presents stylish bags to make · make a fashionable spring-inspired tote to carry all of your...

2

3 4

presents...

stylishbags to make

“budget Friendly: $8 is enough” Ellen March ............................................ PAGE 3

2 “travel tote” Linda Griepentrog .................................PAGE 6

3 “international inspirations: indian Reflections” Rebecca Kemp Brent .............................. PAGE 9

4 “blossoming bag” Shannon Dennis ................................... PAGE 13

TABLE OF CONTENTS

Bags are a must-have accessory and are super easy to stitch, and we’ve

included four bag projects in this e-book that will satisfy and style or need.

If you’re looking to stitch a fashionable tote to add to the mix, check out

“Blossoming Bag” on page 13 to make a unique bag embellished with a pretty

3-D design, “International Inspirations: Indian Reflections” on page 9 to make a

lovely Shisha bag or “Budget Friendly: $8 is enough” on page 3 to make a cute

tote for under $8 (download the free pattern for this bag at cmemag.com/

articles/Budget_Friendly). Or if you’re in need of new travel luggage, look to

“Travel Tote” on page 6 for tips and ideas for making your own embroidered

luggage.

Have fun and express your creativity when stitching these fun, stylish bags!

Thanks for reading!

Colleen ExlineAssociate Editor, CME

stylishbags to make

Make a new purse for $8 or less. Downloadthe pattern for free at cmemag.com anduse a button from your stash.

cmemag.com3 CREATIVE MACHINE EMBROIDERY

pennywise project

Budget Friendly

$8 IS ENOUGHby Ellen March

CMEP-090600-Budget-028-030:Layout 1 7/14/11 11:34 AM Page 28

Preparation• Prewash, dry and press the fabric.

• Download the purse pattern at cmemag.com;cut out the pattern. Cut two purse bodies eachfrom the fabric and interfacing. Cut two pursefronts each from the fabric and interfacing. Cutone pocket from the fabric. Cut two 41⁄2" x 40"strips for the purse strap.

• Fuse the interfacing to the corresponding fabricpieces, following the manufacturer’s instructions.

• Choose an existing design from your embroiderymachine or design library. Or use embroiderysoftware to create a chain of interlocking circles.Print out the chosen design.

Embroidery• Use the printed design template to auditionthe embroidery design placement on one pursebody piece. The featured circle design wasstitched three times as a border along theleft-side edge.

• Mark the design center on the fabric right sideusing a removable marking pen or tape.

• Hoop the stabilizer only; spray with temporaryadhesive. Position the fabric over the stabilizer,centering the design center mark in the hoop.Press lightly to adhere the fabric to the stabilizer.

• Embroider the design, clipping jump threadsafter each thread change (if applicable).

• Remove the fabric from the hoop and carefullyremove the stabilizer from the fabric.

• Press the fabric from the wrong side.

cmemag.com CREATIVE MACHINE EMBROIDERY 4

� purse pattern.............................................FREE�1 yard of solid fabric................................$2.49�1 yard of 22"-wide lightweight fusible

interfacing..................................................$1.19� button..........................................................FREE� embroidery design....................................FREE� embroidery & sewing thread.................$3.19� cut-away stabilizer......................................$.84� temporary spray adhesive .......................$.19

total: $7.90

SHOPPING LIST

$aveChoose an embroidery design that you alreadyhave, or create a design

using embroidery software.



ConstructionUse 1⁄4" seam allowances unless otherwise noted.

• Fold the pocket in half widthwise with wrong sidesfacing; press. Stitch the three raw edges, leaving a2" opening along the lower edge for turning. Turnthe pocket right side out; press, folding in theopening edges.

• Mark the pocket placement lines on the non-embroidered purse body piece. Position the pocketalong the fabric right side with the fold as the pocket upper edge. Align the pocket edges with thepocket placement marks; pin. Stitch the pocket inplace, leaving the pocket upper edge free (A).

• Stitch the purse fronts together with right sides facing, leaving a 4" opening along the lower edge for turning. Turn the purse front right side out; press, turning in the opening edges.

• Stitch the purse bodies together with right sides facing, leaving a 4" opening along the lower edge forturning. Turn the purse body right side out; press,turning in the opening edges. Fold the flap along thefoldline and mark the buttonhole placement. Stitchthe buttonhole through all layers; cut open the button hole using a seam ripper.

• Piece together the strips to create a strap approxi-mately 79" long. Fold one end 1⁄2" toward the wrongside; press. Fold the strap in half lengthwise withright sides facing; press. Stitch the long edge. Turnthe strap right side out; press. Push the raw end in-side the folded end, making sure the strap isn’ttwisted. Stitch along the fold (B).

• Align the purse-body lower edge and the strap longedge with right sides facing and the strap seamalong the lower-edge center. Pin the strap to thepurse body, beginning and ending at the flap foldlinemark; stitch using 1⁄8" seam (C). Align the purse-frontlower edge and the opposite strap edge with rightsides facing and the strap seam along the lower-edgecenter. Pin the strap to the purse front; stitch using a 1⁄8" seam. Turn the purse right side out.

• Fold the flap along the foldline and mark the buttonplacement. Hand sew the button in place.

DESIGNCircles: Intertwining circles created using Creative DRAWings software; (800) 356-9584, creative-drawings.com

SOURCESCoats and Clark provided the bobbin thread: (800) 648-1479, coatsandclark.com.Hilos Iris provided the embroidery thread: hilosiris.com.Janome supplied the Memory Craft 11000 used to make this project: (800) 631-0183,

A Stitch pocket to purse body. B Stitch strap ends. C Stitch strap to purse body.

janome.com.


If you’re planning a trip this summer, make your ownembroidered luggage that will stand out in the crowd.


Fabric OptionsAlmost any sturdy fabric may be used to makeluggage, but some perform better than others.Faux suede, leather, heavy wools, denim, duck,twills, tapestries and home-dec cottons are allgood choices, as they tend to hold their shapeand wear well.

Avoid lightweight and fragile fabrics, such assateens and jacquard patterns, as thread tendsto snag in these types.

Darker colored fabric will show less dirt thanlighter colored fabric. Print fabric will concealdirt better than solid fabric.

Inside StoryMost fabric types aren’t sturdy enough for totingmuch weight. Add stiff fusible or sew-in craft-wt.interfacing to add rigidity to the structure.

Sturdy sportweight or metal zippers provide strongclosures for bags and pockets and eliminate contentsfalling into elusive overhead bins. Choose two-wayzippers to easily access luggage contents. Or usezipper-by-the-yard for large luggage pieces wherea single standard zipper may not be long enough.

A sturdy bottom is important for luggage to supportthe weight and bulk of its contents. Add stability withmultiple layers of craft interfacing, plastic needle-point canvas, acrylic or pressed board. Cut the chosencomponent to size and cover it with fabric for hiddenstrength and so it’s easily removed for laundering.

Use lining to offer another layer of support to theouter luggage fabric and to hide the bag's infra-structure. Select a lining that’s tightly woven andcoordinates with the outer fabric. If the bag is deep,light colored lining will help to showcase the contents.

Outside OfferingsA huge assortment of buckles, loops, clips, metalfindings, zipper pulls and ready-made handles areavailable for luggage. Check online or at yourfavorite fabric store for options that will work withthe chosen pattern.

Use piping to protect the bag edges. Look for tightlytwisted piping in the home-décor section of the fabricstore, as it's sturdier than the loosely twisted vari-eties found in the fashion section. Since luggagetends to be exposed to the elements, protective coat-ings, such as 3M Scotchgard, DCS19 or Nikwax, helpshield fabric and embroidery from stains and water.

by Linda Griepentrog

Travel ToteCMEP-090800-TravelTote-034-36:Layout 1 7/14/11 12:46 PM

cmemag.com CREATIVE MACHINE EMBROIDERY 7cmemag.com CREATIVE MACHINE EMBROIDERY 7

Amy ButlerWeekend Tote

CMEP-090800-TravelTote-034-36:Layout 1 7/14/11 12:46 PM


Handle HooplaMake the fabric handles on yourluggage sturdy by applying stiffinterfacing or woven webbing to thefabric. Or omit the fabric and simplyuse webbing for the handles. Nylon,polyester and polypropylene webbingare available in a wide variety of col-ors and sizes, including some printsand stripes.

The featured flower bag has ribbonhandles fused to the faux suede fab-ric. Paper-back fusible adds stabilitywhile firmly securing the layers.

Depending on the size and shapeof the tote, add D-rings to the bagsides or ends and attach a clip-onshoulder strap.

EmbroideryLook for a bag pattern with a sepa-rate pocket piece to showcasedesigns, or add embellishment di-rectly to the tote body, depending onthe shape and size of the piece.

Embroider fabric pieces before con-structing the bag. Polyester or cottonthread is a good choice for durability.Rayon thread works well if you planto use the bag lightly.

Mark the design placement lineson the appropriate cut fabric piece(s)using a removable marker. Hoop anadhesive or water-soluble stabilizer,

as both work well with heavyweightfabric. Fusible cut-away stabilizermay be an option, depending on thefabric's tolerance for heat.

Position the fabric over the stabilizer,matching the design placement linesto the hoopmarkings. Depending onthe fabric weight, a large needle maybe needed for quality stitching.Test-stitch the motif to determine if anytension or needle adjustments areneeded for the chosen fabric.

If the fabric has a deep pile or tex-tured surface, such as corduroy orchenille, use a topper to keep the em-broidery stitches from sinking into thefabric surface. Use a water-solublestabilizer or a permanent vinyl topper.

Sewing HintsNo matter what fabric you choose,it's bound to get thick with multi-ple layers of fabric, stiffeners,fasteners and piping conceivablyin one seam. Follow these hintsfor successful stitching:

• Use a large needle to penetrate themultiple layers without shreddingthe thread or breaking the needle.

• Use binder clips to hold layers in place,as pins may bend or break goingthroughmultiple thick fabric layers.

• Adjust the presser foot pressure toaccommodate the added thickness,

if applicable.This function may beautomatic on some machines ifthe fabric weight can be inputted.

• Slow the machine's speed, ifpossible, and elongate the stitchlength slightly.

• Trim and grade seam allowancesto reduce bulk. Topstitch for addedstrength.

• Use a zipper or cording foot tostitch close to the piping for aprofessional look.

• To protect the embroidery, cuta clear vinyl overlay to fit theembroidered pattern section andattach it before construction.

DESIGNSBlack bag: A Bit of Stitch, Traveling Girls, Dallas;abitofstitch.com or secretsof.comLuggage tags: Designs by Hope Yoder, Tag-A-LongCollection, Dragon Fly Charm & Trisha Tag;(941) 378-5019, hopeyoder.com; Embroidery Library,Cruise Ship Luggage Tage & Not Your Bag luggage Tag;emblibrary.comPink bag: Oklahoma Embroidery Supply & Design (OESD),Floral B, GNLT86405 & Bees Corner, FM490 (both designsmodified); embroideryonline.com

SOURCESAmy Butler provided the Weekender Tote pattern: (740)587-2841, amybutlerdesign.com.Fabric protectants provided by Scotchgard, 3M.com;Nikwax, nikwax.com; DCS19, dcs19.com.Jo-Lydia's Attic provided The Quilted Carryalls pattern,(503) 892-8265, joyofsewing.com.Sulky of America provided the Fuse 'n Stitch stabilizer,KK2000 Temporary Spray Adhesive and rayon embroiderythread: (800) 874-4115, sulky.com.The Warm Company provided the Steam-A-Seam 2paper-back fusible web, (425) 248-2424,warmcompany.com.

TipEmbroider a tag for yourbag! Add your name institches, or create a

window to insert a cardwith your contact information.

CMEP-090800-TravelTote-034-36:Layout 1 7/14/11 12:46 PM

IndiaNear the middle of the 20th century, India was anenormous conglomeration of hereditary kingdomsand British outposts. When the Imperial governmentwithdrew after World War II, the territories were offi-cially split into primarily Hindu India and primarilyMuslim Pakistan. A bloody upheaval accompaniedPartition, as those displaced by the religious divisionsought to settle in locales where they would be safeand welcome. This migration, like those before it,mixed and mingled the aesthetic sensibilities ofresidents across the subcontinent.

The heritage of this region, from Afghanistan toBangladesh, extends as far back as the dawn of civiliza-tion, and archaeological expeditions have uncovered awealth of artifacts from early societies. Place namesand ancient structures memorialize waves of culturesthat overflowed the territory: Alexander the Great,Mughal emperors from Persia, and eventuallyEuropean traders from England, the Netherlands andPortugal. Each conquering army found itself assimilat-ing, rather than eradicating, characteristics of theestablished culture, resulting in one of the richest andmost complex aesthetic traditions in the world.

9 Creative Machine Embroidery

Part 4 of 6

international inspirations

IndianReflections

Colorful, crowded and celebrated, India

provides a feast for all the senses. Explore

a shining example of South Asian design

in the fourth installment of this series.

By Rebecca Kemp Brent

Creative Machine Embroidery 10

Shisha WorkOne quintessentially Indian decorativeart is the application of tiny mirrors thatcapture and reflect light. This technique,called shisha work (from the Persianword for glass), probably originated in13th century Persia, but is now commonlyassociated with the Indian subcontinent.Mirrors are applied not only to textileitems, but to architectural details anddecorative items as well. The ShishMahal, in what is now Lahore, Pakistan,features walls and a ceiling completelycovered in bits of mirrored glass. A sin-gle candle at the center of the room isreflected again and again to create anawe-inspiring display of thousands ofsparkling lights.

Unlike sequins and beads, shishamirrors don’t have holes through whichthread can pass to attach the glass tofabric backings. In traditional shishaembroidery, a framework of stitches isconstructed by hand to overlap the mirroredges, holding the shiny glass in placewithin the design.

In the beginning, shisha work probablyincorporated mica flakes rather than glassmirrors. Shisha mirrors are available todaythrough craft and sewing retailers and,unlike their antecedents, are consistent inshape and size.

Alternatives to glass mirrors for re-creating sparkly folk embroidery designsare shiny Textiva (Angelina film) andMylar, a polyester film that’s washable andcan be stitched through, as well as light-weight craft metal sheets. These materialscan be used in a wide variety of designs asappliqués, or as a topper that lies betweenthe embroidery stitches and fabric. Otheroptions for adding glassy sparkles toembroidery are crystals and rhinestonesapplied with heat or washable adhesives.

Colors & ThreadsDyestuffs, even when rare and highly prizedin Europe, have always been available in

India. A wide range of colorsavailable in both fabrics andthreads contributed to thefamiliar Indian palette of manycolors used in cheerful juxta-position, where miscellaneouscolors are piled one on topof another.

Both cotton threads andsumptuous silks have a placein traditional Indian textiles.Silk fabrics often feature jewel-toned backgrounds withdesigns worked in a singlecontrasting color or a multi-colored thread palette. Themost expensive fabrics areembellished with the mostdetailed and subtle patterns.Cotton threads are associatedwith coarser fabrics and a lessrefined finish, but are oftenused to work especiallycharming, rustic designs.

Metal threads are frequently used inIndian textiles. While expensive threads ofpure gold or silver were and are used inweaving and adorning the finest and mostexpensive fabrics, metallic embroiderythreads can be used to add sparkle todesigns on a smaller budget.

Choosing DesignsSpecially digitized designs are essential forre-creating shisha work using real mirrorsin machine embroidery. They incorporateopenings created in machine-embroideredcutwork, where the top fabric is cut awaywithin the mirror openings and the edgesfinished with satin stitches. The mirror isthen sandwiched between the embroi-dered fabric and a backing. Stitchingthrough the backing and embroideredmaterial traps the mirror securely behindthe stitched opening.

Another possibility for machine-embroidered mirror work is to create smalldoughnut-shaped pieces of freestanding

stitchery as frames for the mirrors. In thistechnique, the base fabric is left whole,with the mirrors sandwiched between theembroidered cloth and the stitched dough-nuts. The doughnut edges are then sewn orglued to the embroidered cloth, securingthe shisha glass.

With either technique, ensure that thesecuring stitches don’t strike the mirror.Remove the presser foot or use a smallembroidery or darning foot, lower the feeddogs, and circle the mirror with free-motionstitches. If machine stitching so close to themirrors is disconcerting, stitch around themby hand instead. In either case, use thesame thread as the embroidered stitchesfor nearly invisible attachment.

Another option is to secure the backingfabric or stitched frame with glue. Use per-manent, washable glue, or choose fusibleinterfacing or fabric backed with fusibleweb. Secure the mirror between the back-ing and embroidery, or between theembroidered fabric and frame, and allowthe glue to dry or use heat to fuse the lay-ers. Glass mirrors are unaffected by heat.

Shisha BagThe featured Indian-inspired bag is sewn from amediumweight twill fabric for durability. To uselighter weight fabrics, fuse interfacing to the fab-ric wrong side before cutting the pieces to givethe fabric body. The embroidery designs arestitched with cotton threads in traditional colors,and sparkle is added with touches of silverembroidery thread.

While the bag design is functional and mod-ern, its silhouette is reminiscent of saddlebagsused by camel drivers on the Grand Trunk Road.The flap and the front pocket provide the canvasfor embroidered embellishment, with decorativemachine stitches used to augment the embroi-dered border and to decorate the box pleatbetween the embroidered pocket halves.

Supplies� Bag pattern, such as the Gadabout pattern (See“Sources” on page 19.)

� Black body and batik lining fabrics as indicatedon the pattern

� Zippers, magnetic closure, interfacing andnotions as indicated on the pattern

� Embroidery designs: approximately 3" x 91 ⁄2"for flap and 5" x 41 ⁄2" for pockets

� Embroidery, bobbin and sewing threads

� Adhesive wash-away stabilizer

� Tear-away stabilizer (optional)Gadabout Pattern,Studio Kat Designs

11 Creative Machine Embroidery

Creative Machine Embroidery 12

Construction� Cut out the pattern pieces as directedon the pattern guidesheet. Rather thancutting the flap and front pocketpieces, trace their outlines with aremovable marking tool on the fabricright side. Leave a fabric marginaround each piece to allow for anyshrinkage during embroidery.

� Print full-size templates of the embroi-dery designs. Audition them against thepattern pieces to determine fit andplacement.

� On the featured flap, the red stars andlight blue borders form the embroi-dery design. The motif was created fora continuous border application, withan additional yellow square at oneend. To make the symmetric designon the featured flap, the additionalsquare wasn’t embroidered (A).

� To fit the shisha motif on each frontpocket, two mirrors were eliminatedfrom the full design, one on each sideof the center star (B).

� Use the design templates to mark center-lines horizontally and vertically on theflap and pockets.

� Hoop adhesive water-soluble stabilizerand attach the fabric to the stabilizer.

Use additional tear-away stabilizer underthe hoop for a smooth stitchout.Embroider a motif at the indicatedplacement on each piece.

� Cut out the mirror circles and removethe stabilizer. Press the pieces carefullyfrom the wrong side. Place the patternpieces over the embroidered fabric,making sure the embroidered motif ispositioned correctly. Cut out the pattern pieces.

� Prepare the mirrors by gluing each tothe center of a 11 ⁄2" fabric square cutfrom lining remnants. Or fuse each mir-ror in the center of a 11 ⁄2" square offusible interfacing.

� Position a mirror under each circle.Attach the mirror to the embroideryaround the embroidered circle, usinghand or machine stitches and matchingthread. Or fuse the interfacing that holdsthe mirror to the embroidery wrongside. When fusing, follow the manufac-turer's guidelines for a secure bond. Usethe iron tip to press the interfacing tothe fabric wrong side all the way to themirror edges (C).

� Sew rows of decorative machine stitchesabove and below the flap design to fillthe entire flap. In the featured sample,the decorative stitches were added in

the hoop using the machine's built-incapabilities (D).

� Create an overall pattern of decorativestitches on a fabric scrap, using cottonfabric and metallic threads. Use this pat-terned fabric to cut out the pieces thatform the box pleat between the pocketpieces (E).

� Complete the bag as directed by thepattern. �

Rebecca Kemp Brent is a freelance author, educator and

designer who enjoys travel and exploring the rich visual

heritage of societies around the globe. She is the author of

Fill in the Blanks with Machine Embroidery and co-author

of Machine Embroidery Wild & Wacky.

Designs

Bag designs: Shisha Mirrors Collection, Leaenda's SewBiz, www.leaendasewbiz.com.au

Additional stitches created on the Brother Innovis 4000D,www.brother-usa.com, (877) 276-8437

Sources

Coats & Clark provided the metallic thread:www.coatsandclark.com, (800) 648-1479.

DMC provided the cotton threads: www.dmc-usa.com,(973) 589-0606.

Leaenda's Sew Biz provided the Shisha mirrors:www.leaendasewbiz.com.au.

Studio Kat Designs provided The Gadabout pattern andmagnetic closure: www.studiokatdesigns.com,(866) 409-8634.

A Flap embroidery design with deleted circled portion. B Shisha on each side deletedon pocket embroidery.

C Attach mirrors with fusible interfacing.

D Add decorative stitches to augment flap motif. E Create contrasting fabric using decorative stitches.

Cut• Cut out each pattern piece from the chosen fab-

rics. For the featured tote, the tote front, back and lower panels were cut from pastel green home- décor fabric. The tote upper panel, straps and piping were cut from cream-colored home-décor fabric.

Embroider• Open a new page in the embroidery software.

Resize the chosen 3-D flower design to 110mm. Change the design outline and petal colors, if desired. For the featured design, the outline is purple and the petals are cream colored (A).

• Once satisfied with the color arrangement, print a template of the design. Find the center of the tote front panel by folding it in half lengthwise and widthwise with right sides together; mark the fold intersection using a removable fabric marker. Po-sition the design template over the panel center, matching the centers.

• Hoop the front panel with a piece of water-soluble stabilizer. Embroider the design. Once the embroi-dery is complete, wash away the stabilizer; let dry.


Make a fashionable spring-inspired tote to carry all of your belongings. Use 3-D embroidery designs

to create a bag that’s sure to turn heads.

o tote pattern (See “Source.”) o fabric & notions according to pattern envelopeo embroidery softwareo thread: all-purpose & embroideryo water-soluble stabilizero removable fabric markero 3-D flower embroidery design

SHOPPING LIST

A Change outline and petal colors.

by Shannon DennisBagBlossoming

cmemag.com CREATIVE MACHINE EMBROIDERY 14

Amy Butler,

Sophia Carry-All

Reverse the out-line and petal color scheme of several

flowers to add contrast and

interest.

- Effects


• Return to the open page in the em-broidery software. Resize the original flower to 30mm, 50mm, 60mm, 69mm and 81mm (B). Change the petal and outline colors, if desired.

• Hoop two pieces of water-soluble stabilizer. Embroider each flower onto the stabilizer. Once the embroi-dery is complete, remove the hoop from the machine and the stabilizer from the hoop. Cut out each flower. Rinse the flowers in lukewarm water

to remove the stabilizer; let dry.

Construct• Place the 81mm flower right side up

on a flat work surface. Position the 69mm flower right side up over the 81mm flower, aligning the flower centers and positioning the smaller flower petals between the larger

flower petals (C). Repeat to layer the remaining flowers in descending order, positioning the smaller petals between the larger petals. Pin the flower sandwich.

• Thread the sewing machine with co-ordinating all-purpose thread. Position the flower sandwich over the tote front panel, aligning the flower centers. Select a tacking stitch on the sewing machine. Stitch through the flower centers to se-cure.

• Construct the bag following the pat-tern instructions.

Design3-D Flower: Husqvarna Viking, #84, Elegant Embellishments, design #3; (800) 446-2333, husqvarnaviking.com

sourceAmy Butler provided the Sophia Carry-All pattern: (740) 587-2841, amybutlerdesign.com.

B HTC.

C Stack small flower over large flower.

B Resize folwers.

3-D designs add dimension and interest to projects. give traditional embroidery designs a 3-D effect using a few simple tricks.

• Use different thread colors to create shadows. Choose several thread shades that are darker than the chosen thread color. Graduate the col-ors within the embroidery design to create the effect of a natural shadow. Use four to five colors of dark-colored thread or two to three colors of light-colored thread for optimal results.

• Use a combination of thread weights. Heavy-weight thread makes designs appear denser and creates shadows. Lightweight thread makes designs appear delicate. Blend heavy- and lightweight thread within the design to create striking dimension.

• Use textured threads to create dimension. Use heavily textured thread, such as wool, when

embroidering designs, such as houses, buildings and landmarks. Use lightly textured thread, such as silk, when embroidering delicate designs, such as flowers, hearts and clouds.

Every issue offers:

• One-of-a-kind projects

• Expert advice

• Quick tips & techniques

• Step-by-step instructions

• Hot trends & products

IDEAS, INSPIRATIONS, & TECHNIQUES

www.CMEMag.com

Construct a CuteCoupon Clutch

OVER $1000

IN PRIZES TO WIN!

SEE PAGE 12

25FAB DESIGNSSHOWCASED INSIDEEMBROIDERY

TYPES EXPLAINED208GREAT MOTHER’S DAY

GIFT IDEAS

Stay Organized & Save Money!

Position Your Designs Accurately with Easy Placement Techniques

Add Floral Flourishesto a Simple

Dress

Use Small Hoops

for Large Designs

we show you how!

Change your

Décor in a Snap

with a Pillow

for all Seasons

3/7/11 9:05:13 AM

www.CMEMag.com

Positition on on n YouYouYouYouYouurrrrr r DDeDesDesDesDesDesDesesignigniiignignignigns As As As Accuccurately with Easy Placement Techni u

we show you how!

BloomingEmbroidery

Update a Favorite

Top with

20CUT-AWAYSTABILIZER TIPS

FUN SUMMER

PROJECTS10

FREEIN-THE-HOOP

DESIGN

35 Designs that

do all the work!+A Cool way

to Crochet

New Cutwork

Attachments

Explained+ FREE

DesignSweet Treats for

Birthday Fun

•cupcake coasters

•ice cream sign

EXPERT

POINTERS

for Pucker

Prevention

1

5/3/11 4:43 PM

AttaExE plainedExEExpxplplalaiainineneded

+++++++++++++++++++++FREFR E +++++++++ D igDesigDesigDesigDesigDesigD nnnnDD D

nnnnSweSw et Trea

iBiBiBiBiBiBiBiBi trtrtrtrtrtrtrthdhdhdhdhdhh ayay FunFunFun++++

•cupc keake cococo tststastastastas rserserserserserse B tr ddh yayyyyy

•ice cream signpFREE SNOWFLAKEDESIGNS 10MUST-HAVE EMBROIDERY ESSENTIALSVALENTINE’S DAY PROJECTS TO LOVEVVP5

ENTER TO WIN FABULOUS PRIZES IN OUR 1ST EVER SCAVENGER HUNT CONTEST!

Freestanding LaceStitch FabulousEvery TimeStabilizing Secrets for CHIFFON STITCHOUTS

Personalize a Pretty Purse free designs online

Make Designs POP with Trapunto Techniques

ElegantAccessoryMade Easy+

*See the before & after inside**S hh b f & f i id *

Amazing Home Décor Transformation

CELEBRATING

10

YEARS

CMEP-110200-CN1-001.indd CC1

Subscribe online for special web savings and a FREE gift!

SUBSCRIBE TODAY! www.CMEmag.com/Subscribe

Discover New Ideas & Inspiration For

Embroidery Success!

presents stylish bags to make · make a fashionable spring-inspired tote to carry all of your...

Documents