coaster dining room furniture

hi, it's jennifer from shabby fabrics back for the table glitz for august and i know in my garden i have beautiful sunflowers and so for august we absolutely picked our sunflower to be our theme for the month, for, of course the placemat, eight coasters. free download if you're watching on youtube is in the link below to click there and download the diagram the instructions for the projects, or if you're watching on our website there's also a link right below that video, but on our home page, there's a link that says free download. you can click that. you'll find those table glitz for all of the months not just for august and so many more projects as well. if you haven't already subscribed to our youtube channel, please do that because we're always coming out with new and fun projects.

if you've been following along with the table glitz as you know, you'll print your pages, tape them together, and you're going to cut out your background as you have done in the past. now in this particular project, for our kits anyway, we've picked one gorgeous teal it has it's an ombre scroll, and then for the back we picked a different fabric. same thing for the coaster. so, you can decide what you want for your background fabric. we chose two different yellows to give our sunflowers some dimension. and of course this beautiful sienna plaid from benartex is in our center, so first thing we want to do after we get our background cut out is if you're doing this from home you're going to go ahead and use your

diagram to trace your petals. now in our kit, of course anything appliquã©d is pre-fused and laser cut for you. i love that. these come to you this way already cut out for you and just, all you're doing is literally peeling off the paper backing and now you're ready to place those down. so i've got my lightbox with me today; i think this is the wafer 2 i'll be using. my diagram's taped together and i have an appliquã© pressing sheet. now i'm going to move this off here because of course you never want to iron directly onto your lightbox. i will go ahead and grab my appliquã© pressing sheet. now, i've learned there are some times where i want to use two appliquã© pressing sheets together.

sometimes it's a long kind of landscape shape and i want to have two of my appliquã© guides, excuse me, two of my applique pressing sheets, side-by-side because it may be a shape that continues going. some of the designs that casey has done for us are that way - they're longer pieces, and using the two applique pressing sheets side-by-side was invaluable. in this case, maybe using them top to bottom like this that way i can get the entire design pressed down. but let's say you have just one. let's say you've got just one of those. then how we'll manage that, so we'll go ahead, and the darker petals with the nice stripe is in the background. those will go down first

your iron should be on a medium heat. we'll just lay these down. this is where the lightbox and an appliquã© pressing sheet is so invaluable. there was a time where i really didn't have either one of those things and i definitely kind of got the job done but it didn't have the accuracy that i would have hoped. now what i can go ahead and do, too, is i can put down - well, let's just put that first layer down. you don't have to get crazy put the other petals down. we could, but for now if i want to just manage one thing at a time -

oh, and that moved just a touch. i want to make sure everything lined up and i didn't bump my shapes. let's make sure we've got a good medium heat. yes. now i could have put my other layer of petals down as well. sometimes i'm like, you know what? let me just iron down what i've got so far and then i'll go back and put more down. and now these will come on top, as such, and let's iron those down too. i could place those a little more accurately. and this will be covered up with your center. so

it doesn't have to be completely perfect, but i like to get it as accurate as i can. so we'll iron that down, you'd let that cool, peel that off you'll do the other half - i'll see if i can't let that cool down and then i'll show it i'm talking about. you can see we're having the other appliquã© pressing sheet right here and just doing the whole thing at once is a wonderful option and you'll definitely have uses for more than one appliquã© pressing sheet in the future. so, if you are inclined to get two of them, i think it's a definitely a worthwhile investment. so i definitely like to let my things cool down before i try to take them off my appliquã© pressing sheet.

i've tried to do that early and they're kind of still adhered to it. so i think we've got that down. i'll just peel this back. and once you buy an appliquã© pressing sheet - i've had mine for years and years and years. i think i've had mine over a decade. never had to ever replace it, so it is really a one-time investment. okay, and we'll put that off to the side. let me make sure i remember where i stopped. let's do this. let's bring this back here. so we stopped right here.

so i'm going to come in with - just so i don't forget that - i'm gonna come in here number six with my dark gold. you see how you can work in kind of two different hemispheres here and be able to finish up the project in basically two halves. oh! so that goes there, this goes here put that right there. so let's see, this must belong... right there. so again, having that two sheets means you can lay out one time.

you're not having to kind of re-acclimate, but we're gonna make that work with one. i want to show you how you would do it if you have just the one. slide that over to our pressing mat. let's press that down. now let that cool. sometimes if i wave it, cools it down a little bit faster, actually, maybe, maybe what we could do, let's see how innovative we can be together here. actually, this needs to go in behind it, doesn't it? so if we lift up this one, and we tuck this underneath here like this...

there we go, and that goes behind. then, now be sure you don't iron up there because that part is gonna stick to your paper. all i'm doing is ironing this -- -- where these join right here -- this spot right in here. just attaching that. okay, we'll let that cool. that's now one unit. so let's put that off to the side for now. i couldn't resist getting to the appliquã© first, but let's get back to -- we traced our background and we traced our backing and we also traced a piece of fusible fleece which i ironed to the backing. so i have my fusible fleece on the back of my backing.

this is my background. i'm going to put everything right sides together and let's pin that. and we'll take it to the sewing machine and sew a quarter of an inch all the way around, you're not gonna leave an opening, because we have this nice big sunflower. so we're gonna actually do a snip in the middle here and pull it through that way we don't have to close a seam on a curve. anytime i can avoid closing the seam on a curve i want to do that. just putting a couple pins in there so everything stays put. i'll be using my bernina and i will be using the dual feed. i have a 97 d on right now,

i believe on my machine if you're with -- if you're sewing with a bernina, i'm on the 97 d and i'm engaging my dual feed. it just acts like a walking foot, so if you don't have a bernina, you're sewing with a different machine, it has the same action as a walking foot. so let's take this to our machine and we're gonna sew a quarter of an inch all the way around. i love this magnetic pin cushion. it keeps everything convenient, it has a nice scoop where i can get my get my needles -- my pins -- okay.

alright now, as in other projects, sometimes you might want to trim that seam allowance, sometimes you might want to snip it, i don't think it's actually necessary because i think everything is the same amount. sometimes when things have a sharp turn or transition i'll snip in there, in this case everything has the same level of curvature, so i see really no reason to do that. unless you feel compelled to do that just out of habit. now, i'm gonna go ahead and make a snip here and a snip here. notice i pulled that away from my backing and i have a nice big sunflower going on the top here so i don't have to -- you don't have to snip too small.

if it's difficult to turn through just make a bigger hole there. i'm gonna go ahead and turn that through and i'm gonna use my clover tool here. first i'll just use my hand, then i love -- this is a point turner and this part is invaluable. when i'm trying to get a tough little, you know something out a real sharp point i'm gonna use this, but in this case, this has this nice kind of spade and when i just run that around it just makes that as flat as can be.

i love it. there is not another one on the market that i love as much as this. so if you're gonna do any projects where you're turning things through this is wonderful and boom just like that all done. let's press that out. now the reason that we decided to not put the appliquã© on this kind of teal-colored background in the beginning is sometimes just the action of pulling the project through can unseat some of that fusible webbing and i don't want to do that. so that's the reason that we went ahead and waited to now put the appliquã© on top. just gonna close that area back up. and we also wait to do our

top stitching so that it quilts the project as we go. so this should be nice and cooled down for us. i love being able to move appliquã© -- appliquã©d pieces as a unit. i might have not secured that real well, i'll iron that, but that's okay. we can get that here on the project. as we lay it down it'll become obvious where that overlap is so you're just eyeballing it and i'm basically looking at -- are all of my points about the same distance from the edge? you could get if you're very specific you could go ahead and start measuring, but i think visually that looks good to me. so i'm going to go ahead and iron that down. okay, iron that down and then come in with the center and

then as you would expect you come in with your metallic thread -- we have a three-piece thread set here. let's get our center, position that, iron that, isn't that just cute? and i love -- look at -- i don't know if you can see it with the overhead camera; that brown plaid has a gold detail in it, a gold metallic detail, i absolutely love. this was a collection for benartex that came out years and years ago and i have fallen in love with it and they reprinted that fabric just for us, now, five times over, and so this is to my knowledge and i don't think anybody else has that fabric.

but i have never loved a brown plaid more, or ever, than this amazing fabric from benartex. at this point you would go ahead, just like i said, you'd take this to your sewing machine. this is where i love to recommend this thread director. it is the ideal solution whenever you're using metallic thread you want to use a schmetz metallic needle, you may want to adjust your tension a little bit whenever you're using with metallic thread, and of course practice on some scrap fabric before you move to your final project. you'll be stitching around the perimeter with your gorgeous teal. we used this orange actually to accent in the middle of the brown center, and of course our gold is in our petals. the only difference with the coasters, they're

put together the exact same way, but because we're dealing with smaller shapes we went ahead in our pre fuse laser-cut kit and made those as one piece and one piece. so that's gonna make laying that out so simple for you. so i hope you enjoyed learning how to make the table glitz for august, exclusively available from shabby fabrics.

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