the folded edge, sewing it down. Sorry it’s not such a great photo, but I’m confident you can figure it out. (Or just sew the edge down by hand.)
With both the bottom seam and the zipper seam completed, your portfolio is now a tube. Press that seam, keeping your iron away from the vinyl.
STEP SIX: Closing the Sides
Blurry Photo Apology!
Starting at the zipper edge, line up the sides, pinning occasionally, raw edges even. The bottom seam will loop around towards the front, so don’t try to force it. Stitch, then stitch again, 1/4″ inch away.
Trim. This is a better photo, and you can see how the seams don’t match up to where you think they will at the bottom. Just let them go where they want to.
You can simply zig-zag those side seams to finish them, or make a simple binding. Cut a piece of fabric about an inch and 1/2″ wide and a bit longer than your sides (should be about 16 x 1.5″ in a perfect world). Matching raw edges, sew the long side of the binding strip to the portfolio side seam. You can pin it, and then flip it over to stitch over the previous stitching, like you did with the zipper, if you want.
Then fold the long raw edge in and fold the binding over the raw seam allowances. Pin, as shown above, and below.
Stitch close to the folded edge, securing the binding in place.
Make sure you do not stitch the zipper into your seam. Lift it up and out of the way.
Trim the binding even with the side seams, then zig-zag (overcast it) to keep the ends from fraying. Again, lift the zipper up and out of the way.
Flip the folio inside out and wiggle that end of the zipper to a nice squared-off edge. Congratulate yourself! You are done!
Here’s what the other side looks like, interior view.
I made a conscious choice not to “box” the lower corners to create a dimensional folio. I want to be able to lay in flat things (books, patterns, fabric, etc) and then, when done, store them flat. In use, I haven’t missed the boxed corner at all. Everything flexes around what I want to put it (refer back to the original post and that overstuffed folio *here.*)
I thread a bit of ribbon through my zipper pulls to make them easier to grab. Trim the edges at an angle, and apply a little bit of Fray Chek to them, if you are worried about fraying.
Okay, now tell me how you’ll use your flowered Elizabeth’s Project Folio in your comment below, and how you follow me (email, Feedly, Bloglovin’).
Note: the Giveaway is closed now, but thanks for stopping by!
This is part two of the tutorial for the Project Folio. Click *here* for part one.
STEP TWO: Making the Front Vinyl Window
The side (1 1/2″ wide) strips go on first, on the shorter (15″) sides of the vinyl rectangle. Sandwich the vinyl between one interfaced piece of fabric and the other (un-interfaced, or plain) piece of fabric, lining up the raw edges, with right sides facing each other and towards the vinyl.
If your strips are longer than your vinyl, don’t freak out. Just center the vinyl and stitch along the long edge, using a 1/4″ seam. Carefully press the strips away from the vinyl, keeping your iron ONLY on the fabrics. Don’t touch the vinyl. You won’t be happy if you do. Topstitch on the fabric, about 1/8″ away from the vinyl. You may use contrasting or matching thread. I was whipping through these, so whatever I was sewing with was what I used for topstitching.
Trim the fabric strips even with the vinyl. Repeat on other shorter side.
To put the upper, top strip on, sew ONE piece of wider (2 1/2″) interfaced fabric to the vinyl, right sides together. It’s easier if you put the vinyl to the feed dogs to do this step, and kind of ease it along.
Fold the long edge over 1/2″ and press. You are working on the TOP edge of the vinyl front window at this point.
Turn to the back, lining up the folded edge with the seamed edge, peeking through the vinyl to make sure they line up. Topstitch this down, encasing the vinyl edge. After stitching, if the raw edges extend beyond the existing side pieces, trim.
Here are all three of my folios, showing trimmed edges and stitched-down tops.
To add the edging to the bottom of this window, use the sandwich technique you used with the shorter sides. Sandwich the vinyl in between one interfaced piece of fabric and one (un-interfaced, or plain) piece of fabric, right sides facing each other and towards the vinyl. Stitch in a 1/4″ seam, then press away from the vinyl. (Carefully.)
I’m trimming the excess fabric off the bottom strips in this photo.
STEP THREE: Trueing-Up the Back and Front
Confession: I had a scrap of vinyl that was slightly smaller than the desired size, but I used it anyway. But then that makes the front a different size than the back. I can fix this with my rotary cutter.
No, I didn’t obsess about cutting down the back, either. BUT! I only trued up the sides. The front is LONGER than the back, in the top-to-bottom measurement. DON’T TRIM THE TOP OR BOTTOM!!
Just lay the back down onto the vinyl window front, centering it as shown in the photo above, so you can trim the exact same amount from the sides.
I’m only trimming down the sides here. I kept the differences in the top-to-bottom and only cut the sides to be the same width.
Sides are trued up; notice longer length on vinyl window front, peeking from behind the back pieces.
Next post: Zippers!! and Finishing. And a Giveaway!!
All of these folios measure roughly 11 x 17. You are more than welcome to make these for your own use, or sell them in a craft faire, but please please, don’t take any of my tutorial and copy it onto your blog. Practice Friendly Attribution, if you please, by linking back here, if you would. And please please don’t steal my content to make your own pattern, and call it your own.