Selecting and Applying Interfacing
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Convertible Collar Construction
Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2. -
How to Make Spaghetti Straps and Your Life Easier By: Loyl8
How to make spaghetti straps and your life easier By: loyl8 http://www.burdastyle.com/techniques/how-to-make-spaghetti-straps-and-your-life-easier--3 When I was making spaghetti straps for my Sweet Neopolitan dress for the first time I was ready to rip my hair out. Then after a little research I found the most miraculous tool ever!! Joann Fabrics carries one “turn-it-all”: http://www.joann.com/joann/catalog/productdetail.jsp?pageName=search&flag=true&PRODID=prd10485 (not my favorite, but the other is hard to find) and then the cadillacs of tube turners “fastturn”: http://www.fasturn.net/xcart/home.php . You should always have a “loop turner”: http://www.joann.com/joann/catalog/productdetail.jsp?pageName=search&flag=true&PRODID=prd299 on hand. I tried all the other tricks and i was not successful at all (well at least one of my straps worked but it was torn to shreds and so were my fingers). Step 1 — Materials Gather your materials You can make your own tube turner by purchasing a small hallow tube 1How(metal or plastic) from a hardware or pluming store and by cutting the ends (making sure there not sharp so your fabric won't get ruined). Step 2 — Measuring Depending on your need and the fabric chosen there a few ways you can cut your strip. I cut mine from selvage to selvage. You can cut on the bias it will stretch more, but usually easier to turn. If you cut on the bias you may want to add elastic or cording for extra strength.First, make the fabric straight (I rip my cotton so it's perfectly straight). -
FTG Bsoc Website
But what do you do with it? Key fobs, jewellery, dog leads, cushion piping, bag handles, bathroom light cord, shoelaces, buttons or Fill the Gap other closures, passementerie, special cord for hanging objects or wrapping (small) presents 3 2 Books about straw-work have many similar 1 patterns, but they are not all suitable for using yarn. Straw was plaited for hats in Switzerland, Italy and England from the 1700’s on. You may Gap be familiar with corn-dollies and other decorative straw pieces. Based on a seven thread More recently, Braid Society members, straw-plaiting braid especially Jean Thornton and Anne Dyer, have given it new life. These directions are thanks to Veronica Try me! Johnston, Margot Lees, Ruth MacGregor and Shirley Berlin. 3 How to braid: 1. Hold the card with the gap at the bottom, towards your tummy. Cover the centre hole with your left thumb. 2 2. Starting with the thread to the right of the gap, count up wards 1 - 2 - 3. 3. Lift the #3 thread out of its nick and place it firmly into the gap. 4. Turn the card until the new gap is facing you. 1 Gap Repeat steps 1 to 4. You can mutter “jump 2 and fill the gap” as you work. Keeping your thumb over the centre hole helps to make a smooth braid. Every so often tug the braid gently downwards and look under the card to admire your creation. Another way to think about it: If you think of the card as a clock, the gap is at 6 o’clock. -
Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content. -
Placket Construction Options
Placket Construction Options 1 Type1: Two Separate Bound Edges on a rectangular stitching box The key to this structure is that the bindings are initially stitched only to the seam allowances on each side, and NOT stitched across the end, of the clipped box, which means that they, and the clipped triangle at the bottom, remain loose and can be arranged before the nal nishing to go on either side of the fabric, as well as either over or under the other, after joining them at the sides. The widths and lengths of the bindings and the space between the sides of the clipped box determine all the other options available in this most exible of all the placket types I know of. Variation 1: Both bindings t inside the stitching box If you cut the bindings so the nished, folded widths of both are equal to or smaller than the space between the initial stitching lines, as shown above, you can arrange both ends at the clipped corners to all go on one side of the fabric (right or wrong side), along with the clipped triangle on the garment. You’ll get the best results if the underlapping binding is slightly smaller than the overlapping one. This can be man- aged by taking slightly deeper seam allowances when you join this piece, so they can initially be cut from the same strip. Or, you can place one end on each side with the Both ends on RS One end on RS, Both ends on WS triangle sandwiched in between. -
Instructions
Lekala 4932 Dress With Straps Dress With Straps - Sewing Pattern #4932 Recommendations on fabric: natural/mixed fabric suitable for dresses. You will also need: fusible interfacing; 11 buttons. Seam allowances: Seam allowance for hem of garment – 2 cm; other seams – 1 cm. Note on seam allowances: - If the pattern has double contour the seam allowances are included. They are 1 cm unless specified otherwise. - If the pattern has single contour, the seam allowances are NOT included and need to be added when laying out the pattern. Note on length of fabric: Attention! The amount of fabric needed for your pattern is not included. It will depend on the selected pattern size, the width, and design of the fabric you plan to use. First, print all the paper patterns and lay them out at the width of fabric you plan to use (usually from 90 to 150 cm). Measure how much fabric you will need. Don't forget to account for pieces that need to be cut multiple times and pieces that are cut on the fold. CUTTING: Note on cutting: On the pattern pieces, “beam” means straight of grain. Lay out your pieces accordingly. Some pieces will be cut on the fold. This is noted on the pattern piece. Mark all notches and other design features such as pleats etc. from the pattern onto your fabric. When sewing the garment, pay attention to notches, they must match up. Main fabric: 1. Upper center back - cut 2 2. Upper side back - cut 2 3. Lower back – cut 1 on fold 4. -
Ruffle Sleeve Top Issue 37
RUFFLE SLEEVE TOP ISSUE 37 SKILL LEVEL In the Folds patterns are designed to inspire and encourage modern makers to create garments that are beautiful both inside ABOUT CONTENTS and out. Through selected techniques and construction details, IN THE In the Folds aims to encourage thought-provoking and ABOUT IN THE FOLDS 3 memorable making experiences - helping you enjoy each stitch in PATTERNS FOLDS the process. PATTERNS GARMENT OVERVIEW 4 Techniques may differ slightly to the home sewing methods you (INCLUDING FABRIC SUGGESTIONS AND NOTIONS) are used to, but in some cases industrial finishes will give you the cleanest and most professional finish. SIZING + GARMENT 5 MEASUREMENTS Seam allowances are marked on each pattern piece and detailed (INCLUDING FABRIC REQUIREMENTS) in each step. You will notice that in some cases the seam allowances meet each PRINTING THE PATTERN 6 other at different angles at the end of the seam. This is so that PRINTING PLAN 7 when you press the seam allowances open the seams will sit flush with the edges and will help you get a really clean finish. CUTTING YOUR FABRIC 8 In the Folds patterns are designed to include thoughtful Consider using fabric SUGGESTED CUTTING PLAN 9 details and interesting techniques so that you can enjoy the from your stash before process of making the garment as much as the end result. going to buy something INSTRUCTIONS 10 new. I dare you. If we slow down and take in every stitch, we can better You might be surprised GLOSSARY 21 our skills, appreciate the amazing things we can do with by what you find there. -
Fabrication and Analysis of Dielectric-Elastomer Minimum-Energy Structures for Highly-Deformable Soft Robotic Systems
Fabrication and analysis of dielectric-elastomer minimum-energy structures for highly-deformable soft robotic systems Michael T. Petralia and Robert J. Wood Abstract— Dielectric-elastomer minimum-energy structures (DEMES) form an emerging class of soft robotic system. The ap- propriate materials and method for rapidly fabricating DEMES prototypes are described. A DEMES component suitable for use in highly-deformable soft robots is presented and analyzed. Combinations of this component into snake-like robots are also presented. A calculation for determining a DEMES’s maximum mechanical work, electromechanical efficiency, and energy density is described. The scope of the DEMES design- space and future research paths are discussed. I. INTRODUCTION It is well-known that a dielectric elastomer film with stretchable surface electrodes—a dielectric elastomer actu- ator (DEA)—experiences an electrostatic pressure on its surfaces when an appropriate voltage (typically on the order of kV’s) is applied across the film’s thickness [1]. This pressure causes the film to contract in the thickness di- rection and expand its area. When stretched across a rigid frame, simple dielectric elastomer actuators (DEAs) have demonstrated areal strains greater than 380% [2], energy densities as high as 3.4 MJ/m3 [3], and maximum efficiencies up to 90% [4]. DEAs are of particular interest as elec- tromechanical transducers because the transduction element is extremely pliant and highly extensible when compared to most other transducer technologies [5], [6]. As a result, DEAs are able to operate in systems that are entirely soft; moreover, DEAs have the ability to function as actively and Fig. 1: Various inextensible, pliant planar frames adhered to 500% passively deformable systems capable of large-scale changes isotropically stretched elastomer films. -
To Complete the Pattern Join Bodice #1 to #2 at Circle Front Bodice #1
To complete the pattern join bodice #1 to #2 at circle Chapter 2 Chapter 4 Chapter 6 Chapter 19 Front Bodice #1 1/2” FACING N CUT 1 FABRIC ON FOLD CUT 2 WITH FACING CUT 2 EXTENSIO INTERFACING USE FOR: GRAINLINE LAYOUT CUTTING FABRIC PATTERN MARKINGS DARTS SEAMS COLLARS CLOSURES CENTER FRONT FOLD To completeTo the pattern join bodice #1 to #2 at circle TO COMPLETE THE PATTERN JOIN BODICE #1 TO #2 AT CIRCLE STITCH TO MATCHPOINTS FOR DART TUCK FRONT BODICE #2 Front Bodice #2 Chapter 2 Chapter 4 Chapter 6 Chapter 19 STITCH TO MATCHPOINTS FOR DART TUCKS To complete the pattern join bodice #3 to #4 at circle Chapter 2 Chapter 4 Chapter 6 Back Bodice #3 CUT 2 FABRIC USE FOR: CK SEAM GRAINLINE LAYOUT CUTTING FABRIC CK FOLD PATTERN MARKINGS DARTS SEAMS COLLARS CENTER BA CUT HERE FOR CENTER BA To completeTo the pattern join bodice #3 to #4 at circle STITCH TO MATCHPOINTS FOR DART TUCKS Back Bodice #4 Chapter 2 Chapter 4 Chapter 6 Chapter 4 Chapter 11 Chapter 14 Chapter 17 MATCHPOINT Front Skirt #5 CUT 1 FABRIC USE FOR: V SHAPED SEAM WAISTBAND WAIST FACING BIAS WAIST FINISH CURVED/ALINE HEM BIAS FALSE HEM CENTER FRONT FOLD Chapter 4 Chapter 11 Chapter 14 Front Yoke #6 CUT 1 FABRIC CUT 1 INTERFACING USE FOR: V SHAPE SEAM WAISTBAND WAIST FACING BIAS WAIST FINISH C. F. FOLD C. F. MATCHPOINT Chapter 4 Chapter 6 Chapter 10 Chapter 11 Chapter 14 Chapter 17 MARK DART POINT HERE Back Skirt #7 CUT 2 FABRIC USE FOR: SEAMS ZIPPERS WAISTBAND WAIST FACING BIAS WAIST FINISH CURVED ALINE HEM BIAS FALSE HEM Chapter 4 CUT ON FOLD Chapter 12 Chapter 17 H TC NO WHEN -
Surprise Humbug Tutorial You Will Need: 1 Rectangle of Stitched Linen Some 5Mm Ribbon Some Interfacing Some Matching Beads (Optional) Some Felt
Surprise Humbug Tutorial You will need: 1 rectangle of stitched linen some 5mm ribbon some interfacing some matching beads (optional) some felt Step 1 : getting ready. Iron your stitched linen (on the back of the work). Allow an extra 1cm around all the sides of the stitched design to allow for the seams. Cut a rectangle of interfacing to the same dimensions as the design, and iron it onto the back of it. Then fold back the hems and iron them down into position. Step 2 : putting it together. Place the felt rectangle over the back of the design, and stitch it in place, so that you hide the back of the design as well as the hems. Stitch the ribbons in place (on the felt side), on both sides of the rectangle, making sure that they are aligned with the design. Page 1/3 Copyright © 2012 Faby Reilly (www.fabyreilly.com) All rights reserved Surprise Humbug Tutorial Roll up your rectangle so that the “ribbon” sides are touching. Start stitching them together, taking care to leave a large enough opening (roughly 2/3 up from the bottom of the design). Whip-stitch** your way up towards the top, around the corner and down until you can stitch no more. You can (if you so wish) add beads to your seam as you go. Then work on the opposite side, shaping it so that you get a humbug. Step 3 : adding the finishing touches. The ribbons should be facing each other, ready to be tied into a pretty bow. Your surprise humbug is now to be filled with a “surprise” of your choice. -
Front Placket for a Shirt Without a Collar
FRONT PLACKET FOR A SHIRT WITHOUT A COLLAR OTTOBREOTTOBRE design®design® 6/20206/2020 Before constructing the placket, the placket opening on the garment has been slashed for 4 cm starting from the neckline and the neckline has been finished with a bias-cut facing. This placket tutorial has been designed for a garment sewn from lightweight cotton or linen fabric (e.g. double gauze fabric, poplin or linen chambray). Transfer pattern markings for placket on front panel and sew guide stitching around marked placket opening along dashed line. Cut button bands and stitch placket with even 10 mm seam allowances. The terms "inner"/"outer" and "left"/"right" refer to the garment when worn. 2 cm When making a placket on design 3 or 1 29 in issue 6/2020, use the button band pattern that is printed on page 4 of this tutorial instead of the pattern on the magazine pattern sheet. Print the pattern out on A4-size or Letter-size paper. Make sure that the print scaling is set to 100%. 1. Slash placket opening along center-front 1 cm line to within 10 mm from bottom of placket. 2 cm Clip diagonally into corners of guide stitching RS to form a triangle at bottom of placket. Left Right (outer) (inner) 2 cm 2 cm 2 2. Fuse interfacing to wrong side of outer WS WS halves of button bands. Fold button bands in half lengthwise and press creases. © OTTOBRE design® | STUDIO TUUMAT OY reproducing them by any means or in any form is exclusively The designs, instructions and patterns are only intended for reserved for the copyright holder. -
Twice As Sharp® Operators Manual
OPERATORS MANUAL TWICE AS SHARP® Scissors Sharpening System Customer service 1-800-888-3832 Professionally Sharpen Scissors and Shears manufactured by WOLFF INDUSTRIES, Inc. BACKGROUND INFORMATION ON LEE WOLFF Inventor of Twice as Sharp® 1930 - 1996 In 1957 Lee Wolff started a sewing machine sales and service business. Fabrics and a complete line of sewing needs were added in 1963, and the number of employees grew to 25 to handle the volume. During those years, Lee did a great deal of scissors sharpening and repair and made im- portant modifications on the available scissors sharpening equipment. In 1971 Lee and Mary Wolff became the first major importer and distributor of plastic handled scissors in the United States. They started to manufacture sewing scissors in 1973 under the trade name of KNIP. A U.S. patent was granted on the KNIP. The scissors factory was sold to American Scissors Corp. in 1980 and moved to the south. Lee set up the factory and innovated many new manufacturing processes. The July 1983 Consumers Reports rates the American Scissors designed and produced by Lee Wolff as a best buy. He also designed a full line of unique plastic handled scissors with interchangeable parts. Lee worked on perfecting the process of scissors sharpening for many years. It is necessary to accurately control the cutting angles, reduce burr formation during sharpening, and do deburring and micro-sharpening as a final process. This method produces scissors that are normally twice as sharp, hence the name Twice as Sharp® scissors sharpener. A United States patent has been granted as well as several foreign patents.