Guest Writer: Megan Zaniewski, author of Stumpwork Studio: Mastering 3-D Embroidery with some tips for selecting the correct needle type for your stumpwork embroidery projects!

Hi! I’m Megan Zaniewski, author of Stumpwork Studio: Mastering 3-D Embroidery (C&T Publishing), and I’m guest writing for Colonial Needle today to share some tips for selecting the correct needle type for your stumpwork embroidery projects. 

What is Stumpwork?

Stumpwork is the term used to describe any and all types of 3-dimensional embroidery. It includes a wide variety of techniques that create varying degrees of depth and dimension. Everything from slightly raised embroidery stitches to fully sculptural free-standing designs fall under the broad umbrella of stumpwork. In this guide, I will be sharing needle recommendations for the following stumpwork embroidery techniques: surface beading, thread-wrapped beading, beaded slips, wireslips, fabric applique, felt padding, and dimensional stitches. 

Why is needle choice important? 

Did you know there are 100’s of needle variations? Navigating the many needle options out there can feel overwhelming even for an experienced embroiderer. And though the differences between different types of needles may seem slight or insignificant, choosing the appropriate needle for your project can make a big difference in both your stitching experience and the quality and look of your finished work. 

When worked with stranded cotton embroidery thread, many stumpwork techniques can be accomplished with Sharps or Embroidery/Crewel needles . In some cases, though, you may find it easier or even necessary to work with other types of needles. While it can be helpful to have a small variety of needles available on hand, you certainly do not need to stockpile every needle type. With just the following 6 needles, you’ll be able to comfortably accomplish a wide variety of stumpwork techniques.

An Overview of My 6 Essential Needles

Needles have four variables: their point profile, diameter (i.e. thickness), eye size, and length. Understanding each needle type’s unique characteristics and how those features affect its function will help inform your needle choice.

  1. Sharps
    These are general purpose sewing needles with a sharp point and small, rounded eye. They are well suited for many embroidery techniques and stitches done with sewing, silk, and cotton thread.
    sharps needles
  2. Embroidery/Crewel
    Embroidery/Crewel needles have a longer eye than a standard Sharps needle that can better accommodate multiple strands of thread. It also makes threading the needle easier. Otherwise, their length, diameter and point profile is the same as a Sharps needle. They are also suitable for many embroidery techniques worked in silk and cotton thread.
    crewel embroidery
  3. Tapestry
    Tapestry needles feature a blunt tip, large eye, and thick profile. They are designed to accommodate thicker, often delicate fibers like tapestry wool. The needle’s thick diameter creates a hole large enough for the thread to pass through the fabric easily with very minimal friction (which can cause wear and tear). Its blunt tip does not pierce fabric well, so this needle is best suited for canvaswork. The blunt tip also makes it an ideal needle for working dimensional stitches in stumpwork designs, such as woven stitches and detached stitches which require careful maneuvering apart from a fabric base.
    tapestry needles
  4. Chenille
    Chenille needles are identical to Tapestry needles in length, diameter, and eye size. These features make it well suited for working with thicker, textured, or more delicate specialty fibers like tapestry wool, silk ribbon, wool-silk blends, metallic threads, linen threads, and more. The difference between a Chenille needle and Tapestry needle is its point profile. A Chenille needle has a sharp point, enabling the needle and fiber to pass through even thick or coarse fabrics easily.
    chenille needles
  5. Milliner
    Milliner needles are similar to a Sharps needle. They have the same sharp point profile and small rounded eye as a Sharps needle, but they are longer. Their long length and small eye make them helpful needles for working dimensional stitches that require wrapping the thread around the needle multiple times (like Cast-on Stitch and Bullion knots).
    milliner needles
  6. Beading
    Beading needles are made from steel wire, with a sharp point and a very long and thin profile. The eye is also small, allowing the needle to pass through beads and sequins easily without getting stuck. The long length allows you to easily scoop up and thread multiple beads at once. 
    beading needles

With the defining features of each needle type in mind, let’s take a look at some stumpwork techniques and my recommended needle for each one. 

Needles for Beading Techniques 

Beads are a highly versatile material in stumpwork embroidery. As surface decoration, beads can elevate a design with texture, dimension, and sparkle. Beading needles are most often the suitable choice for embroidering with beads. Their elongated and uniformly thin profile allows you to easily scoop and thread even the smallest seed beads. Keep in mind, these needles are very long and pliable so they are prone to bending if used too roughly. If you find beading needles too difficult to maneuver, you can try working with a thin-sized embroidery/crewel needle such as a size #11 instead. This size will still accommodate many bead sizes, even the smallest seed beads.

Surface beading is used to mimic bubbles and add sparkle to this stumpwork swan design
Surface beading is used to mimic bubbles and add sparkle to this stumpwork swan design

Beads can also be used to create more sculptural forms with a technique called a beaded slip. With this technique, beads are embroidered onto a flat surface before being sewn into a rounded shape. This technique is helpful for recreating things like berries or a flower center, though it can be modified in many ways for an entirely different look (ex. try using French knots instead of beads). Beading needles are again the most suitable needle for working this technique, though thin embroidery/crewel needles may also be used as an alternative for most bead sizes.

Embroidering beads onto a beaded slip
Embroidering beads onto a beaded slip
Blackberries made from a beaded slip
Blackberries made from a beaded slip

Another way that beads can be used as a sculptural element in an embroidery design is through a bead-wrapping technique. Bead-wrapping involves covering the bead (or another similar bead-like form made from clay, paper, cotton, etc) with thread. Wrapped-beads can be used in innumerous ways. In nature motifs, they can serve as berries, insect eyes, flower buds, seeds, eggs, and more. Beads with larger holes make the best forms for this technique, as they can better accommodate the thread’s bulk as it is wrapped around the bead. Because the interior of the bead can become quite densely packed with thread, I recommend using a chenille needle for this technique. Its strong and sharp profile will prevent it from bending or breaking under pressure as you pass it through the densely packed bead.

Wrapping a bead with cotton thread and a chenille needle
Wrapping a bead with cotton thread and a chenille needle
Blueberries made from thread-wrapped beads
Blueberries made from thread-wrapped beads

Needles for Raised Stitches 

Raised stitches are a simple yet effective way to add texture and dimension to an embroidery design without additional materials or supplies. All you need is a needle and thread. 

The type of needle you need will depend on the type of stitch and fiber you are working with. For many stitches worked in stranded cotton embroidery thread, a Sharp or Embroidery/Crewel needle is suitable. For example, Turkey Stitch, which produces a tufted rug-like effect that can be trimmed and shaped, can be worked with cotton thread and a crewel needle to add a fuzzy texture to a design.

Turkey stitch worked in stranded cotton onto the wings and body of an Io moth
Turkey stitch worked in stranded cotton onto the wings and body of an Io moth

When working the same stitch with larger or more delicate fibers, such as silk or wool, I recommend using a chenille needle. The thicker profile will allow the threads to pass through the fabric more easily, preventing fraying or breakage.

Turkey Stitch moss and grass created with a variety of wool and silk threads and a chenille needle
Turkey Stitch moss and grass created with a variety of wool and silk threads and a chenille needle

If you find yourself struggling with some raised stitches, you may find that switching to a Milliner’s needle makes all the difference. For example, stitches that require you to wrap the thread around the needle multiple times before passing it through the fabric, such as French Knots and Bullion Knots, are best executed with a Milliner’s needle. Its long, straight shaft has an even diameter from tip to eye, allowing the wrapped threads to glide through more easily, preventing tangles and knots.

With other dimensional stitches that require you to weave or manipulate the thread in more complicated maneuvers (such as the Woven Picot or a Brussels Stitch), I suggest using a tapestry needle. Its blunt tip will help prevent you from piercing the thread as you weave the stitches.

An acorn cap stitched with a woven Brussels Stitch, using a wool-silk blend thread and tapestry needle
An acorn cap stitched with a woven Brussels Stitch, using a wool-silk blend thread and tapestry needle

These are just a few examples of the many ways that stitches can be used in stumpwork designs, giving your embroidery a 3-dimensional effect. If you are trying out a new-to-you stitch and are unsure of what needle to use, as a general rule, consider the characteristics of the thread you are working with (ex. stranded cotton vs a more delicate fiber) and how the stitch is executed (ex. surface, woven, wrapped, etc). These factors can help guide you.

TIP: For stitch tutorials and inspiration, I highly recommend checking out the Stitch Bank by the Royal School of Needlework, a free and comprehensive resource that includes over 500 stitches with information about their history, applications, and full step-by-step video and photo instructions.

Needles for Wirework

Wires can be used in a variety of different ways to add dimension to an embroidery design. One popular and easy-to-learn technique is called a wireslip, where wire is embroidered along the edge of a design. This framework allows you to cut out the embroidery and either display it alone or attach it to a base as a 3-dimensional feature. When embroidering over the wire, it is important to keep your stitches as neat and precise as possible and work with a fine yet strong cotton or silk thread. For this reason, I always recommend using a Sharp or Embroidery/Crewel needle when working a wireslip (a size #10 is ideal when working with 1 strand). The thin point and profile of these needles allow you to stitch as closely to the wire as possible, resulting in a clean and tidy edge to your design.

Embroidering over a wireslip leaf with a single strand of cotton thread and a size 10 embroidery needle
Embroidering over a wireslip leaf with a single strand of cotton thread and a size 10 embroidery needle
Wings worked with the wireslip technique give this Old World Swallowtail butterfly a 3-dimensional, life-like look 
Wings worked with the wireslip technique give this Old World Swallowtail butterfly a 3-dimensional, life-like look 

Needles for Padding and Applique

Fabrics can serve as more than just a base for your embroidery. With a couple of applique techniques, fabrics can add height and texture to your embroidery design. 

Felt padding is a beginner-friendly technique that creates a raised shape to embroider over. In this technique, layers of wool felt are stitched to your fabric base in increasing size, resulting in a firmly padded form that rises above the fabric background. These wool felt pieces are appliqued in place with a single strand of cotton thread. To ensure that you are creating neat stitches as close to the edge of the felt as possible, I recommend using a size 10 Sharp or Embroidery/Crewel needle.

Felt padding stitched to a fabric base, ready to be embroidered
Felt padding stitched to a fabric base, ready to be embroidered
The finished stumpwork river otter embroidered over the padded base 
The finished stumpwork river otter embroidered over the padded base 

Fabrics can also be used to add visual interest to a design with padded applique. Textured fabrics, such as fleece, velvet, faux fur, leather, and vinyl are ideal for this technique as they offer interesting textures and do not fray when cut. The cut fabrics can either be sewn directly to the base or padded with a layer of stuffing between it and the base for extra height. This technique is also worked with a single strand of cotton thread near the edge of the fabric. So to keep your stitches precise and well-disguised, I again recommend using a size 10 Sharp or Embroidery/Crewel needle. 

Appliqueing grass on a fabric base with a single strand of cotton thread and an embroidery needle
Appliqueing grass on a fabric base with a single strand of cotton thread and an embroidery needle
A hedgehog stitched with the padded applique technique
A hedgehog stitched with the padded applique technique

These are just a few of the ways you can explore stitch, fiber, and technique to create 3-dimensional embroidery designs. For more ideas and in-depth step-by-step tutorials, please check out my book, Stumpwork Studio: Mastering 3-D Embroidery. I hope that this needle selection guide helps take some of the guesswork out of choosing the right needle for your projects, especially if you are exploring stumpwork embroidery for the first time. While this guide can help you make an informed choice between your needle options, please remember there are no rules when it comes to embroidery. Above all else, stitching should be comfortable and fun. So, I encourage you to experiment with different needle types to get a feel for what works best for you.

Happy stitching!

DIY Fabric Cards

Fabric cards are the perfect way to add a little OMPH to your gift giving and they show that you really do care enough to send something handmade…even if you don’t have a lot of spare time or the extra brain capacity for a larger project. Easy to customize to any size for any occasion (maybe a certain winter holiday that is coming up?), fabric cards show you went that extra mile and put thought and effort into the gift-giving experience. They make that special person receiving the card feel seen and appreciated. Fabric cards have a distinctive handmade quality that is hard to replicate with mass-produced, store-bought cards and it is this uniqueness that adds charm and character to your gift.

They are super easy to make! Fabric scraps are pretty inexpensive and if you are already a sewist or know someone who is, you might already have the materials you need to create your own mini textile masterpiece. Add some quilting or embroidery and your creation really goes to the next level. You can hand stitch, applique, or machine embroider each one for a one-of-a-kind product. We used Finca Metallic Thread to hand embroider our fabric cards. Send yours as postcards, framed miniature textile art, gift tags, or leave one side open to insert a gift card. However you use them, if you are like us, you will end up making several *ahem* extra which is a good thing because you never know when you will need a little piece of handmade excellence to add to your gifting.

Here is how we make ours.

Supplies:

  • Fusible interfacing or stabilizer
  • Fabric scraps (1–2”wide and long enough to cover your card)
  • Finca Metallic Thread – 1 Ply for machine embroidery, 2 Ply for hand stitching.
  • Crewel Needle–Large eye and sharp tip make easy work of the layers
  • Sewing machine with all-purpose thread and jeans needle or embroidery needle
  • Roxanne Glue–Glue Stick or Dip & Dab XL Tube
  • Cover Stock Paper or similar for backing (we like Kraft-Tex for sturdy projects)
    Note: You can use cotton fabric for the backing too. The end result is not as“cardlike”.
  • Scissors or rotary cutter

Cuts:

Cut stabilizer/interfacing to your desired size – Standard post card size is 4”x6” but you can make your cards any size you like
Cut paper backing to the same size as stabilizer

Instructions:

  1. Place strips of fabric on the stabilizer deciding on placement, color, texture, ect.
  2. Remove your chosen strips and place the center strip face up on the stabilizer. We like using diagonal lines, so our first strip covers from the top left corner to the bottom right. You do you though…
  3. Place an adjacent strip on top of the first one with Right sides facing. Sew the seam using a 1/4’’ to 3/8’’ seam allowance. Make sure the fabric covers past the edge.
  4. Press the seam open being careful to watch if your stabilizer has a fusible backing (you can also finger press the seam open as well).
  5. Continue in this manner sewing strips on one at a time moving in one direction.
  6. Once you have covered the first half, turn your card and repeat the process goingf rom the center to the opposite corner.
  7. Once the stabilizer is completely covered turn Right side down and trim off the excessfabric.
  8. Secure the last 2 corners using a glue stick or Roxanne Dip & Dab XL Tube
  9. Add embroidery to your card by hand or machine.
    a. If embroidering by hand use Finca 2-Ply Metallic Thread held double.
    b. If machine embroidering use Finca 1-Ply Metallic Thread as your top thread and all-purpose thread in the bobbin.
  10. Once embroidery is complete apply the paper back to the card.
    a. If your stabilizer has a fusible back you can use an iron to secure otherwise glue the card to the back
    b. If you are using the fabric card as a gift card holder skip this step.
  11. Machine or hand sew a zig-zag or edging stitch around the card to secure the edge.
    a. We specifically like using fabric cards as holders for gift cards…just leave one side open so you can slide the card inside the pocket
    b. If you want to use a satin stitch along the edge, use a fabric backing instead of paper. The punching of the needle that many times will perforate the backing causing it to tear off easily.

Optional: Use a hole punch in one corner of the finished card and thread it with sparkly thread oryarn as a beautiful gift tag.

Gift cards like this can be mailed using standard postage…you’ll need to weigh the item to ensure you have enough postage attached to it. They do tend to get dirty in the mail so we opt for mailing them in an envelope.

For a video tutorial visit our YouTube page here.

We hope you decide to make a few fabric cards this season for your loved ones…let us know how you like them!

Shannon & Jason

Stumpwork Embroidery & Thread Painting

We are so excited to announce a guest contributor to our blog this week, Megan Zaniewski! Megan has recently authored a new book sharing her techniques, tips, and tricks for stitching 3D Nature Motifs. This book is an absolute delight and includes beautiful pictures and easy-to-follow descriptions and instructions to create your own thread masterpieces. We are truly inspired by her work and are thrilled to be able to share a digital copy of her book with one lucky winner!

*To Enter: Follow us and Megan on Instagram and be sure to like the contest post. For additional entries, tag a friend in the comments. Each tag = one additional entry so be sure to share the love!

Hi! I’m Megan Zaniewski, author of Stumpwork Embroidery & Thread Painting: Stitch 3D Nature Motifs and I’m guest writing for Colonial Needle today to discuss my favorite needles for thread painting and stumpwork embroidery techniques and share some tips for selecting the correct needle size for your project.

Embroidery tablescape with stitching tools

Why is needle choice important?

Even though the differences between different types of needles and their sizes may seem slight or insignificant, choosing the appropriate needle for your project can make a big difference in your stitching experience and the quality and look of your finished work. 

The type of embroidery you are doing will help determine the type of needle you select. John James Sharps and Embroidery needles are both well-suited, high-quality choices for most hand embroidery with 6-strand cotton embroidery thread, including thread painting and stumpwork techniques. 

What is thread painting?

Thread painting refers to an embroidery style where long and short stitches are used to blend threads, similar to the way a painter blends paint with brushstrokes. Thread painted designs are most often worked in stranded cotton embroidery thread or silk split down to 1 or 2 strands at a time. This blending technique allows the artist to create depth and shadows that render their subjects in realistic, precise detail. This type of detailed embroidery requires a thin needle with a sharp point profile to achieve the best amount of coverage and detail in your work. When thread painting with a single thread of stranded cotton, a size 10 John James Sharp needle is my preferred needle. For 2 strands, I use a size 9 John James Sharp needle. 

A thread painted hummingbird body.
A Hummingbird stitched using Megan Zaniewski’s thread painting technique.

What is stumpwork?

Stumpwork embroidery includes a variety of techniques that produce a 3-dimensional effect. Padded stumpwork and wire slips are two embroidery techniques I use in my work and teach in my book. The John James Sharps needles are my preferred needles for these projects as well because of their sharp point profile. Their thinness and sharpness allow you to precisely couch wireslips in place and stitch through multiple layers of padded felt with very little resistance. Again, I recommend a John James Sharps size 10 for 1-stranded work involving wireslips and padding. The dependably high-quality of these needles will also help ensure your work is clean, consistent, and precise.

A stumpwork pink and purple violet.
A flowery example of Megan’s stumpwork.

How to select needle size

The size of the needle you select in your own embroidery will depend on the number of strands you are stitching with. Follow this general guideline choosing the correct needle size Note: there is some flexibility between sizes. The brand of stranded cotton embroidery floss you are using may affect your needle selection slightly. For example: a size 9 needle can be used for 1 strand as well if you are having difficulty threading it. 

  • 1 strand – size 10
    • 2 strands – size 9
  • 3 strands – size 8
  • 4 strands – size 7
  • 5 strands – size 5
  • 6 strands – size 3

How do I know if my needle is too small?

If you’ve mixed up your needles and cannot confidently identify their size, here are some signs to look out for that might indicate the needle you are using is too small:

  • You have more-than-usual difficulty threading the needle. Smaller needles have smaller eyes to accommodate fewer threads, so if you are trying to thread multiple strands through a smaller needle, like a size 9 or 10, you will find it is very difficult, if not impossible. 
  • You experience resistance when pulling the needle through the fabric. If you have to tug or pull to get your needle and thread through the fabric, your needle is too small. 
  • You lose fabric tension and notice your fabric is denting or puckering around the needle as you pull it through the fabric. 
  • A slight popping sound when the needle pushes through the fabric is often normal and okay, but loud or abrasive sounds as you pull the thread through might indicate that your needle is too small. The hole the needle creates should be large enough to accommodate your thread so that it glides smoothly through the fabric without a lot of rubbing or abrasion.
  • Your thread is becoming fuzzy-looking, breaking, or tangling easily. This happens when the hole is too small for the thread to glide through smoothly, causing the thread to rub excessively against the fabric and wear down with each pass.
  • Sore hands. If you are having to work harder to get the thread through the fabric, the additional strain on your hands can cause them to hurt or tire easily. 

If you encounter any of these issues and suspect your needle is too small, try the next size down (ex. switch from a size 9 to a size 8). Remember, needles get larger as the size # decreases.

How do I know if my needle is too large?

Alternatively, here are some signs that might indicate the needle you are using is too large:

  • Visible holes left in the fabric around the thread are a sign that your needle is too large. The needle should create a hole wide enough for the thread to pass through comfortably without resistance, but not much larger than that. 
  • Stitches that are loose.

If you suspect your needle is too large, try the next size up (ex. switch from a size 8 to a size 9), which will be a slightly smaller needle.

I hope these tips help take some of the guesswork out of choosing the correct needle size for your hand embroidery project. Remember, stitching should be comfortable and fun above all else. If your needle is causing you hand strain or frustration, try out different sizes until you find what works best for you. 

Happy Stitching!

Book Cover: Stumpwork Embroidery & Thread Painting

Judy, do you have a spool of white thread?

Do I have thread? Yes, but not just any old thread. This request by a dear quilting friend, Sue, reminds me of my mother and neighbors borrowing and loaning a cup of sugar, flour, or stick of butter. It’s just something neighbors do, especially when you live in the country as Sue and I do. 

Sue had ever so generously offered to machine quilt a huggable quilt for a child that another dear quilting friend, Debbie, had lovingly hand appliqued. Debbie created colorful, one-of-a-kind lollipop flowers atop variegated jumbo rick rack stems. She is as amazingly creative with small scraps of fabric as Sue is when she performs machine magic stipple quilting. 

Hand applique quilt with Presencia

Stipple quilting looks somewhat like connected jigsaw puzzle pieces. The feed dogs of the sewing machine are disengaged, allowing the quilter to freely move about the quilt sandwich and stitch curvy lines. This quilting technique is perfect for quilting the background of each block, while making the appliqued flowers “pop”. Sue has generously offered to teach me to machine stipple quilt, and I look forward to practicing by making lots of pot holders. Sue’s stipple quilting was the perfect finishing touch to make those happy flowers come alive on that cheerful child’s quilt. And…the Presencia 40-weight thread that Sue borrowed was the perfect thread for quilting. 

A few days later, I received a call from Sue, and she was so excited. She had completed the machine quilting and was raving about what a difference the thread made in the process as well as the appearance of the completed quilt. To paraphrase Sue: “The thread did not break! It is so strong! The stipple quilting was more consistent, and there was virtually no lint in the bobbin area when finished. Tell me more about this spool of white thread!” I simply could not contain myself. I happily told Sue about the thread she “borrowed,” and I am happy to share with you as well.

Presencia is the name of that wonderful thread, and yes, not all thread is alike. There is a definite difference. Presencia begins with the very best 100% long staple Egyptian cotton, mercerized for strength, and is both colorfast and shrinkfast. The long staple fiber and superior quality of Egyptian cotton results in the very best quality thread. Somewhat like making a from-scratch lemon meringue pie, when you begin with fresh eggs, a real lemon, and the best ingredients, you simply cannot eat just one piece of that pie.

Also keep in mind, that the bigger the number on the spool, the finer the sewing thread (and hand sewing needles). I “loaned” Sue a spool of 40-weight Presencia thread for machine quilting. Presencia sewing thread comes in 40, 50 and 60-weights.  All three weights are 3-ply, which means that 3 strong strands are twisted together for extra strength, even the finest 60-weight. The strength and consistency of Egyptian fibers also make Presencia excellent for even bobbin stitches. Just fill your bobbin with the same weight as the top thread.

Presencia also comes in a variety of spool sizes, from 100, 500 and 600 meters, as well as cones. Check out Colonial Needle Company’s website for detailed information, as well as an assortment of color packs. Many beautiful colors are available.

Sue is sold on the ease of stitching with Presencia as well as the beauty of the finished quilting. The child who receives this happy quilt will also be able to love and drag it around and snuggle and snooze beneath its comfort for a long time.

Quilting with Presencia thread

Since my quilting neighbors and I live in the country, stocking up on Presencia thread is always a good idea when field trips to town and quilt shops are our destination. However, we are happy to share with dear quilting friends in need. Sometimes the best-learned lessons are hands on. Take someone under your wings and “loan” a spool of Presencia. Both you and your friends will be happy you did. It’s as good as, maybe even better than, loaning a cup of sugar. Now, to begin that from-scratch lemon meringue pie for Sue and Mike…

Happy stitching,

Judy Moore Pullen

DIY Mask-Making Tips

MAKING MASKS MORE EASILY WITH ROXANNE’S GLUE STICK!

I began making masks when our lives changed in a heartbeat due to the Covid-19 virus. When I feel helpless, even hopeless at times, I have to DO something productive. The word was put out in our neighboring communities that hundreds of masks were needed, asap, or sooner.

I perused the internet, emailed, and talked with friends about how to make a face mask. Most mask instructions called for 1/4” elastic to hook around the ears, and interfacing to place inside, or a two-flap pocket on the wrong side of the mask for extra protection. Having neither elastic nor interfacing, and not wanting to wait for a delivery, I made a prototype mask with two, 2” width of fabric cut ties for each side of the mask. I located a 1” bias tape maker among my drawer of notions. You do NOT have to cut fabric on the bias to successfully run it through a bias tape maker.

I began by cutting and stitching two 6” x 9” rectangles of 100% cotton along the long sides, right sides together. I turned them right side out and pressed. I pinned a template to my ironing board that was 4 1/4” x 9” for pressing two lengthwise pleats in the mask. My first attempt with three pleats was too bulky and time consuming, and two pleats worked just as well.

Place Roxanne’s Glue on ends of pleats and press with iron to hold in place for stitching.

For my prototype mask, I decided to make a simple pocket for the back of the mask so that either a coffee filter cut to size or folded sheet of paper towel could be inserted for greater protection. I did not want to create too much bulk in the mask by making two overlapping flaps in the back. I cut a 4 1/2” x 9” rectangle of 100% cotton muslin, pre-washed and dried, the finished size of the mask, to make one light-weight pocket. At my ironing board, I pressed under 1/4” along each 9” side, then an additional 1/2” on one of those sides. Pressing alone did not hold down those narrow hems well, so Roxanne’s Glue Stick to the rescue! I ran the glue stick along the wrong side where hems would later be stitched, then pressed with a hot dry iron. I then top stitched the ½” hem in place—much easier than pressing and stitching hems.

The two layers of mask were stitched, now to stitch the pocket to the back. Roxanne’s Glue Stick to the rescue again! I ran the glue stick along one 9” length of the back of the mask, placed the 1/4” hem on top, wrong side of muslin to back of mask, pressed, and then back to my sewing machine to stitch in place.

I ran one tie strip of 100% cotton, pre-washed and dried, through the bias tape maker, pressing with a hot dry iron, and folding under the lengthwise raw edges of fabric. To make a narrow tie, I still needed to fold over the strip again, lengthwise down the middle and press. To mark the middle of the strip for insertion of the mask, I folded the strip crosswise and marked 3” on either side of the middle with a Roxanne’s Marking Pencil. At my sewing machine, I opened the long tie strip, and ran Roxanne’s Glue Stick several inches down the middle, then stitched closely to the folded edges. When I came near the middle of the strip, I pressed the Glue Stick to the pleated edges of the mask, positioned the mask inside the strip, and top stitched the tie on each side of the mask pleated ends. Roxanne’s Glue Stick made stitching at the machine so much easier and more accurate.  

After pulling strip through bias tape maker, run Roxanne’s Glue Stick down the middle.  Fold over strip and stitch.
Place Glue on fold of tie to hold in place for stitching
Roxanne’s Glue Stick holds fabric in place for easier and more accurate stitching.

That worked so well, that I tried a modification of my prototype mask. For the ties, at the ironing board, after pulling the strip through the bias tape maker and pressing, I marked the center of the tie, half way between the ends, with a Roxanne Marking Pencil, and about 3” on either side, where the mask will be inserted and stitched. Then I ran the Glue Stick from one tie end to the first 3” mark, folded the strip, and pressed with a hot dry iron. This secured both sides of the tie for machine stitching. About 6” down, I ran the Glue Stick to the opposite tie end, folded over and pressed. So, I could either glue as I stitched at the machine, or glue at the ironing board. Both methods work well.

 Roxanne’s Glue Stick is one of my favorite tools and my very favorite glue. It goes on clear, so no worry about the color of glue fading through fabric to the right side or showing up at a later time. It glides across fabric like the ice skater I wish I was. Pressing with a hot iron adheres fabric to fabric quickly and securely. Roxanne’s Glue Stick does NOT gum up my sewing machine or get the needle sticky. These masks are meant to be washed following every use, and Roxanne’s Glue Stick is washable.

One more important thing: pre-wash your fabric, for two good reasons.

  1. You want to make sure that the fabric is as clean as possible to help prevent the spread of the virus.
  2. After washing, the mask will more readily return to its shape, not shrink out of shape.

And finally:  Presencia 50-weight is the best thread for machine and hand sewing. It is virtually lint free, so your machine will love it and you. It is 3-ply, which means it is strong and great for construction and top stitching. We want these masks to be washed frequently and hold up well.

Ta-da! Finished mask!

We have a need, and that need can more readily be filled by using your gifts, skills, talents, and sewing machines to make masks. Not only do you provide a barrier of safety for yourself and others, but you participate in a worthwhile project that can be done while nesting at home.

Stay Well and Happy Stitching,

Judy Moore Pullen

Big Stitch Quilting

Big Stitch Quilting

Thoughts on Big Stitch Quilting from Pepper Cory

Big Stitch Quilting

Pepper Cory with her Big Stitch Quilt

Many times I hand sew because I find the rhythm of handling the needle—in, out, back down, in, out while gathering stitches— very therapeutic. The action requires total focus but my hands know more what to do than my brain. After a short while, the work happens without effort. I find myself stitching and my mind wandering. Call it a ‘mental vacation with a needle.’

This summer I pieced and Big Stitch quilted a small, simple quilt. After five days of work, it was done and I felt a sense of accomplishment and peace. The small quilt is coming with me to the upcoming Houston Quilt Market.  If you’re attending, please stop by and see us—the quilt, me, and all the Colonial Needle family—in booths 1328 and 1329.

Line Marking Techniques

Line marking technique used by Pepper on this quilt.

The quilt was pieced from 44 different colors (plus white) of the Peppered Cottons line of Shot Cottons from StudioE Fabrics cut into 3″ squares. The threads used to Big Stitch were varying colors of Size 8 Perle cotton by Presencia (found here).  For the hand stitching I used the largest needle from the Big Stitch sampler pack by Colonial Needle (found here). I marked the lines to follow with stitches by using a big fat tapestry needle (their tips are not sharp) and scoring the fabric alongside a ruler.

The quilting covers the quilt in a plaid of different colors of stitching—just the thing for those of us who love to quilt but bore easily when the work is too much the same.

Big Stitch Quilt

Pepper’s Finished Big Stitch Quilt