I am so pleased to have the opportunity to talk to you about the excitement the 8 Series launch has created here at our BERNINA consumer event. It was such a proud moment when after six years of development, we were finally able to reveal this incredible machine and share its features with the world. The engineers and developers in the BERNINA factory in Steckborn Switzerland have worked countess hours to create a big, beautiful BERNINA - spacious and comfortable, speedy and full of benefits that will make the creative sewers world more enjoyable and more efficient… that nothing compares to the feeling of its debut.

And now, you too can experience all the precision and exclusive features the 830 has to offer here on bernina8series.com. This enlightening and interactive website provides everything you will want to know about the 8 Series, including videos that illustrate its outstanding space, unsurpassed speed and ergonomic genius.

So go ahead and check out the machine that has changed the history of sewing. We hope it inspires you as much as it has everyone here at BERNINA.

Talk to you soon! And remember to keep checking back for more entries and details on the magnificent 8 Series.

Gauze can be tricky to stitch, as it tends to stretch out of shape. This top is basically a "bishop" style, with sleeves, front, and back stitched together on the diagonal. By setting the differential feed at about 1.5, the fabric was fed under the presser foot faster than it was pulled out the back, which prevented the gauze from stretching. Bonus: all those ravelly edges were overcast, too!

It's hard to see in the photo, but there are two tiers of ruffles along the lower edge...so not only is the hem stretchy, hard-to-handle gauze, but cut partly on the bias and partly on grain. A serged rolled edge was simple; I don't even want to think how tedious a regular hem would have been!

The skirt was quick and simple. After printing the Gored Skirt pattern I drew points at the lower edge of each segment to create a shaped hem. I roll hemmed the points, then flatlocked all the sections together with the "squiggles" side showing on the outside. Then I stitched the waistband to the top with a 4-thread overlock stitch, inserted the elastic, and it was done!

Why the neatly labeled swatches? One of the classes I'm teaching at Bernina University is on sergers. Erika & I are both traveling to Kansas City tomorrow; we start teaching on Wednesday. I'm not sure we'll have time to blog while we're gone, but we'll have lots of things to share when we get back!

The second pocket is all one color; I used the same variegated Oliver Twists thread as on my Miranda Bag, mostly brown and green with just a bit of blue & purple. I had another spool in a similar but much lighter colorway, which I used to update one of my favorite linen shirts, made several years ago from McCalls 8740, now out of print.

I used the same design as on the pocket, but added a border design from the Border Embroidery Set; both designs have the same hand-look stitch pattern. The lighter thread matches the color value of the linen, and the slight sheen of the cotton thread plays nicely on the handkerchief linen. I also changed the buttons (having lost four of the nine buttons on the shirt); the replacements are dark mother-of-pearl with just a bit of green & blue that repeats the hues of the stitching.

These are some small scraps of Benartex Woodstock fabric, and I followed Diana's instructions in the book to put these together.

These pincusions I made by making the pattern from Diana's book a little bigger, and then boxing out the corners. This is a bit of vintage barkcloth with a vintage button.

Here's another one made from a scrap of faux-fur, a scrap of ribbon, and a vintage button.

And, here is a pincushion made from a scrap of luscious silk & brocade fabric imported from India.

Now I hope you are inspired to take a look at some pincushion patterns or make up some of your own to make a dent in your scrap-stash!

This is a cool project - a notebook or sketchbook cover with a pocket. I added the monogrammed patch to the pocket before attaching it per the directions, I think it adds a nice touch! The pocket is big enough to hold an eraser and small pens and pencils, a bookmark, or even some post it notes. I used one of Alexander Henry's Tatsu fat quarters for this project with a coordinating solid cotton color for the lining.

This project is called a Jewelry Pouch, but it can be used as a clutch or a carry-all for an I-pod (and all the cords, cases, and extra junk that comes with it). I used one fat quarter of Alexander Henry's Tattoo Too fabric, and added an extra layer of plain red cotton for contrast on the inside of the project. If you want to use the pouch as a clutch, I suggest also adding a layer of interfacing to give some extra support.

The project has three zipper pouches, which was a great way for me to use up some of those extra zippers in my stash.

You can see the red fabric I layered with the main fabric as a contrast when a pouch is open.

And, for the finishing touches, I added the ribbon closure and button before I completed the project, to make the clutch easier to carry.

These are both fun and simple projects to whip up - great for gifts - and a SUPERB way to use up some of those extra fat quarters!

First, I found a plate in my cupboard just about the same size as the template in the book. My pillow form is a little smaller than the one called for, so it won't matter that my plate is a smidge smaller than 8" in diameter. I used the plate to draw circles on one side of the Steam-A-Seam 2 - so much faster and easier than tracing a pattern!

Then I rough cut the circles, leaving about 1/2" all the way around. I peeled the unmarked paper from the other side of each circle, exposing the sticky adhesive, then placed the circles on the wrong sides of the patchwork. Since the sticky adhesive only forms a temporary bond I was able to reposition the circles until I liked the layout of the stripes in each one. I rough cut the patchwork around the adhesive just to make it easier to work with each one. Then a trip to the ironing board to fuse the fabric and adhesive.

Next I cut out each circle, following the lines on the paper backing. When I'm ready to position them on the pillow front all I have to do is peel off the remaining paper backing and stick them on the pillow. I'll be able to reposition them until I like the layout, and then tweak the placement until all of the spaces between circles are even. Tip - Use a digital camera to take pictures of your favorite layouts so you'll have a record of each one; use the photo as a guide to recreating the one you like best.

These are two of my favorite Amy Butler patterns, the Swing Bag and the Drawstring Purse from the In Town Bags.

This is the Drawstring purse, and was made from four coordinating fat quarters of Benartex Woodstock fabrics plus a scrap of repurposed ribbon for trim. You can actually get enough fabric for TWO of these bags if you add another fat quarter for the lining of the second project! Super cute, and very suitable for summer.

I just love this project, the Swing Bag. I used different coordinating Benartex City Girl fat quarters for each side of the exterior, the interior, and the ouside and lining of the handles for a total of 6 fat quarters. This is actually a fun way to construct the bag, because you can make two coordinating but different sides to the bag, and just flip it over for a different look.

The Swing Bag is the perfect size for holding all your goodies at the farmer's market, the craft store, a day trip to the beach, or any other summer outing that requires a few extra props.

I hope this gives you a few ideas of other quick and easy things to do with those fat quarters. I have a few other fav's for using up those stocks of fat quarters that I'll post about soon!

Here's the finished outfit - dog not included (she decided she needed to be in the picture...or that she needed to sit on my foot, one or the other). I like using the tunic as a t-shirt pattern, as the darts give it a better fit. I have a whole collection of tops based on the My Label Tunic pattern - woven, knit, with the default settings, with altered Style Properties, I've even switched sleeves between the Tailored Shirt and Tunic. The next variation will probably be similar to this paisley top, but in a woven fabric instead of a knit, and a faced neckline instead of ribbing.

When stitching 1/4" seam allowances with a 1/4" foot such as Patchwork Foot #37 or Patchwork Foot with Guide #57, be sure to use the actual edge of the foot as your guide - if your fabric is peeking out from under the side, it's extending past the 1/4" guide. Instead of watching the side of the foot, watch the edge of the fabric as it goes under the toe; this is where you'll align the raw edges of your fabric pieces with the edge of the foot. Another helpful guide is the 1/4" mark on your stitch plate, just in front of the foot. By following both of these guides you'll ensure that your seams are exactly 1/4", and all of your subsequent joins should match properly.

I always buy two spools of thread, then wind one completely on bobbins. That way I know I'll have enough thread on bobbins to last until the needle thread runs out. This works for garment sewing and home dec as well as patchwork. For colors I use a lot (browns, grays, denim blues) I purchase full boxes of thread - I can usually get a bulk discount that way - and I always end up using it all. Last summer I purchased several boxes of brown thread for the My Label wardrobe I put together - 50 weight for my sewing machine, and 60 weight for my serger. I use three or four spools of 60 weight on my serger when sewing garments rather than using serger thread - it comes in lots of colors and is softer on the inside of garments.

I've decided on a color scheme - remember all those lucsious fat quarters I got in February? The Woodstock collection from Benartex has the perfect shades of blue and green for the bathroom, plus the red/pink/orange I've already started in the bedroom. No, really, it's not garish, just cheerful and sunny. I picked up a few things at IKEA and the Crate & Barrel outlet (Naperville, IL) and the Springs/Wamsutta outlet that used to be here in Asheville. The cool colors tone down the hot ones, and the warm ones perk up the cool ones.

I just finished rotary cutting my strips and I'm ready to go! Time to get out my trusty machine and Patchwork Foot #37... More on my patchwork adventures and changes I'm making to the applique instructions in future posts. Gotta check my stash of Steam-a-Seam 2 and make sure I have enough for all those circles!

I learn something from nearly every sewing project, and this one was no exception. Why is the interfacing for the handles cut 1/4" narrower than the batting? I didn't figure it out until I did the edgestitching. The edges of the straps - where there's no stiff stabilizer - are soft and flexible, with the batting adding enough bulk to "fill" the edge. The center of the handle - with stabilizer - is stiff and sturdier than even additional layers of batting would have been. Stability without bulk :)

By now you probably recognize the foot in the photo - my favorite Edgestitch Foot #10, with the guide in the center. Here I've moved my needle about 1/8" to the left, just about even with the inside of the left toe. I'm using a stiletto to hold the edges together as they move under the foot. I could have pinned them together instead, but using the stiletto is faster and easier. This one has been my favorite for a few years - it's Nifty Notions' Brass Stiletto from Brewer Quilting & Sewing Supplies. The handle comes off to make a cover (or the cover comes off to extend the handle) so I can put it in my pocket without danger of stabbing myself, and there's a little ring on the end for attaching it to a chatelaine or a string around my neck.

After holding the tab up to the bag I decided it needed a little "oomph," so I pulled out some gorgeous hand-dyed gimpe I got a few weeks ago at a thread seminar by Jane Garrison, the "Thread Lady" from YLI. They have a new line of hand-dyed cords and threads and postcards and artists trading cards in scrumptious colorways, each named for a different artist. Take a peek by going to YLI's website, clicking on New Products, then selecting any of the first five items on the list. The mostly-brown variegated gimpe I used is named for Paul Klee, one of my favorite Expressionist painters. I cut three strands about 6" longer than I needed to go around the tab, then tied them together at one end to make them easier to load into Cording Foot #22. In the photo you can see a little black latch (over the rust-colored cord). After all three cords are in place in the grooves, the latch swings over them and holds them in place. This keeps them aligned and parallel, "combing" them as they move under the foot. This is a really fuzzy photo - sorry about that - but you can still see how it works. The cords are nearly the same size and color as the mini-piping between sections, and I like how the corded "box" echoes the shape of the bag :) Tip: Check to see how much bobbin thread you have left before you start couching. Not that I stitched three inches and then ran out or anything like that...

After that, all that was left was to attach the handles and tab to the bag. Just in case I change my mind about the handles I've also made the little tabs for attaching a store-bought set of handles, and I'm keeping a watch on the bags that come through my local Goodwill for a set of wooden handles to recycle.

Finished! My new Miranda bag makes her debut this evening at a get-together with some of my knitting friends, then flies to the Midwest and New England with me next week :)

Edgestitch Foot #10 (left) is also great for attaching hook-and-loop tape; just align the edge of the tape with the guide and move the needle position a few steps to the left.

I also like Piping Foot #38 (the same one I used for the mini-piping in the first Midanda post), especially for thick loop tape; there's lots of room for the bulky tape to move under the foot.

After stitching the lining to the covers, it's starting to look like a bag! To finish the faux-binding at the top edge (actually the lining peeking out over the top) I pulled out Edgestitch Foot #10 again, placing the guide in the well of the seam and sewing with the needle in the center position.

Have you noticed that Edgestitch Foot #10 and Piping Foot #38 are two of my favorites?

Only the handles and tab left to go!

The front of the bib overalls became this apron, and I used Benartex City Girl fabric for the ties and extras. The embroidery design on the pocket is an OESD design from the Go Retro! collection. I love all the pockets on this apron, small scissors, seam rippers, and seam guages fit perfectly in the nooks and crannies of the top pockets - all the tools I could ever need while working on a project!

The back of the bib overalls made this apron, and I used an Alexander Henry's Tatsu fabric for the ties, the trim, and the dragon applique.

I used a piece of plain red fabric underneath the dragon applique, and used the Bernina Stitch Regulator to stitch all around the shape. Then, I cut away more of the dragon fabric to leave some of the red to show all the way around, and left the edges raw. I used the Button Sew On Stitch on my artista 730 to attach the decorative buttons at the top of the apron and pockets.

These projects were a lot of fun to finish, especially since I salvaged the bib overalls from going into the trash!

Foundation piecing, based on a quilt in Valori Well's Stitch 'n Flip Quilts book. (I think the border is a Valori Wells batik from years ago, but I'm not sure.) I started it about 4 years ago in a class at my local quilt shop, made all the blocks, then finished a year or so later it at a weekend retreat with my quilt guild. What a great way to sew! 50 women, 50 tables, 50 machines, nearly two full days of sewing, no distractions, dozens of opinons...

I had fun playing with the free-motion quilting on this one. The BERNINA Stitch Regulator hadn't been introduced yet, so all of the quilting was done using Freehand Quilting Foot #29. I like the wide, clear sole of this foot for quilting - I can see where I'm going, and use the edges of the foot to judge how far I am from previous lines of stitching. I couldn't decide which threads to use, so I used them all - variegated threads from YLI, Superior Threads, Mettler, Sulky - all of the pink/orange/yellow and green spools in my stash. This kind of quilt is great for practicing free-motion techniques - since none of the blocks match, the quilting doesn't have to look the same either. No worries about staying inside the lines, having equally-sized loops, putting squiggles in the same places - just move the fabric and "draw" shapes.

I finished another quilt the same weekend - a group quilt made with seven children ages 7-13. It's one of my favorites, but I'll share it with you another time.

The bag I'm making - the Miranda Day Bag from Lazy Girl Designs - is about 10" x 12" x 6", with lots of pockets for keeping me organized. If you've never used Lazy Girl patterns, give them a try. The instructions are great! Each step has illustrations AND well-written text instructions - perfect for those of us who are visual learners. Of course, I never make anything exactly according to the instructions...

Assembling Materials: When I finally located the perfect batiks in my stash I found that I didn't have enough of my favorite - the little triangles - for the cover. A trip to my local quilt yielded a few more coordinating pieces - including Benartex Triple Dye Bali batiks - and their monthly Stitch & B**** night was the perfect time to cut out all the pieces.

Machine Quilting: I found the perfect embellishing thread - Oliver Twists hand-dyed thread in the same colors as my triangle batik - which I used for machine quilting using the BERNINA Stitch Regulator.

Seam Cover Pieces Together: I wanted to bring more of the triangle colors out, so I added teeny tiny mini piping between the panels - a red clay batik on the vertical seams, blue/green on the horizontal seams. It's easy to make - cut fabric strips the twice the width of the seam allowance and place a strand of gimp or other fine cord in the center. Sew right next to the cord. I stitched mine using Piping Foot #38; Clear Applique Foot #23 also works well. When stitching to the second hald of the cover, follow the previous stitching line on the wrong side. For the topstitching I used the Oliver Twists again.

Finished Cover Pieces: More on my progress in a few days!