Slow Stitching 101 : Soothing & Cozy Sewing Moments | Daniela Mellen | Skillshare

Slow Stitching 101 : Soothing & Cozy Sewing Moments

Daniela Mellen, Artist & Author

Slow Stitching 101 : Soothing & Cozy Sewing Moments

Daniela Mellen, Artist & Author

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17 Lessons (52m)
    • 1. Slow Stitching Class Intro

      1:48
    • 2. Basic Supplies

      0:41
    • 3. About: Needles

      3:31
    • 4. About: Needle Threader

      3:40
    • 5. About: Thread

      2:52
    • 6. Additional Tools

      2:48
    • 7. About Fabric

      2:38
    • 8. Stitching

      2:24
    • 9. Stitch #1: The Running Stitch

      3:41
    • 10. Stitch #2: The Backstitch

      1:35
    • 11. Stitch #3: Split Stitch

      3:17
    • 12. Simple Stitch Variations

      2:04
    • 13. Project #1: Playing Card Composition

      3:13
    • 14. Slow Stitching Playing Card

      6:09
    • 15. Project #2: Composition

      3:55
    • 16. Slow Stitching Project #2

      4:08
    • 17. Class Wrap Up & Variations

      3:29
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About This Class

Slow stitching is a process of needlework or hand sewing, similar to traditional embroidery or hand quilting, but without restrictions. It’s a method of using your hands to sew stitches between fabric and thread, with an emphasis on the process and the calming effects that are generated.

Tangibly, stitches reenforce, repair, or attach fabric pieces together, not with the intention of making a perfect piece, but in seeing the beauty in salvaging what you already have, and recognizing the value of the effort and time it takes to do so.

By using repetitive strokes and stitches, the slow stitching approach becomes soothing and comforting. Users feel the softness of the fabric, fall into a rhythm pulling stitches, and get lost in the moment, to achieve a sense of calmness.

In today’s Slow Stitching Class, I’ll introduce 3 essential stitches and demonstrate how they are used in slow stitching. From this needlework basis, users can vary the techniques to create unique and personal art. 

For a specific project, students will create their own Slow Stitching Playing Card using a needle, thread, and fabric pieces.

By engaging in simple, routine actions, the stitching becomes somewhat meditative.

Class contains lessons that review the essential stitching tools, three traditional stitches, and two Project Challenges. Also included is a Class Download with a supply list and Class Overview.

Course Materials include 3x4 cotton fabric swatch, additional smaller fabric pieces, needle, thread, basic sewing tools (scissors, thimble, beeswax). No previous sewing experience is required.

Meet Your Teacher

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Daniela Mellen

Artist & Author

Teacher

I'm an artist and author living in coastal Florida and surrounded by plants, animals, marine life, and the warm sun - all things that inspire me.

I am drawn to creating things and love to get lost in projects. Each day is a opportunity to learn something new, build on existing skills, and branch out to new ones. I was formally trained as a educator which is my passion and incorporating art into teaching makes my life complete.

I upload art classes every Friday, here on Skillshare. You'll see handmade books, memory keeping, watercolor, acrylic paint, unique art supplies, and photography composition. Thanks for joining me and I look forward to seeing your work.

Check out my blog for additional info on my website danielamellen.com or my YouTube Channel for additional c... See full profile

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Transcripts

1. Slow Stitching Class Intro: Slow stitching is a process of needlework or hand sewing, similar to embroidery and hand quilting, but without the precision, rules and restrictions. Slow stitching is the method of using your hands to so stitches onto a substrate, which can be fabric. Garments and leather. Slow stitching uses stitches to reinforce, attach, and repair fabrics. It's not about perfection, but in fact, the beauty of imperfection, the desire to preserve existing fabrics, to a different definition of beauty. But what is magical about slow stitching? That is by using repetitive strokes and stitches, the process becomes soothing and comforting. The fabric is soft on your hands. The motion of pulling the needle becomes almost rhythmic and it's very satisfying to create a handmade final piece. In today's class, slow stitching. I'll introduce you to three stitches and show you how they're used, will review basic tools and then practice simple, almost meditative sewing techniques. Then for your class project, create your own slow stitching playing card using thread, a sewing needle, and small pieces of fabric. This class is geared towards beginners and those who don't think they can so but are intrigued by the process. I'm Daniella melon and author and artist. Thanks for joining me today. Now let's get started. 2. Basic Supplies: For today's slow stitching project, you'll need a piece of Muslim or a piece of neutral cotton fabric, some scraps of fabric. And these can even be old clothing that you've saved the fabric that you like. Some threatened needles. I'll go over in more detail, each chapter, specifics about the thread, the needles, and the tools that you'll use today. I also have some scraps of lace that I might incorporate into my work that's completely optional. You can also use beads or any textured fabric that strikes your fancy. 3. About: Needles: So you start with your needles. And your needles are the basic tool that we'll need for slow stitching. And there's an assortment that you can find on the market. Each needle has a specific purpose. It's not necessary. You can pretty much stitch with any of these needles, but there is a little bit of reasoning behind all the needles. So when you go to the store and you'll purchase needles, sewing needles are called sharps. They're very thin and here we have them right here. And as you can see that I is very, very thin and they're designed to be used with specific threads. And so this is just the standard, very inexpensive polyester thread. Sometimes it's a polyester cotton blend, it's very strong. The polyester is one of the strongest threads and you can buy it in an assortment of mini schools. Or a school like this, comes in many colors and it's very readily available. And so that would be your sharp, your basic needle. For slow stitching, you can use this along with those thin thread. The only thing you're limited by what this would be, what size thread you can fit through that I of that needle. Then make embroidery needles here. And as you can see, the eye gets bigger. And sometimes they're called Tapestry needles as well. And those are the even thicker ones. And all of these needles are based on the sides of the thread, the sour plans on using. So it's much thicker thread for the embroidery. As you can see, some of them have a gold head and some do not. That's purely aesthetics. Each company tries to make their product a little different, little special. Some people prefer that. I haven't noticed a big difference. It might make it a little easier to see where the eye is and perhaps that was the intention there. Then there's some darkening needles or doll making needles. And as you can see, these have a beautiful big I. And these are great if you're using very thick thread like Chanel will. These are interesting to note, probably won't use them, but if you have them, there's nothing wrong with using them. These curved needles are upholstery needles and they're designed for getting in and turning around the curves of maybe a sofa or a chair. And there are handy because they do give you that little angle that you might not have. Otherwise, you can store your needles and a case. Sometimes they even come in a little plastic or wooden case. Since I am an abundance of needles, I store them. This is a larger case and this is just to protect myself from getting jabbed. Sometimes you can buy them in these little tins where you spin the top of the tin. There's little opening here and you can select your needle accordingly. The last needle I wanted to talk about here are the self threading needles. And there is a difference between the self threading needle eye and the eye of the other needles. In that it kind of makes a little bit of a spiral. And so the idea here is that these are a lot easier to thread in that you just rub your thread, you pull it down along the length of the needle and it gets stuck inside this little i here, which isn't a solid hole but really an opening. And so in the thread gets stuck in here, it stays in here. And what makes this special is that it's easier to thread. Some of these needles with these very fine eyes are very difficult to thread. And that brings me to the next chapter, our needle through letters. 4. About: Needle Threader: So these are three needle fetters. They're kind of your standard variety and they all work in the same method. The needle spreaders are designed for the size i of each of the needles. So this larger one here has dual ended and it has a smaller side and a larger size. And a larger size would not fit in all of your eyes of your needles. So in this one, the smaller size fits in nicely. When you have a larger needle like this, you're typically using larger thread and you may or may not need assistance to reading it. It really depends on your eyesight, the thickness of the fabric, of the thread that you're using and what not. So if you don't need it, you can just thread it. Standard method. But if you do need the assistance, you just feed in the needle thread or into the eye. And then there's a little hook. So I'll take my big thread, put it on the hook, and then I just bring my thread through the eye of the needle. And then I'm, it's threaded. And I can show it as I need. Now with some of the other threads. It's not quite as easy as that large ie, as I said, this larger threat or won't fit in. So I'll just use the smaller side. And here I'm using a piece of embroidery floss that I have not separated. So it has all eight strands. And I can just hook this around. And then I just gently pull this through the eye of the needle. And I have my needle threaded. So that's a big help as the eye of the needle gets smaller. Again, sometimes these won't fit in all needles. The small one fits in this one, but this is a larger embroidery needle. But if I have a smaller needle, it might not fit in. So that's why I prefer to use these little wire ones. I feed it through. And again, it takes a little practice to get it through the eye of a needle. And I know that when it's on there securely, I have it down here and we'll hang on its own. And then I can take either floss, the Strand embroidery floss OR this just very thin standard thread, polyester thread. I pull it through that loop. And then I like to hold where the wire meets that threat are. And I just gently pull it through. And then I have my needle, thread it. Now to thread the self threading needles, it's a little slightly different procedure. So I'll take one of the needles. And if you look very closely, you can see the actual structure of that needle and you can see where that opening is. So I take that needle and I'm going to run my thread down the length of that needle to the end and then I pull it in. And then I pull it up. And my needle is threaded. And I don't need to use a needle thread or I might need reader glasses to actually see that whole procedure. But I definitely can do it by feel once I get the hang of it. And the next chapter we'll touch base very quickly on the thread. 5. About: Thread: Now for slow stitching, you can use any thread that you can fit through your fabric or your needle lie. You're not limited to embroidery floss or quilting thread or polyester thread. But there are a few things to note when making your selections for what you're going to use on your project. Threads come now in so many beautiful textures. And some of them are thicker than others, but they all have the same properties that you can feed them through various fabrics. Some will not feed through standard cotton, some feed better through a cross stitch material, some through leather. So you really play around with what you like. There's no limitations. The polyester thread that comes in these little spools is inexpensive and very, very strong. And so these make really tiny stitches. Here we have a metallic polyester and that gives just a little glint of shimmer to your project. So this is pretty festive for the holidays or when you want a little sparkle. This is bead thread and it's clear like almost like fishing line, but super thin. And you can put beads on your project or shells or anything. You can really string through them. And it's invisible more or less depending on hepatitis that you make of your stitches. Then we have the standard embroidery floss. Now I think embroidery floss is absolutely beautiful. The colors are stunning and it comes in so many varieties. There's a variegated color here, which is various reds. And here's another variegation, but it's pretty more intense. It runs a spectrum from yellow to blue to orange and red. There is embroidery floss that has a matte finish. There's the standard shiny embroidery floss, more like this. And then this one has some metallic running through it. You can also get standard metallic embroidery floss as well. Typically embroidery floss, the little schemes here, cell for under a dollar a piece. So it's a very affordable way with one scheme, you can use it for quite a few projects and you get an assortment of colors. A way to store your threads when they're not on the spool is to take these little pieces and you can even just make them from Cardboard. And you just wind your excess thread when it's coming out of the Skeene onto it. And it comes in all different shapes. You can get cardboard holders are wooden holders. And this is another way to store your thread. So again, you choose your thread based on the fabric you're using and the eye size of your needle. And pretty much anything goes as long as you can fit it through the eye of a needle and through the fabric. The next chapter we will talk about some other tools that might be helpful to you. 6. Additional Tools: So these are some additional twos tools that I find very helpful. And there are lots of substitutions. Just a standard pin cushion with some pins. If I want to pin my fabric as a holding pattern before I actually sew it together. And this is just a small dish that I got and I filled it with magnets on the back. And the purpose of this is if I spill my pins, which I unfortunately I'm sure to do, the magnets will just pick it all up and hold it together. It's also handy when I'm embroidering or I'm doing my slow stitching and I quickly want to pull out a pin so that I don't poke myself, I can just drop it in the dish. Whereas if I pull it out and then I have to find a spot on the pin cushion. It just saves me a little time being able to drop it in the dish and know that it's just gonna stay on that dish. Symbols are not necessary, but they're helpful sometimes with repeated motion. Pushing that needle, you can develop a little sore or a blister and the needle just prevents that from happening. You can find symbols very inexpensively. And sometimes you might have them in an existing sewing kit. Kinda just a fun thing. I have little snips here. These are just little snippets and their concepts because all you do is squeeze them and they snip, they're extremely sharp. It's good for just thread. It's not good for cutting fabric, but just little threads. Here I have a pair of embroidery scissors now they're super, super sharp, which is nice, but there's also a little dangerous. So I have this little rubber stopper here. But because the scissors, the blades are small, I can cut out individual stitches if I want. And I could also use it in place of the snips to trim my thread and have a nice sharp edge, which will help me when I'm thread my needles. I have a little iron you can use any iron you have. I just find these little sizes helpful for these little pieces that I'm going to use in terms of preventing me from burning myself so much. And then lastly, in this tool I find almost essential is just a little bit of bees wax. I know in a pinch I've seen people on Pinterest use chapstick. And basically what you do is before you thread your needle or even after it if you want. But when you have your strip of thread that you're going to use, you take it and you run it through the bee's wax and you're trying to coat the thread, would the bee's wax just like that. Now there's no way to see that I've done it afterwards and it really doesn't feel much different, but it does prevent my thread from tangling and nodding. So that's something to consider as well. Next chapter we'll go over fabrics. 7. About Fabric: Now for your fabrics, really anything goes particularly scrap fabric and even little small pieces of fabric that you may have saved. I also like to take some interesting pieces of lace, usually cotton, but any type of lace will do. And little snippets that I have leftover of ribbon. And I like to use these in my work mainly because the texture and the look is so interesting. This little mesh part of a lace I can use, I can either cut it up or use just strips of it or use it hole. And the same thing with fabric, like cotton fabric, but cotton polyester fabric is fine. The higher polyester or array on content, the more difficult it is to so through. And cotton is very easy in lovely to so through. So that's why I stick to a cotton fabric. And I had a lot of Muslim, Muslims are very cheap, inexpensive cotton fabric. And it comes in different weights. Doesn't really matter what weight you have. But it's a great basis for some of the projects, including today's project. I like it because it's neutral. I can use it behind fabrics, I can use it as a backing and I can even use it in my project to show it as a piece as well. Couple of things, and this is very interesting with the cotton fabrics in particular. If you cut them, you'll eventually have an edge that unravels, might not unravel immediately. But with a little pull. I could pull and get her a frayed edge, which is very desirable in some effects. Sometimes it's not. So if you don't want that and you don't mind the look of a pinkish shears. You can get a pair of picking shear scissors for fabric. And by cutting it this way, the edges don't Frey, you do have that Zagat jagged edge. And that may be desirable or it may not be desirable. It's also a good way if you cut your fabric when you store it, you can always trim this off right before you use it. But by storing it with this edge here, you won't get the fraying that you'd get with a cut edge of fabric. And that's what these strings are from. I particularly in my slow stitching, really like the frayed edges and a lot of places. And so I find that to be very valuable. But if you don't consider investing in a pair of thinking shears. 8. Stitching: So today we're going to learn three basic stitches. There, very easy stitches. And there are many variations you can make by just altering them slightly. There, the running stitch, the backstage and the splits stitch, and each of these make align very nicely. You can make a line with the running stitch with a little gap in between each of the stitches. You can vary the size, stitches and gaps. You have the back stitch where it makes an almost touching line. If you change it, it can actually touch. The split stitch makes a very interesting line, and it makes a very interesting curved line as well, very smooth and shapely. Now for the running stitch, if you use just one stitch, you can alter the way you shape it. It can be what they call little rice pieces, where it looks like just little kernels of rice haphazardly in different directions. And here is an example of that where you have a bunch of little stitches thrown around. And it looks very interesting. It provides texture depending on the colors you use, you get a different effect. And depending on how close you make your stitches, you get a different effect. You can just make them in parallel lines, either close together or far apart. And you can do different things with them. You can make your own patterns, and you can bring the piece to life with the different examples. And here is another example of that. And here we go and it's just how the stitching really affects the piece. And here's another example where we have two pieces of fabric, two patches essentially. And then we just used that running stitch and it gives a very interesting look. It's very soothing to create this as I'm just making multiple stitches. Now as you can see, my stitches aren't perfect. They're not all the same shape. They don't even all go in the same direction, although that's clearly my intention here. Here is another piece where I used that running stitch. It united the peace, the background pieces, and it gave an interest, as well as the metallic finish in the thread. 9. Stitch #1: The Running Stitch: So now to start the running stitch, I have my thread on my needle. And in this case I'm just using all eight strands of the embroidery FET thread on an embroidery needle. And you can do this in any direction, up, down to the psi diagonal. I'm going to start here on the left-hand side. And I just poke through my fabric with my needle and I pull the thread gently, not too tight. I don't want the fabric to poll, but I want it to be fairly snug. And I have a knot in the back of my fabric and I'll go back to the end and either trim that down or I might even tape it down or glue it down depending on how I'm going to use this piece. Now to make my running stitch. I just choose a length that I'm going to make my first stitch. Poke the needle through the fabric and gently pull. Now, every time you make a stitch, your thread twists a little bit. So you just hold the fabric up, let the needle unwind, and come back. And now I decide the length for the next stitch. I poke my needle in, pull up. And as I pull up I can see this pulls a little. So I just want to go back and make sure that there's not a lot of tension. And I make another and I do the same thing. I try and keep my stitches Somewhat intentional. The same length, the same direction when I'm doing a line. You can also just do a stitch where you poke, come up and go down. And I can have just a random stitch or I can put two stitches together. Just like that. Now if I know I'm doing eight entire background with that same stitch for example, this where I'm going from one length to the other. I can just put my hope my needle through, pull my thread, and then I can just feed my needle through. And I'm pulling a fabric to the needle. And I do it a few folds of fabric at a time. Gently pull my thread, and then I have multiple stitches at once. And depending on the width that you make of the stitches, you can do many or a few. And so you get a line a lot quicker. Now one way to end off your stitches is on your final stitch. You'd go back down. So you're on the backside of your fabric. And then what I like to do is I go to the nearest stitch and I thread my needle through the nearest stitch, the back of a stitch, not picking up any fabric. And I gently pull it. So there's a little bit of a loop. I have my thread going underneath a stitch and then I just come back out here and pull around. And I might do that twice. It's really only necessary to do it once, but I like to do it twice just to make it secure. And then I just take my snips and trim off my fabric. And that's the running stitch. 10. Stitch #2: The Backstitch: Now to do the back stitch was, was our second stitch here. You can start from right to left or left to right. It doesn't matter. And if we're making a straight line, I go into my stab through the fabric. I have my knot on the back. I make a stitch of whatever length I want. And then I'll come one more time ahead of my stitch. And I bring my thread, the needle right below that first stitch. And then I'll come here. I'll go ahead of the last stitch I put down and I'll repeat this. And this is my back stitch. I'm going back to the thread, the stitch that I already have and just pulling it through. Just like that. And again, the way I would end this fabric is the same procedure except I have my stitch right here. I just go underneath that stitch with my needle and thread and make a knot. And I can double it or just leave it just like that. And then I snip it off and I like to trim my original NADH. And so there I have my backstage. 11. Stitch #3: Split Stitch: To make our split stitch, which is this stitch here which overlaps. It's kind of a fun one and, and it creates a nice curve as well. So to make this stitch, I'll start again with my first stitch that I've used both times I have my thread with my knot and pull it in. I make one stitch, whatever length I want. I pull it through. And then I'm going to come back in and I'm gonna go somewhere. I'm coming underneath that first stitch that I made somewhere between 1.52 thirds on one side and I'm coming up through it. So now my stitch actually overlaps. The next stitch that I make. Again, I stab it in, pull it down, and then I come back underneath it somewhere between 1.5 to two-thirds of the way over. And I'll just play around until that needle comes into the right spot. And this makes a continuous stitch. And I can do this as long as I want. Now I wanted to show you how you can use this to make a curved line as well. So here I just sketched out a curved U-shape and we'll start over here. I used colored pencil just so that I could see the mark I'm going to make. I want to come up here as my first stitch on that mark. And then I go down the length of whatever stitch I want. I come back up. And this time because I'm on a curve, I'll come back up a little closer to the end. So I would say two-thirds to three-quarters of the way through that stitch. And I just bring my next stitch down somewhere on that line that I sketched out. And I'll continue this all the way around getting the curve that I want. Again, I bring my needle up somewhere between two-thirds and three-quarters of the way through that stitch. And I come all the way down. And it gives me a very nice curve. Very soft. It's not, there's no angles. And if I need to have more of a curve or make smaller stitches. But either way it produces a very nice curved result. And as you can see, the larger the curves you make, the easier it is to get lost in the process. And that's how that would look. 12. Simple Stitch Variations: Now if I wanted to take and make little crosses or little x's, if I was going to make just a single one, I would just go in there and make my stitch and then cross it. And if I was going to move to another side of the fabric here, like if I wanted you across all the way down here, although I would not my stitch. Trim off the thread and then restart again with another not here. But if I was just going to go the length of my peace, making it crosses, I might do a different procedure in that I'd make a few downward strokes, downward stitches. So I'll do two here. If I was to go any distance and then I would do two lines this way, horizontal and move up or down the piece depending on where I started. And this way I get multiple stitches a little more efficiently, as well as keeping the process more meditative because I'm doing the same motion all the way down and then the same motion all the way up. And the same thing would go with if I was making an X. I can either do the 1X where I make my diagonal line one way and then my diagonal line the other way. But if I wanted to carry it further, I would do a few diagonal lines, all going the same direction. And then I'd switch and come up and finish that cross. So that's how you make different shapes using that original stitch. 13. Project #1: Playing Card Composition: So now we have to decide when we're making our projects, when we're adding our fabric either in patches or intentionally cut pieces, how we want to add it to our base layer. Or base layer can be anything. In this case, I used some denim material. Here, I just used some cotton fabric. And here I used a layer of Muslin. And then I put my fabrics on top. Now with these two pieces, I carefully pressed my fabric so that my edges were neatly folded underneath. And this gave me no frayed edges on my fabric swatches. Whereas on these I just use the raw edge that came with the piece and I actually pulled it to make it a little more raw. So I'll show you in the next process how I did the raw edges. And then I'll show you a variation using these pressed edges. So to start with the raw edges, I have my base, which I'm using a piece of Muslin. And then I just have three pieces of scrap fabric that I'm going to use. I choose the size I want and how the placement. And so this is the composition. And so then I made the composition however I wanted. So I'll just play around with that. And I'll just pull the edges of this fabric to produce a little bit more of a raw edge. I like the shape of this one, but I can modify it any way I want as well. Trimming it up or cutting it down. I want to say a little bit of this edge showing. And then I'll place that somewhere on my piece. And then I'll just add my other layers. Take this a little bit, and then I can just pull those layers as well just to have a little bit of a raw edge with this fabric since it's died, I can choose whichever side I want to really show the piece. And then I'll take my last fabric. And again I pull the edges. And then I can just place this wherever I want on my fabric until I get a look that I like. Now I can just leave it like this or I can pin it down to hold it in place while I do my slow stitching. So I'm gently going to just pin at a couple of times. I could also use a glue stick with just a little bit of glue and tack it in place. And in the next chapter we'll come back and do the slow stitching. 14. Slow Stitching Playing Card: So now I have my materials ready to start my stitching. I chose to go with a embroidery floss to do my stitches. I'm gonna cover all of them with stitches. Just go through everything. I could decide if I want to tack down just the edges, tech all the way around each piece or just do a stitch across everything. And I think that's the way I'm going to go for this project. I have my bee's wax, my embroidery floss, my needle, my Neil Frederick, and my snips. So I start out by picking a piece of embroidery floss and I chose a color that match the main background here in my largest piece, I can decide if I'm going to tacked down just the edges. If I'm going to go around each of the squares, that can do just a straight running stitch across the entire piece. I like to work with pieces about two feet long, 24 to 30 inches long because I think anything else gets a little tangling. So I take my bee's wax and I'm going to just run my thread through. And then I'm going to thread my needle. And again, I'll speed this process along. It's an a relaxing process and it takes time. And that's something to do when you're just, you can do this in front of a TV, but it's something to do when you just need to clear your head. It's not a very complicated task. And it's very enjoyable and satisfying because in this case, because we have a small playing card size piece of artwork to work on. It can be done in an afternoon. When I'm sewing, I try not to create a lot of ripples in the fabric. If I see I have too much tension, I'll go back and try and loosen it. And to do that, you go back to the earliest stitch that you think is causing the tension to create that remedy. And I have a lot of leeway here. I can decide how wide I want my stitches to be, how far apart, how far apart the rows. And I can even go in after the fact and change it up. If I feel the robes are too far apart, I can throw another row in. Okay. Okay. Ok. Yeah. And there we have a single piece using our running stitch and attaching through pieces of fabric. And feel free to go back. And if you'd like to add additional pieces, maybe a piece of lace here and there, a bead, a button. That's your choice. And that really personalized says, you're a piece of slow stitching. 15. Project #2: Composition: So this time I'm going to use a different procedure of attack down my scraps of fabric, but I'm just using an old makeup bag here that I want to repurpose. It's just a fabric drawstring bag that came with some makeup, but I thought it could make it a little more special for me. So I cut some fabric here and I could just attach it down however I want. But what I'm gonna do is I'm going to turn the edges in. And instead of going all the way across in rows using a running stitch, I'm going to tack it down on the perimeter. So to do this, I've taken my largest piece and I kind of plotted out first, I have some picking lines cut in. This is not necessary, but it's fine either way. Right now I'm just going to kind of place how I wanted and I could press this with an iron or just presses my fingers to make my folded over pieces, MY foldover. And so that's exactly what I'm gonna do. I'm just gonna eyeball it and press it. And I'll just do the, the outer two right now so I can get a feel for how I want the rest of the shape to be. So I think I'm going to try and make this a little more square. And I just work on my composition as I like, I'm using three fabrics here. You can use any number of fabrics. You can overlap them or not. And this is where you spend time and just create what you like and the look you want. So here I've kind of finger pressed my edges in on this piece of fabric here. And roughly that's where I'm going to put it. And then I have another piece here that I could add or leave off and I'll audition it. But it looks like I'm just going to leave those two pieces here. I like the way that looks. So I'm just going to set this piece aside for now and just fold. I have the edges, the top edges and the bottom edges. And now I'm just going to fold over the long sides. And again I'm just pressing it down and then I burnish it with my finger. And then to hold it in place, I'll pin it. Now because it's a bag. I don't wanna go through both layers. I want to be able to actually continue to use this bag functioning. So I will press this down. So I have my shape. And then I'll start at the top here. And I'll reach into the bag and with one pin, pin the top part of the shape down, making sure the rest of it stays down as well. Pin the bottom piece. And then just to make sure that top edges tuck in. And this is where pressing it with an iron would give a neater effect. And it would kind of train the fabric. The heat would cause the fabric to learn to stay that way. I can put another pin in here. But first I wanted to get my other piece in place. So I have my other piece going to very carefully set it down, tucking all the sides in. And this is where I'll just spend a moment to make sure I have this down the way I want it. And then once again, I'll reach into the bag so that I'm not pinning through both sides of it. And pin this in place. Just like that. I'll come back and we'll start our sewing. 16. Slow Stitching Project #2: So no, I frame my needle with all eight pieces of embroidery floss. I chose a slightly off-white color. It will coordinate with both pieces of fabric. If I wanted this to not really show my stitches, to not show, I go with just a slightly darker piece of embroidery floss of this brown color. And then I can choose what color I wanted to use for this other piece here. But since I don't mind my stitches showing, I'm just gonna go in there with a little bit of an off white. And I'm gonna make a very small running stitch, but just a single stitch. So I'm going to reach up, pull through my fabric, and then go down very close to where I put that first stitch in. And then I'll just pull it taught. Gonna move my piece. And I'm going to work my way down the side of this line here. So I'll, and I want little stitches this time instead of big ones. I have a little bit of a gap, maybe three stitches long and only one stitch down. And I'll continue doing this. The remainder of the top piece here. The thread naughts up or gets caught on the needle. You just move around with it and just go gently. In that way there's no real tugging or breaking of the thread scenario over here. I'm going to remove this needle. And I just want to make sure that I fabric is tucked neatly under an I'll come up and do the same thing. And again, it's that same stitch, that same motion over and over again. The length of the top of this piece. Now that I come to the end, I'll do one more stitch right at the corner, just so that my entire piece stays down nice and flat. Because I'm using the same thread. I can come in here and continue with this piece. If I was using a different thread, I probably finish off my single piece first. I still have enough throttle it come back up here and complete this project. Then I'll turn my piece over and not off my thread. And there I have my piece. And the next chapter, we'll take a look at all the projects and I'll show you some variations using those three stitches. 17. Class Wrap Up & Variations: So here we have the two pieces in class. We have the playing card that we made where we have a roughly three by four piece of Muslin that we attached our fabric swatches too. And they just did a running stitch, two over all adhere the piece, pieces together as well as create that background. The choice of colours that we chose really made a difference. If we had a darker thread for our running stitch, it would have a different look. And then here we took a, an existing supply. In this case it was a little bag, fabric drawstring bag. And I folded the edges in to make little swatches without as opposed to the raw edge. And then I just stitched a tiny little stitch all the way around. A different effect. Still slow stitching, still the repetitive strokes to create the final result. And you can do this with other fabrics. You can do to slow stitching onto other fabrics on genes, on jackets, on shirts. It's up to you. And these are just two examples. I wanted to show you some examples using the three stitches that we talked about in class. Once again, I adhered various swatches of fabric to my base piece. In this case, I have this green one to the background and then I layer different pieces over it. So there's lots of fabric happening in this particular piece, as well as this little piece of continents Ace, I did my running stitch with variegated green thread and it produced a very interesting result. Here you can see the raw edges, the pink edge, and the edges of the lace as well. Here I took the swatches and I adhered the lace by doing a stitch all the way around the corner edge. And then I just continued adding stitches to the other pieces. Here. I just, instead of doing any particular stitch like a running stitch, I made a bunch of those X's across stitches in two different colors of there embroidery floss. On this one, I took the fabric swatches with the raw edge and I just adhered them all the way around right to my piece. Here. I just did the running stitch all the way around, uniting this piece with a folded edges, no raw edges. And on this one I really did a little further. I put a little binding around the edge like a mini quilt, had this little piece of embroidery that I had just attached came in a ribbon. And then I added all my different fabrics. And when I did this kind of a running stitch across between a running stitch and the rice method. With individual stitches. They're fun effects. They're great for different projects and they're very enjoyable to complete. The last project I wanted to show is the same procedure, the same method, the same stitches. But I just took an assortment of things that I had, this fabric lace to make the edges. And then my little scrap fabrics. The combination works really well, and the little border around the edge gives it a finished look. I hope you'll try your hand at one of these pieces and I hope you post your work in the project section. Please be sure to follow me here on skill share to get notified of future classes. And please consider leaving a review. Thanks for watching.