Thanksgiving Decor Inspirations

Happy Thanksgiving 
to you, and a bountiful Harvest season of decorating with the wonderful colors and symbols so abundant this time of year. I am posting a baker's dozen photos as my small part in stopping the rush of the general populous into the buying frenzy that has become Christmas recently..

Following this introductory image, I will begin with some projects and focal points that can be created using Silhouette paper crafting. The other images include needlework or favorite collectibles we have "gathered in" over the years.

Hope these vignettes provide some inspiration for your own space and collections, or your plans and dreams. Here is a framed cross stitch piece with a twig wreath and miniature Indian corn.

 My regular collection of birdhouses, brought into seasonal focus with a "single" thrift store plate that is decorated with a Silhouette leaf wreath design and text saying cut from vinyl and easily applied.

 Here are two of my favorite Williraye figurines, standing atop a recycled wooden box (I collect these of all sizes, too) which has been embellished with a Silhouette design of text and leaf.

 A small part of the decor, this be-ribbon'd oversized wrought iron key gets changed out for each change in season. Here the oak leaves and acorns are enhanced with a multi-layered banner tag that was cut using Silhouette files, combined and manipulated to the right size and configuration to suit my project.














An autumn grouping that features a vinyl design on a wheat-colored ceramic tile. This one was a gift from daughter Kenzie, whose creative genius and imagination has led me down this new path of paper crafting and digital design. (Bless you!)

Our entry-way wall provides a changing canvas and an opportunity to greet visitors in a new way each month. Here you can see the two-color vinyl text design with a wooden pilgrim (created by friend Lisa Glauser), with a row-style wall quilt I designed a few years ago for a House of White Birches publication "Harvest of Autumn Quilts".

Here you can see the whole wall ensemble.

 A shelf unit that has held many of my precious knick-nacks over the years, specifically my miniature houses collection. Showing here a few that still fit in the color scheme of autumn. A miniature patchwork quilt "Autumn Reverie" hangs to the side, and on the chest a collection of Pilgrim and Native American figurines.

 A cross-stitch pillow sleeve adorns the wing-back in the sitting room.

 A wooden cutout is featured on a narrow wall space. (This lettering was done with a digital cutter, too.)

 A tiny patchwork quilt in a miniature quilt stand adds color to the mantle.

A thrift-store find, this "handled" container was just the right spot for a cluster of silk and artificial orangerie. The Williraye cat always finds a way into my groupings, because his wonderful creamy color adds the right contrast.

Framed cross-stitch with other favorite folk art pieces.


Adding a house here and there is my way of remembering that Home & Family are the highest in my long list of Life's blessings.


Wishing you the best of the "giving Thanks" season. Please enjoy the reflective gratitude before you step into the Christmas festivities.

Binding Tutorial: Finishing the Second Edge

 This tutorial continues the binding instruction begun 

in "Binding Tutorial: Strip Cutting & Prep"  and Binding Tutorial: Attaching, Miter Corner Turn & Splice posts.

Step 1: Fold the attached binding toward the quilt's back side. Align the unattached fold edge along the stitching that joined the binding to the edge. Fold should barely cover the stitching. Quilt layers and binding raw edges are all enclosed.

Pin or baste the binding in place so that the invisible hand stitching can be completed.

At each corner, re-create the miter fold in the binding on the backside. See how the "approaching" binding portion is folded and basted. The "departing" portion is still "flat". Finger-crease the diagonal fold line at the corner, and note that a new "corner" at binding's edge is created. (In this photo, it can be seen at the top, barely above my right thumb.)

Step 2. Fold new side binding over to bring this "corner" point to meet at the seam lines intersection, where it will meet the already-in-place binding fold edge. Continue to position and baste binding, repeating corner process.










Step 3. Begin the invisible edge stitch to attach the fold edge. Thread hand needle with binding-color matched single thread. Knot the end. To hide the knot and anchor the thread, INSERT needle through the seam allowance layers beneath the binding fold edge and COME UP next to and inside previous permanent stitching. Then bring the needle through bottom edge of binding to EXIT through the fold edge being attached. (This demo is using RED thread for visibility.)

Step 4. Begin the first stitch. PIERCE the seam allowance of quilt layers next to the previous permanent stitching, then COME UP AND OUT through binding lower edge, exiting through the fold of binding. Pull thread through to remove all slack. The needle trajectory is nearly parallel to the  binding edge, angled only slightly. 

Note how this example shows the needle moving right to left and also toward the stitcher as it progresses. This allows the point of entry to be more visible. (Reverse and reposition for left-hand stitching, of course.)

Step 5. Begin the second stitch. INSERT the needle RIGHT NEXT TO the place where thread is exiting the binding fold, piercing the quilt layers' seam allowance next to (or through) permanent stitching. Push needle through on the angle to COME UP through binding fold edge, just as before. Pull needle and thread through.

Distance between insertion points (stitch length, that is) should be about 1/8" or slightly LESS. Thread will wrap over the binding fold edge as visible stitch is formed.

Repeat the stitching until entire fold edge is joined in place. At corners, be sure to tack in place as part of the binding stitching the fold-over corner point that created the miter corner during the basting process.

FOR UTILITY USE QUILT BINDING: Machine stitching the second edge may be better for a quilt that will endure repeating laundering. Best practice for these quilts will be to attach the first binding edge on the BACK of the quilt, then wrap the second binding fold  over raw edges to the FRONT. Baste it in place, including corners as noted in this tutorial, then machine stitch next to fold edge, overlapping stitching to secure ends.

Binding Tutorial: Attaching, Miter Corner Turn & Splice

 This tutorial continues the binding instruction begun 

in "Binding Tutorial: Strip Cutting & Prep" post.

Step 1. Begin in a less-conspicuous place on a quilt edge, such as the lower right edge, about 8-10 inches from the bottom (less on smaller project). Open the binding, place face sides together with the quilt layers, and position the right edge fold on the 1/4" seam line. Skip down about 2-3 inches from the chisel-cut lead edge. Pin in place if necessary.

Step 2. Begin stitching, without back stitching, with needle piercing the fold of the binding. Stitch toward the first corner, but stop EXACTLY 1/4" from the opposite quilt side and back-stitch 2-3 stitches to lock .

Here you can see the stitching and back-stitching as the work is pulled away from the machine. Clip the threads close to fabric surface.

This image shows the binding folded back, exposing the quilt layers beneath. You can see that the stitching was stopped 1/4" from opposite quilt edge.

Step 3. Fold binding back, as shown, with unattached end EXACTLY on top of previous joined portion, then finger press the short fold at the end of the stitching. 

Step 4. Mark the "pivot" point - where the next side's stitching will begin. A length of binding must be "skipped" in order to allow binding length exactly at the corner for the width of the finished binding to create the miter fold.

Here, the seam gauge measures off 3/4", since in this example, the distance between the SEAMLINE folds of the binding equals 3/4". If a larger binding width is selected and prepared, the "skip" distance would be adjusted to match this distance.

Step 5. Insert a straight pin at the "pivot" mark, through the binding fold.

Step 5, cont. Now insert the straight pin at the intersection of the quilt edge 1/4" seam allowances. This should be the same place that the stitching approaching this corner was stopped and locked.

Slide the binding along the pin so it is snug to the quilt, arrange the binding length into position to stitch it along the second quilt edge, with the extra "tuck" of corner skipped binding making a neat fold.

Step 6. Begin the stitching for the second quilt side by inserting the needle exactly where the pin is holding the corner pivot mark. Remove the pin; stitch 2-3 stitches forward, back stitch to the corner, then stitch the length of the edge. As stitching progresses, continue to position the binding fold exactly on the 1/4" quilt edge seam line.

Stitch along the length of the second quilt edge. Repeat the process from Step 2: stop stitching at the 1/4" corner where seam lines cross, and lock by back-stitching 2-3 stitches.

Remove from machine; clip thread ends close.

Step 7. Repeat the corner "skip length" measure and marking, pin insertion, binding arrangement, etc. from Steps 4 & 5. Then begin and stitch binding to the third quilt side as in Step 6.

Repeat the corner process and stitching for the fourth side, and then again for the final corner, and for the part of the first quilt edge where binding has not yet been attached. Stop approximately 5" from the lead edge of the binding (see Step 1).

This image shows where the lead chisel end is in relation to where the stitching ends. You don't need to backstitch. Clip thread ends.

Step 8. Measure 9-10" beyond where stitching ends in Step 7 and trim away excess. In this photo you can see the straight-cut end of the final binding end as it was trimmed. 

Step 9. Arrange binding layers with lead end on top of final end, all excess length adjusted out so layers are smooth and even as they will be when finally stitched. Use a marking tool to trace along the chisel cut end of lead binding edge. 

Step 10. Move lead binding end out of the way. 

Use a see-thru ruler to mark a CUTTING line 1/2" beyond the line traced in Step 9. Make sure the new line EXTENDS the final end length - this is the seam allowance being added to the final end (1/4" plus 1/4" for the two ends to join). 

In this photo, the first line traced is UNDER the ruler, aligned with the 1/2" line of this 1" wide ruler.

Step 11. Trim excess of final end on the CUTTING line traced in Step 10.

 Step 12. Bring binding ends together, align cut edges, then arrange so that the 1/4" seam lines match up edge to edge. 

Step 12, cont. Note that edges will "offset" slightly, so that the angles created at binding long edges should be the position of the 1/4" seam lines.

Pin the ends together and pull them away from the quilt surface so the seam can be stitched. This will result in the folding of the quilt layers AWAY from the binding, and is the appropriate result needed to keep them free from this stitching.

When stitching is complete. trim away the "ears" corner points that can be seen in this photo at each seam end.

Step 13. Allow the binding and the quilt layers to re-align. They should now match up exactly, with no excess or lack in either. Carefully press the new binding seam open.

Step 14. Arrange remaining free binding so fold is on the 1/4" seam line. Complete stitching. Clip thread ends.

To see the final steps of the binding process, view

"Binding Tutorial: Finishing the Binding Second Edge" .

Be THANKFUL Letter Boxes Ensemble

I've been having more fun using Snapdragon Snippets' box letters.

This time my selected word is longer, so I brainstormed how to scale the letters for maximum space efficiency. Then I began the hunt for fun and dimensional elements to express what Thanksgiving means to me. Here's what I came up with: 3d acorns and oak leaves, dimensional cornucopia filled with 3d harvest-able things (carrots, apples, corn, grapes), spherical pumpkin, 3d turkey with his hand sign, pilgrim hat, and clustered wheat. 

 Detail photos will make it easier to see the paper shapes used. On the 'T' hang a trio of 3d acorns with oak leaves behind, embellished with actual perle cotton center stitching.

 The 'A' and 'N' are raised on a box I drafted and cut, so that the wonderful new dimensional cornucopia could make an "upstage" appearance. It is filled with dimensional corn, carrots, apples and grapes. The carrots are miniaturized from a box file. All others are "slice forms", including the 3/4" grape circles with center perforations that I improvised myself in Silhouette Studio.

Here you can see the "fruit filling" a little better.

 The 'K' is the same modified (shorter arm) version from my "SPoOkY" ensemble previously done, this time holding a spherical pumpkin.

'F' is the platform for the 3d turkey with his sign of admonition about the right attitude for November. (And always!) Above the 'U' floats the 3d pilgrim hat suspended on a wire.

 Finally comes 'L' with a cluster of wheat stalks, tied up with a bow.

Besides the 3d letter boxes, many of the designs featured come from Snapdragon Snippets. Search for them in the online store under that specific designer.

For a detailed list of the letter re-sizing, and the design files I used, email me with a request for the "Be THANKFUL Letter Box Ensemble" and I will email it back.

Jodi at hearthsewnpatterns(at)yahoo(dot)com 

"Harvest Blessings" Silhouette Project

Ahhhh!, Feels good to squeeze in a few moments 
to celebrate the Thanksgiving season.

Inspiration for this project has been bouncing in my imagination. 

I don't think tags are just for banners, as you can see. 
Here they adorn filled vessels and sit atop a re-purposed shelf box 
with vinyl phrase added onto a painted plank.

These two-layer H A R V E S T tags and the "Blessings" flourished phrase 
are from Silhouette designer Kenzie Daley of Snapdragon Snippets. 

Tags have cut-out letters, ribbon punch holes, and 
detailed flourished autumn symbols (acorn, pumpkin and leaf). 
These last don't show as well in a photo image as they do in person. 

Recycled glass containers - vases of two shapes plus a goblet-style candle holder - 
are filled with nature's treasures (pine cones, hemlock cones, horse chestnuts, acorns). 

In this closeup you get a better idea of the jar composition. 

A piece of corrugated paper has been curled around the jar or vase neck, 

with brown raffia wrapped, threaded through ribbon holes, 

then through a large brown wooden bead, with a rust ribbon accent.

One note regarding the "Blessings" design: I added the end flourishes, 
copied or reversed from the original, 
then added a few "berry" circle clusters that I love.

Hope you have time this November 

to do something fun with your Silhouette Studio!

Be sure to check out Snapdragon Snippets' many wonderful designs for the season.

On the Docket Small Seasonal Banners

Autumn On The Docket

In recent years, a series of smaller month-by-month banners were released as patterns in the Hearthsewn line. Popular from the start, each banner features paper foundation piecing and/or machine over-edge applique, plus even-weave counted cross-stitch tags identifying the month each represents.

Winter On The Docket

These banners are fun to create for several reasons. First, they are small and are very "accomplish-able" within the month-by-month time frame that presents itself, once a quilt maker begins "collecting" them to display. Second, each is displayed on a hand-towel stand that is available throughout the country from Bed, Bath & Beyond. (Specific product information is found on the pattern cover to help locate and purchase the stand.)

Summer On the Docket

Third, since they are free-standing, they can be incorporated into your seasonal decor in different ways from regular wall or throw quilts. In a vignette with other stitchery and figurines, on a shelf, on an occasional table, etc.

Spring On the Docket

Mini-banners were released in four separate pattern titles: On the Docket: Winter (December-February); Spring (March-May); Summer (June-August); Autumn (September-November).


For more information about these patterns and how to purchase them through the mail, go to: hearthsewnpatterns.com or email Jodi at hearthsewnpatterns@yahoo.com.

Binding Tutorial: Strip Cutting & Prep

Complete your quilt, large or small, with neat and secure edge binding. 

This Binding Tutorial demonstrates "single bias", and is presented in several parts: 1.) strip cutting and preparation; 2.) attaching, miter corner turn, and end connection splice, 3.) backside invisible stitching; 4.) double-layer bias differences.

The steps shown here use bias, "single" layer prep, emphasized by the pinstripe fabric. Straight-grain strips can also be used, with the only difference being a slight lack of mold-ability. If corners are rounded, bias will work better. Double-bias binding is a favorite choice as well, and prep differences can be viewed in a separate post on this blog.

Step 1. For bias, begin by finding the bias cutting direction. The fabric is placed on a large cutting mat with lengthwise grain placed vertically, crosswise grain on the horizontal. Take an upper corner, fold it over so that the grain-cut upper edge aligns with the vertical up/down fabric grain.

Establish that line by hand- or finger-creasing the resulting fold edge, then unfold.

Step 2. Using rotary cutter and ruled straight edge, make the first cut on the crease line.

Step 3. Determine how wide you want to cut your strips. For single bias using the red Clover bias tape maker as demonstrated here, I will cut scant 1 1/2" strips. (This allows for generous 1/4" seam allowances on both edges plus the scant 3/4" center portion that will be the visible binding.)

Determine the perimeter of your quilt, add about 10 extra inches for splicing strips together, corner turns and end connection. Cut the required strips for your quilt's edge.

Step 4. Join the cut strips end-to-end into one length. Bias strips (cut from grain-cut straight edged yardage) will already have the "chisel" slanted ends. To understand how they fit, lay two strips with the "matched" angle ends as shown on top, with face sides UP on the work surface. Next, lift and turn over the right strip and lay short cut ends together. Adjust up or down so that the tiny angle at top and bottom where strip edges cross is 1/4" in from the cut ends.

Step 5. Use regular machine stitch length to stitch across the end. If adjusted properly, stitching will intersect seam ends where the strips cross. Repeat until all strips are joined. 

Step 6. Press the seams open. Trim away "ears" - seam allowance extensions that extend beyond strip edges. 

Step 7. Fold the edges in to prepare the binding. This photo shows the 3/4" (approx.) finished "flat" size that works for quilt edges that have 1/4" edge seam allowances & thin batt enclosed. When folded, the binding will be about 3/8" on the front and 3/8" on the back side. 
Work on ironing surface. To use the bias tape maker, insert the point into the large end (shown here on the left end) by the handle. Use a straight pin inserted in the top slot to push the strip through until enough of the tip comes out the end so it can be finger-pulled for remaining process.

Use a medium hot iron to press the extending end so that the folds created by the 'maker are creased flat. As the iron holds the tip in place, slide the 'maker a couple of inches along, pause and press the strip to catch the iron up to the 'maker. Repeat until the entire length is pressed. 

As an alternative to using a bias tape maker, cut a strip of manila or other similar weight cardstock to form the fabric strip around. Cut the strip the "finished size" center width desired. For this demo, the width of the strip would be 3/4", similar to the size this bias tape maker prepares.


Lay the strip down the center on the backside of the strip. Hold the strip in place as you use the edge of the iron to fold the strip edge over the card stock. Fold and press both fabric edges along the length of card stock strip, then move strip to the next unfolded portion.  Leave a short length of pressed fabric section folded in place strip end to help hold it in place . 

To continue the binding process, click here to go to the post on this blog entitled

 "Binding Tutorial: Attaching & Miter Corner Turn.