Where Have I Been? Or, What to Do When The Urge Vanishes

Seven months without blogging. What happened? A lot. Where have I been? Here. What have I been doing? Knitting like a fiend. Recently, sewing like a fiend. Let me explain.

In May my sewing mojo took a hike, went on vacation, was missing in action. Gone. A few feeble attempts at accomplishing something in the studio were in vain. I simply had no desire to sew. None whatsoever. So, I decided that aspect of my creative life needed a break. And I started knitting. I knit like crazy, and shawls appeared like bunny rabbits. Lots of shawls - eight completed so far this year, three more currently on needles. I couldn't get enough of them!

Stephen West's Barndom shawl, before blocking.
Knit with Breathless cashmere/merino/silk yarn.
My absolute favorite yarn and shawl of all time.

This knitting fever lasted all summer, into September. So did the sewing heebie jeebies. No sewing for four months. The entire summer my studio sat idle. And I knit shawls. And socks.

Entwined cabled socks. Knit in Hazel Knits Entice
(merino, cashmere, nylon sock yarn).

Letting the sewing landscape lie fallow was a good move. I firmly believe you can't force creativity. If the urge isn't there, there's no making it happen. Letting it rest lets other things come to the forefront. And it's not gone, it's just hibernating. It's lying quietly, brewing ideas, growing new roots and shoots, preparing to sprout.

And then one day the creative urge returns. For me it was mid-September. Subtle at first, it quickly gained momentum and I found myself in the middle of making a coat. I finished it mid-October, and started another, which I completed today. And now a jacket is under way. My sewing mojo has definitely returned, and the creative energy is flowing freely. It's a great feeling!

Meanwhile, knitting has taken a back seat. I still dabble in it, but I'm not knitting for hours every day like I was. My creative energy has shifted, and that's ok. I finally feel like blogging again - another creative pursuit that ebbs and flows. So here I am, and that's what happened over the past seven months.

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In an effort to catch up on blogging, I'm showing two bags I made in April and May. I have only one photo of the first, view B of Diane Ericson's Pacific Purse pattern.

The fabrics are silk duppioni, linen and quilting prints. The button has been in my stash for many years, and it was the inspiration for the bag. The flap and most of the back are stenciled using Diane Ericson's Spring Leaves stencil and Lumiere paints. To create the stripe effect, I used strips of sticky-back paper (like Post-It Notes) to mask part of the fabric. Then I did the stenciling, and carefully peeled the paper away. This could be done with masking tape, also. I added some hand embroidery to add some definition.

I really like this bag, but I never carry it as the greens are too yellow for my coloring. They just don't look great with my wardrobe. I don't want to give the bag away, either, because I like the button too much. For now it will stay as it is, but I suspect the button will some day be removed to be used on a jacket. In the meantime, it can enjoy living on this bag.

The second bag is one of my favorite painted creations. I used both stencils and silk screens to embellish this tote.

The basic shape was achieved using Butterick 5866. I added the pockets on the front and back, plus some in the interior. The fabrics are deep purple cotton shirting, lavender wool gauze, linen, and silk organza. I especially like the organza overlay that is crinkled and embellished with buttons.

That's a foiled damselfly at the top left. I used the foil on a couple of moths as well. The writing on the front is bleached using a dye resist through a silk screen. All of the screens used are from Marcy Tilton. The eucalyptus stencil is from Diane Ericson. It was really fun to combine purple and pewter paint in the stenciling.

The lining fabric is a textured linen/rayon blend, and I added my usual tucked slip pockets to the zippered pocket that came with the pattern.

Once completed, I realized I don't care for the drawstring closure on the top. There's no way I'm going to use a tote with a drawstring for everyday use. So this became my knitting bag, and it's carried many a shawl-in-progress over the past few months.

That wraps it up for this catch-up post. Thanks to those of you who checked in on me during my silence, and visited the blog despite there being no current postings. I love the feedback you readers give, and I missed the online sewing community I've found through this blog. I'm so glad to be back sewing and blogging!

The Bag to End All Bagmaking (So I Vowed)

Some time ago I promised to write about a handbag I made in July. I'm finally ready to do it. I'm not sure what it is about my procrastination in blogging. I do my best writing with a really clear head, which I don't always have. So I put it off. Going forward, I'm going to try to blog during the process of making things, so things are fresher and quicker in getting onto the page. But I'm usually sewing full-tilt when I'm making something, so my head won't be clear... I don't know what the answer is. Any recommendations or thoughts from you readers are welcome!

Anyway, here it is, The Bag to End All Bag Making:

I started out with the desire to make a sturdy canvas bag to schelp all of my stuff to work - normal handbag items plus lunch and a water bottle. The natural colored canvas I painted with a wash didn't thrill me, but the pieces of linen I had painted with silk screen images did. So I switched to black duck, and was going to make "windows" in it and stitch the linen pieces in behind. Ever try to make a clean, flat window in duck? Not a chance. That's when Marcy Tilton's Vogue 8173 popped out of my pattern cabinet.

(Yes, I own a retro Butterick cabinet, gifted from an acquaintance who purchased it from a store that went out of business decades ago. It holds my pattern stash and much, much more.) But I digress.

The pattern is out of print, and I purchased it years ago because it incorporated silk screening. In fact, it's one of the patterns that nudged me into learning to paint fabric. I had never made it, and I had all of these images painted onto colorful fabric, and I had some gray silk dupioni and gray silk organza, and steam a seam lite, and batting, and Craf-Tex, and hardware, so I dove into the project. And it consumed me. For days. Weeks. For, maybe, 60 to 80 hours. Waaaaay too much time. But it was only time, and I was having fun, so it was all good.

Why did it take so much time? Cutting was partly to blame. I was very careful to cut the dupioni on grain, so I didn't double layer it. The various interfacings were stiff and bulky, so I cut them in one layer. All together, from the outside to the lining, there are 9 layers.

Interfacings, Steam a Seam, batting, and stiff
paperboard to stabilize the bottom.

Also, I cut out all of the images painted on the linen. Scissors worked best, but it took a lot of time. Sewing took a long time, too, but I'm getting ahead of myself.

Materials for the exterior, and templates for
cutting the images into shapes.

The exterior of the bag is constructed in several layers. The first step is to paint the Steam a Seam Lite. In this photo, you'll notice dark coral rectangles toward the top of the bag. (Click on the photo for a larger image.)

These, along with dark gray squares across the center and dark teal rectangles along the bottom, were painted on the Steam a Seam. After they dried, I fused them to the two outer pieces of the bag. Peeling away the paper, I had a nice, tacky surface to lay the linen pieces and ribbon on. Then I fused the silk organza on top. The Steam a Seam melted into the dupioni, but also held the organza in place.

Quilting was the next step, and it took a long time. Probably 4 to 5 hours for each side. I used two colorways of variegated thread, outlining each piece and tying the ends on the back side of the fabric. This added a big Wow factor, bringing the linen pieces into focus behind the organza. 

I love how the many layers give so much depth. You can see the texture in the dupioni, the painting on the Steam a Seam, the linen pieces, the organza, and finally the stitching. The light batting gives the linen fragments some dimension.

I didn't have enough aqua/turquoise linen for the lining, so I used a stretch cotton satin from Sawyer Brook. I applied a non-stretch fusible interfacing to keep it from stretching, which worked very well.

Marcy included a zippered pocket in the pattern. I made it slightly deeper, and changed the technique a bit. She used the top zipper tape as the top edge of the pocket. I chose to cut a strip of fabric for the top instead. I love the contrast of the zipper with the gray dupioni.

I wanted more pockets, so I created a double pocket that is tucked to make pouch shapes. I couldn't resist using a painted linen remnant for the lining.

I love trimming interior pockets with ribbon. It adds a little detail that makes me smile when I see it.

These pockets are perfect for my glasses case and phone. I added a magnetic snap at the center above the pockets, to hold the bag closed.

I thought the shirred handles shown in the pattern photo looked dated, so I made stiff ones. I cut them a few inches shorter, as I don't carry bags on my shoulders. The handles are made with the technique I described in my previous post. I love how rigid the Craf-Tex makes them. They don't crumble in my hand!

Before assembling the outer bag, I cut pieces of heavy Craf-Tex the size of the sides of the bag. The corner edges of the bag are edgestitched, which holds the Craf-Tex in place. Craf-Tex is a very stiff product that gives the bag the rigidness and stability I like. I didn't use it on the ends, because I wanted them to fold in.

Applying the binding was the point at which this became The Bag to End All Bag Making. I vowed to never make another handbag again, ever. I recall begging the Universe to save me from myself. Sewing through all of the layers and getting the binding even were very demanding tasks, and tried my patience. it was quite crazy making!


In hindsight, I should have used the lite Craf-Tex, as the heavy was very difficult to stitch through, especially with 8 other layers involved. It was a real struggle for my machine, and I had to hand stitch the ring tabs in place on the inside, as my Pfaff just couldn't handle it.


Surprise, surprise - the Universe did not save me from myself. (Does it ever?) Two weeks later, I made another bag. With Craf-Tex only in the handles. And lots of paint, lots of color, and lots of play. It was a blast. So was this one, actually. I really enjoyed the process, enjoyed seeing what the bag became as I worked on it. And now I enjoy carrying it. It's not a canvas tote, but my handbag necessities fit inside, and I can even squeeze a sandwich into it!