5 Ways to Transfer Patterns
Are you confused and always in a fix when you are planning to transfer patterns on to fabric?
Here is a list of easy methods to make this job easy for you!
But first, I would like to tell you about something called a light box or a light pad. Having one of these is great help when you are tracing patterns. They light up the pattern from the back making it easy to see the tracing lines through the layers of fabric and paper. I recently pulled one off of Amazon that is USB enabled and thin as a card, great to use and easy to stow away.
However, if you don’t have one of these, then a glass windowpane or a lamp lit under a glass table serve the same purpose.
And now, off to the list of methods to trace patterns
- Heat erasable pen
Place pattern on the light pad and position the fabric on it. Use paper clips or masking tape to hold fabric in place if you are tracing a large pattern. Trace using heat erasable pen. The pen marks can easily be erased using a hot iron or blowing with a hair dryer.
2. Washable pen
Employs the same method as the heat erasable pen. Except that in this case, the marks can be erased under water.
3. Carbon transfer (5B/6B pencil)
Carbon is rubbed on the wrong side of the paper using a 5B or a 6B pencil along the pattern outline (especially if the pattern is directional). Then the pattern is placed on the fabric carbon side facing the paper and the outline traced using a sharp tipped pen. Carbon marks may sometimes leave permanent marks though.
4. Heat transfer pencil
This is a special type of pencil that can be used to trace the pattern outline on the wrong side of the paper using the light pad or a windowpane. The pattern is then positioned on the fabric and transferred using a hot iron.
5. Transfer paper
Transfer paper is available online and in stationary shops in many different colours. Fabric, transfer paper and pattern are placed one on top of the other and the pattern traced using a sharp tipped pen. Transfer paper marks are easily removed by washing.
And so, I leave you with various options to trace your patterns, the next time you start a project.
Watch my video to see how easy this is! Choose the method that’s best for you and have fun creating…
Embed YOUTUBE video here
The Night Circus
What is in a name? that which we call a rose
By any other name would smell as sweet.
-William Shakespeare, Romeo and Juliet
My bedroom has had a black and white setting for many years now. For so many reasons…
It makes it easier for me to just add a colour or two when I am looking for change. It also provides a neutral backdrop for my many mini quilts that occupy a wall in the room. This side of the room serves as my quilting studio too.
I realized I must have a black and white quilt for my bed. All the B&W fabrics that I had been hoarding over the years were pulled out and plans were under way. I did not want to spend too much time on this one. Just something to throw on the bed, that would look nice too. I decided to just wing it and came up with this simple rectangular block. So easy to put together and no seams to match.
Along the way, I started getting the feeling that all those black and white prints and patterns put together, were making it too monotonous and dull. And so, just for the heck of it, enter RED!! And what a difference that made.
Meanwhile, my girls had just discovered Erin Morgenstern’s The Night Circus and were busy devouring it. And they had one look at this quilt top and said… but that is The Night Circus!! Now do you get the reference.
A black and white quilt by any other name would look just as beautiful…. Hehe… we are a punny lot!!
Now what is interesting about this block is that it is simple yet versatile.
Requirements (for a king size quilt):
3-4 black on white fabrics 1 meter each
3-4 white on black fabrics 1 meter each
1 meter red or any other colour of your choice
5 meters backing fabric
90”x90” batting (you may need to join widths)
Cutting Instructions
From the black on white fabric
Cut 20 strips of 6 ½” X WOF and sub cut into 80 pieces of 6½”X 4½” and 300 pieces of 6½”X 1½”
From the white on black fabric
Cut 20 strips of 6 ½” X WOF and sub cut into 80 pieces of 6½”X 4½” and 300 pieces of 6½”X 1½”
From the coloured fabric
Cut 2 strips of 6 ½”X WOF and sub cut into 40 pieces of 6½”X 1½”
Now piece and prepare blocks as shown in the diagram.
Press well. Join vertical columns of 10-11 blocks each, substituting the coloured blocks in random places, about one per column. Leave some columns without the coloured block.
Now, join the columns offsetting the blocks. The excess on the ends can be trimmed to straighten the edge.
14 vertical columns add up to form a quilt that is 80”X 90” in size.
Layer, quilt and bind with the binding of your choice.
I sometimes like to use pieced backings to add interest to my quilts
Other ways to handle this block would be to combine
- Coordinated solids with a print in the center
- A pieced center rectangle using 6 squares of 2½”X 2½” each
- All solids with applique or embroidery motifs on the rectangle blocks
When it comes to creativity, then sky is the limit.
If you decide to make your version of this quilt, do shares pictures with me on Instagram and Facebook
Tag me @Sew_Saba and use the hashtags #thenightcircusquilt #tothreadornot #sewsaba
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Chikankari Embroidery
Chikankari embroidery is the intricate art of white-on-white lacework embroidery from the town
of Lucknow in India. 300 years ago, it was popularized by the Mughal Empress Noor Jahan.
Learn authentic Chikankari embroidery and how to incorporate it into projects and wearables in
this on demand masterclass.
The masterclass includes an insight into the history of Chikankari, use of correct hoop and
threads, an assortment of PDF patterns, the correct placement of patterns on fabric and using the
right stitches in the right places.
Virtual lecture on the art of Chikankari is now available.
This lecture includes a talk about the history of Chikankari embroidery.
The origin of the art, the patterns, the materials, the process, and the finishing.
Also included is where and how this art can be incorporated into projects, both quilts and wearables.
Time: 1 hour
Write to info@tothreadorknot.com for more information and pricing.
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The Art of Chikankari
Live Virtual Workshops
Learn the fine art of Chikankari in these live virtual workshops conducted via Zoom.
The 2-part workshop (6 hours) is spread over a week to accommodate time for practice and catch up.
Saba provides clear demonstrations and instructions to prep your hoop, separate threads, trace patterns and start working on your piece. She helps you to work on your own piece using a practice stitch sampler and a pattern piece.
She will show you ways to incorporate your Chikankari piece into a project.
Recordings of the live sessions will be available to participants for 8 days after each session in case you miss one of them or would like to go over a particular stitch again.
Workshop Requirements:-
Embroidery hoop: Wooden/plastic, no larger than 6”
2 Fat quarters light weight cotton (mulmul)
Chikankari thread (available here). You have the option to use embroidery floss but results will vary greatly
1 white and 1 bright coloured DMC embroidery floss
Size 7 or 8 big eye Crewel embroidery needle and a darning needle
Chikankari pattern (PDF patterns available Here)
Indigo printed Chikankari panels available in my shop. If you are looking to use the printed panels for your project, please order at least 3 weeks in advance to allow time for shipping.
The indigo printed blocks provide a very authentic Chikankari experience, and the indigo marks are easy to wash off using household detergent and bleach.
Chikankari kits (printed panel +thread +hoop +needles) are available in my online shop.
Price for individuals: INR 8000 | AED 400 | USD 100
Dates: Session 1: Friday, September 23 | Session 2: Tuesday, September 27, 2022
Time: 5:00 pm to 8:00 pm GST | 9:00 am EST | 6:30 pm IST
Detailed requirements, instructions and Zoom link will be sent upon booking.
Write to me at info@tothreadorknot.com for questions and guild bookings
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The Art of Chikankari
The art of Chikankari, by all normal estimates, is about 300-400 years old. It was brought to India by the Mughal Empress Noor Jahan, the wife of emperor Jahangir.
Legend has it that Noor Jahan was an accomplished Seamstress and embroiderer. Both husband and wife were fond of this form of embroidery. Done mostly on clothing on soft mulmul cotton, it looks like delicate lace, and was ideally suited for the hot and sultry North Indian climate. The patterns are all derived from Persian and Turkish motifs.