So FINALLY we get to the Sheep in Sweaters Tote!  When I started the previous post, I discovered I’d never blogged about the turquoise tote, which is the forerunner and partner of this one!  I will say now that I have finished this post (Part 2), it is LONG–but I wanted to be sure you got ALL the good info. If you’re here for just the totebag part, skim the embroidery bits! Thanks for reading!

Those of you who get my newsletter (sign up in right sidebar on this blog or the bottom of all the other website pages–if you prefer enter 12345 as your zip code when it asks) or follow me on social media (@sarahannsmithq and @sarahannsmithartist on FB and @sarahannsmithdesigns on IG), may remember that in 2022, older son Joshua, daughter-in-love Ashley and I spent two weeks in Scotland.  While there Ashley spotted a hilarious totebag with this illustration.  It was a soft, squishy tote, but inexpensive so I bought it and vowed I would convert it into a bag I LOVE!

I forgot to take a photo before I picked out the side seams, but you can tell it is pretty supple.  Great for packing flat into a suitcase, but collapses and not so comfy when full.  In a minor miracle, it has only taken about a year to re-make it.  In the last post, I mentioned that I really like bags that stand up on their own, and that I wanted at least one pocket large enough to hold a knitting pattern in a page protector and/or an iPad.   FYI:  links to supplies / info on products is at the VERY end of this post.

The overall size of this tote was determined by the size of the image in the photo above and the width of the fabric I purchased to go with the colors of the illustration.  At Fiddlehead Artisan Supply (online shop, but if you EVER get anywhere near Belfast, Maine, you MUST go–quilting and garment fabric, books, art supplies galore, craft supplies…. LOVE), I found a Rifle Paper Company fabric with just the right colors.  Since it was about 43-44″ wide, that determined the circumference of the bag (didn’t want to buy a whole extra 27 inches to get just a short side panel!).  As with the turquoise onions tote, I quilted the fabric first, using cream thread and going around the motifs in the print.

I DO recommend clearing the area of stray stuff, like paper….that you really didn’t intend to quilt into the bag.  Ahem. Another truth-in-teaching moment……

At least you can see the lovely quilting pattern?

This year, as a Janome Artisan, I am one of the very few who was unbelievably fortunate to receive the new, top-of-the-line Janome sewing, quilting and embroidery machine, the M17 Continental.  I was determined to overcome my trepidation and learn machine embroidery.  OMG–yes I am affiliated but I’d say it anyway–the fact that I could get this outstanding a result on literally my first attempt says a lot of very good things about the machine and software as my skill level was way low (but I’m learning!).  I purchased an 18-color-change Tula Pink design from the Moon Glow collection at OESD.  I adjusted the colors very slightly (my blues are darker) due to the bazillion threads I already have and to better blend with the fabric colors.

The Janome software now works with both Apple and pc-based platforms.  You can use the Janome software to digitize your own designs and such on the computer, buy designs etc., then air-drop / send by wifi to your tablet AND to the SEWING MACHINE!  No thumb drives!  No compatibility hassles!  Just boom–you input your WiFi info into the sewing machine, and it talks to your iPad, which you can carry around the house with you as the design stitches!   There are also several free Janome apps for sketching, monitoring, accessing manuals and other helpful info.  Anyway…. here’s the screen

From top to bottom you can see

• the recommended hoop size for the design
• the proper embroidery foot
• the dimensions of the design ( I think you can also change the settings so it displays in inches, not cm, but that may be a function of the design)
• that tension is adjusted to manual
• automatic cutting is on
• speed of stitching is set to 600 stitches per minute (you get tension issues sometimes if you go too fast depending on the design)
• minutes remaining until stitching is complete
• Below the image, you see how many stitches have been sewn out of the total of 38,665 stitches.   The + and – sign are helpful–if the thread breaks or bobbin thread runs out, you can back up a few stitches so there aren’t any gaps in stitching!
• To the right of that section, are the thread color (sequenced) and the thread color number if you are using a color supported in the software.  It is displaying the Janome thread colors but also supports major embroidery thread brands (but not alas the Superior Threads trilobal poly of which I have hundreds of colors, so I just winged it and chose colors, marking out which color corresponded)
• A progress bar for stitching is below that.
• In the very bottom you can see a square with arrows–that is to baste near the outside of the hoop to secure the stabilizer and fabric before stitching, and the brown box with a needle pointed at an X is to help you precisely position the design within the hoop.

Yes, as a total newbie to embroidery, I had to learn what all those things were, how to adjust this and that, but the fact that *I* could do it successfully on my first outing is a testament to good planning and design on Janome’s part.  Here are some photos from the embroidery process:

First, the design stitches a grid in a thread color to match the background fabric.  I am assuming this is to stabilize the fabric and prevent directional distortion from the way the stitches are programmed.   The first two layers were the dark gray, which is a pebble texture, then the darker blue in an extra long satin stitch that looks oh so lovely when all is done.

A lot of the stitching is now complete.  Having offset, duckbilled scissors (these were a gift from my dear friend Marie Z) helps a LOT when trimming threads close to the surface while still in the hoop).

The design is now completely stitched out and I am releasing the hoop from the carriage (on the left).

This is the back of the design… which frankly I think looks pretty good.  I used a soft shot-cotton plus one layer of sturdy stabilizer. I was a little concerned at some buckling despite hooping very snugly, but it pressed flat very nicely.  However, on a design as large as this one, about 4×5 inches, I might add a second layer of stabilizer next time.  I used the triple-stretch stitch to decorate the rest of the pocket background–this is a common utility stitch on many machines.

Next was assemble the parts.  In the photo above, you can see that I used a strip of print fabric cut 1″ wide, with edges folded to the center, to appliqué the Tula pocket (and also the front of the original totebag to the front of the bag).  The Tula Moon Garden Flower 3 (link at the end) embroidered pocket is on the side that faces my body…sized to hold my cell phone and safe from pickpockets by being on the inside.  I like the idea of a wipe-clean base for my bags–there is a lot of scuzzy, icky stuff out in the world.  AND by having something sturdy cover the bottom 1/2-1″ of the sides, it protects the corners from wearing out.  I used cork fabric from FabricFunhouse (a wholesaler, but they also sell retail–click on the link in the name).  The inside pockets were sewn on first (see photo below).  There is a single patch pocket behind the sheep-in-sweaters that is slightly narrower, so the stitching doesn’t show on the outside.  On the other part of the interior, I used leftover canvas from the original bag and the pretty selvage as a trim.  You can see my chalk-,asked guidelines.

It was on the printed pocket that I had my brainstorm!  I wanted the pocket to stand up and not flop, but if I had used the Soft And Stable all the way to the edges of the pocket it would have been way too thick and lumpy and hard to sew.  SO!  I cut the Soft and Stable about 2″ narrower than the full width of the pocket!  That meant I would have just the fabric on the edges, allowing me to sew the pocket in place, making a little pleat on either side.  Easier to sew and lets me slide my iPad inside without bulging. Mo’ bettah! (see second photo)

Here’s that side of the bag after it was completed:

Then I added the outside pockets.  The Tula flower pocket was sewn on so that the stitching created divisions in the interior pocket.  Here’s what it looked like when done.

Once the pockets were sewn it was time to add the cork on the outside/base and close up the bottom.

All these layers on the bottom made an extremely thick base, but a good sturdy machine like the HD9 from Janome (does only straight stitch, reasonably priced) or models like the 6600, M7 and so on, are all plenty strong enough.  See some caveats below though for safe sewing!

When sewing on cork, use a longer stitch. If you use a short stitch, it can perforate the fabric and it will tear like paper in a spiral notebook!  I think I used 3.5 length.  Notice that the right side of the Acufeed (Janome’s integrated dual-feed “walking” foot) is just OFF the cork.  I am using the inside edge of the foot and the precise positioning possible by moving the needle to one of the 19 positions to get perfect stitching alignment along the edge of the cork.

Once the cork is applied, I folded the bag so the vertical seam was in a corner. Boxing the corners is a bit of a heart-stopping effort for me.  I folded the corners to “box” it, making sure everything was squared up correctly.  That is a crazy thick amount of fabric on those corner triangles:   two of lining, two of the Soft and Stable, two of the linen-cotton light-canvas print, two of cork).

Here I am starting to sew from the outside edge to the center at the corner with the vertical seam (which extends to the center of the bottom of the bag).  I like to put something like a needle case or folded fabric about where my finger is pointing to get over the thick hump.  Clover Wonder Clips hold things way better than pins and don’t bend and distort.   I work from the outside to the center on each side of each triangle to avoid having to sew through the impossibly thick center seam.  Just sew up to the seam, HAND WALKING THE NEEDLE as you approach the center seam.  The machine is plenty strong enough to send the needle through, but needles are actually flexible and can BEND and “deflect” (get pushed sideways) just going through all those layers.  If that happens, then they hit the throat plate, break, yada yada–you don’t want that to happen!   So just hand walk those last stitches, then push reverse and hand walk going backwards.

PHEW… always exhale when this part is done.

A close up to show how snugly I have the foot up against the seam.  Gulp. Onward to finishing!

I trimmed away about 1/4″ of the carpet binding tape and put that raw edge next to the top of the bag on the inside and stitched it in place. I turned the tape to the outside and sewed it down using a cream colored thread which matched the zipper flaps.  But looked awful elsewhere.  Pitt Artist Pens (like Pigma but more colors–I get mine at Dick Blick online or at Fiddlehead) to the rescue!

Once again I used that carpet binding tape (think for rug hookers and such) as the straps.  I had the fun idea to use a strip of the print, just as I had used to appliqué the pockets in place, down the center of the handles, which otherwise were very brown and kinda overwhelmed the bag (no other color available at the time worked as well).  I LOVE the final look of them.  I stopped the strip up above the hardware to make it easier to sew.  In the photo above, I am using the other end of the handle to hold up the back of the presser foot and level it out, making it easier to sew to the very edges of the straps.  I used folded print fabric to make the tab that holds the hardware in place.  I could have sewn the straps directly to the bag, but if anything is going to wear out, it would be the handles.  This way I can replace the straps easily.  AND they hang down nice and flat by being attached with hardware instead of being sewn directly to the bag–that may not matter to you.  Do what works for you!

And Sorry this is SO LONG–want to get it all into ONE post.

You can see how I stitched the handle to the hardware, and the hardware to the cloth tab to the bag.  The cloth tab is partly hidden by the large outside pocket.  The top of the pocket gapped, so I used magnets again just at the center top of the bag.

For the closure I only had one yellow zipper and wanted to finish the bag in time for a trip, so instead of the double-zip I opted for this:

The ends, unlike the turquoise bag, are open.  I left the zipper tail LONG so that when full unzipped the flaps fold flat inside the bag and the tail hangs down out of the way (look at the pocket photos above).  I used a scrap of the cork to cover the end of the zipper.  Lesson:  it is good to have a stash of zippers on hand!  Time to order more from byAnnie— by the way Annie Unrein is one of my favorite people in the industry.  I love her patterns and the quality of the items she sells is top notch.

Final thoughts:  I still prefer the East-West orientation of the turquoise tote–the overall size and shape I like better.  But this tote size was dictated by the fabric and original tote, and it works also.  I LOVE the variation on the pockets on the sheep-in-sweaters totebag and will definitely use that un-padded edge trick again.  I prefer the two-zipper closing because …well… CATS chewing yarn is not fun.  Or healthy for them.  But for most folks the simple version I used on the sheep tote is just fine and dandy.

THANK YOU if you actually read all of this marathon of a post.  I hope you got some good ideas! If you design your own tote, do send me pictures!

SUPPLIES AND LINKS:

I used the following supplies–note, you can find hotlinks to some of these products on Amazon by going here:

• Fabric from Rifle Paper Company and purchased totebag
• Cork fabric for the base from Funhouse Fabrics
• byAnnie Soft and Stable for the “batting”–it is a foam with a peached (softly fuzzed) fabric that looks like nylon tricot but soft and grippy
• Polyester and cotton threads
• Carpet binding tape–I folded this in half, sewed at the edge and presto, nearly perfect handles that are soft, sturdy and comfortable.  Purchased at Fiddlehead Artisan Supply but not on their website alas.
• Bag rings/rectangles–I bought mine from byAnnie but Sallie Tomato also has a good selection
• Zippers from byAnnie –these zippers have wider tape and sturdy teeth that are perfect for bag-making
• Magnets from byAnnie
• OESD Tula Pink Moon Garden Flower 3
• Corrugated plastic:  looks like cardboard but made of plastic, available at art and/or craft stores.  Cut to size to make a base for the bag.  Cover in a tube of fabric or leave as is.  Fabric is nicer, but…..life happens and sometimes that tube happens later!  Makes a fairly sturdy base, inexpensive, easily found.  You could also use cardboard or mat board, but they are more likely to bend eventually.

Art should be like a holiday: something to give a man the opportunity to see things differently and to change his point of view. -Paul Klee, painter (18 Dec 1879-1940) 

So I’m part of Mt. Battie Modern Quilt Guild, one of two local groups. This chapter, part of the MQG (Modern Quilt Guild) is the smaller of the two and is almost completely comprised of members of Coastal Quilters (the other group) which is part of the statewide Pine Tree Quilt Guild (Maine is the Pine Tree state). For once, I decided to participate in a round robin sort of thing. This year, the group opted to have each person do a block for ONE member of the group, doing it every other month or so.

Let me tell you I was stumped. I started by pulling fabrics.

This past month was Becca’s turn. At first her prompt had me totally baffled: Paul Klee – Swiss/German Artist 1879-1940, use solids/read as solids, and she quoted several bits about his style and inspiration:

• Klee … greatly admired the art of children who seemed free to create free of models or previous examples. In his own work, Klee often strove to achieve a similar untutored simplicity, using the intense colors inspired by an early trip to North Africa and by line drawing in the unstudied manner of everyday craftsman.
• Klee suggests that color, shape and the faintest suggestion of a subject are enough to powerfully recreate in the eye of the viewer the actual feeling of repose the artist experienced in the original landscape.

Once I started pulling fabrics, though, I got excited. I googled Paul Klee…well first I googled Klimt and it didn’t seem to jive, then Becca corrected my mental jump from Klee to Klimt and things made more sense. I thought this quilt looked like good imagery for improv piecing:

I started with the pointy roofed houses and made two sets, then did some strips. I made my castle wall darker and shorter than his, but opted to have two towers reminiscent of the ones here. I used a few pops of the brighter yellow and ochre and the light green and the bright blue scattered hither and yon as in the original. I really liked the odd jigs at the top so left it up to Becca to leave them or trim.

At about 24 x 27 inches, it is a rather large “block,” but only took me a couple days to put together. There may be something to this improv stuff! Anyway, I had a ton of fun and am energized to dive into dyeing fabric and new work in January once the holidays are done. Hope you’ve enjoyed!

Now Registered participants ONLY can SEE it … CLEARLY!

If you were enrolled in the Virtual Quilt Festival’s second Machine Quilting Forum on Saturday, you know there were serious transmission issues with my presentation that made the video just yucky. TOTAL BUMMERS, but now TOTAL JOY! Thanks to the hard working folks in the Education Department (who should have been taking today off) you can SEE the video through December 12th. After that, like Cinderella’s pumpkin, it disappears. To access it, follow the following steps:

Registered participants ONLY can follow these instructions – 

—Go to My Schedule (be sure to select the Saturday, Dec 5 schedule)

—Click on the class – 320 Machine Quilting Forum II

—A new page will open with the description of the class, recording link, faculty links, and attachments

—Scroll down to the bottom of the page to find the PDF attachment and the link to “Sarah Ann’s Video” to watch the YouTube video

Here are some screen shots. They drew attention to the video by adding a text message in RED font in the class description.

Then this will open up on the next page. My friend Jenny K. Lyon prepared a PDF with links to her stuff, I prepared one for my stuff and the questions I received, and I was able to upload my presentation as an “Unlisted” video on my YouTube channel. The only way to access it is through your “My Schedule” portal. I promise, the video quality is VASTLY better!

Special thanks to Suzanne Hyland, head of the Education Department, who checked email on Sunday when she should have been taking a nap to recover from the frenetic pace she kept up for weeks to direct and pull off this debut event. MASSIVE THANKS to everyone at Quilts Inc. and, for me particularly, in the Education Department. I took three classes, attended three lectures, and would do it again–both present and attend–in a nano-second! Please let Quilts, Inc., the people who bring you International Quilt Festival Houston (and more) that you want MORE!

As I transition to holding online classes to supplement live and in person classes, I needed an overhead view of my work table. The traditional way to do this (outside of a fancy filming studio) is with a “C-stand” that is sturdy/heavy, stands on the floor next to your work table and has a boom arm that extends over the table. Then you hang the camera/iPad/iPhone from the boom arm. Cue COVID delays in shipping. I tried the one I could get in time for this week’s Perfect Bindings class at the first ever Mancuso online shows. The accessories didn’t fit the boom arm. Back they went!

Cue: Mama’s brainstorming, Mama and son’s (Joshua) creativity, and Joshua’s awesome tools (Band saw! drill! Random bits and bobs) and construction experience and help, and a stand using leftover stuff and $5 in supplies.

The wooden “light stands” were built based on information from Holly Knott’s wonderful “Shoot That Quilt” section on her website about taking great photos yourself of your quilts to enter in shows and magazines: two pieces of 2×4 lumber and four cheap shelf brackets for each stand.

Joshua, our older son, did some electrical work for Mom and Dad (us) a while back, and introduced us to something called Unistrut. Link here. It is a bit heavy, which is why I looked at C-stands to begin with, but that is also its virtue: it is totally rigid. Rigid helps keep your camera (in my case my iPad) stable.

SO if you are wondering what your teachers does to get ready for you, this is just one small but vital component. If you are going to TEACH online, I hope this helps you–please feel free to ask questions! MASSIVELY HUGE thanks to Lyric Kinard for her help on so many things on the technical side over the years, and to Lee Chappell who gave us newbie online teachers for the Mancuso show a studio tour by Zoom to share with us how she set things up. And THANK YOU to my wonderful, creative son who comes home and always wants to do some sort of “fix up” something for his mom and dad. Joshua, you ROCK!

Two years ago I made my DIL Ashley a linen jacket for job interviews. It was a revelation! Working on another body (not mine) was SO EASY–I could see what needed fitting, figure out how to make changes, assess fit and lines. So I vowed to get a dress form. KaCHING! What I wanted was over $400! Nope. So I cast about for something less expensive. A local quilty friend had a friend with one to sell…done for $75. And it still mostly adjusted and wasn’t musty!

For your listening pleasure (you’ll need to read to the end to understand why), open this in a separate browser window.

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However, I discovered that the dress form and I were built on different molds. I honestly didn’t look as good as the dress form even though the measurements were correct. For starters, most dress forms start with a B-cup. The only time I was that large, I was nursing my sons! So I had to shrink in the torso to get a proper full bust measurement and shape, then pad out everything else to correct ribs, high bust, etc

But even that didn’t do it. Luckily I had long planned to get proper measurements done. Fiddlehead Artisan Supply (if you ever get to Belfast Maine, you MUST MUST MUST go there; quilt fabric, garment fabric, paint, art supplies of all sorts, crafting supplies….in other words, heaven!) has a classroom. Students can pay a VERY modest fee per hour for the teacher to come and help you. When I went, there was one student sewing and me getting measured. I figured I could try and explain to hubby what to do (but do I really want him to know my actual size? NO!) OR I could get someone who sews and would do it properly. Easy choice. The following is a chart I made to use at that session.

To prepare, I looked at patterns, sewing books and knitting books to figure out every conceivable measurement I might need, ever. And I put them into a chart. I have created this a PDF for you to use!

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I learned SO MUCH about the shape of my body in this process (and I’m fine with lumps…life is better with ice cream, although 10 pounds fewer lumps would be nice too….the 20 I need to lose ain’t gonna happen). And I learned about the pattern industry, the “blocks” (body shape bases they use) and fitting ease. I can now use my stand-by—measure a garment I have that fits the way I want and compare with what I measure on the pattern–along with the dress form and get a fit that I want!

In the coming weeks I’ll have several garment making posts. I have made a top, a skirt, a tunic, leggings, have another pair of leggings on the cutting table, and a pinafore/jumper on the design wall. Ailith (traditional Scottish name meaning seasoned warrior–my paternal grandmother was Irish but born in Glasgow, I am named after her, so I liked Ailith) has been a great help already. Can’t wait to share. Oh…and why red dress?