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Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
CO Guide to Judging Clothing
Colorado 4-H Guide for Clothing Judges Standards of Quality Clothing Construction Introduction One of our basic tasks in evaluating or judging is to be able to recognize and identify the standards that give a garment a finished, professional look. There are many techniques that can be used to accomplish the same end product. Each of us has techniques that we like and techniques that we dislike. In an objective evaluation it is essential to play down our personal preferences and to build upon identified and accepted standards. In general, there are some standards that apply to almost all techniques. Almost all construction techniques should result in an area, finish or detail that is: • Inconspicuous o Flat and smooth o Free from bulk o Stitching a uniform distance from an edge or fold • Functional • Durable –stitching uniform and secure Specific standards that can be expected in good construction are listed on the following pages. They are organized by techniques and/or areas, and the techniques are presented in alphabetical order. Overall Appearance Be objective when considering the overall appearance and appeal of a garment. It may be helpful to think about there being at least one especially pleasing feature about this garment, reflecting the many hours of though, effort and creativity that went into its construction. It may be the design, fabric, use of unusual technique or detail. Particularly neat and well-done machine or handstitching, etc. o Overall neatness and cleanliness o Plaids, stripes, checks and other designs matched at seams o Fabric with a direction in design or nap issued in garment in one direction unless garment design requires variation. -
ABIGAIL VALANCE ©2007 Pate-Meadows Designs, Inc
ABIGAIL VALANCE ©2007 Pate-Meadows Designs, Inc. (Rev. 4/10) • This fully lined and interlined, mock Return pleated balloon shade can be adapted to fit Face Width (excluding returns) various window widths. The finished length of the valance is approximately 25”. The finished width of the valance is based on the face width excluding the returns (see illustration at right). The pattern allows for 3 ½” returns at each side where the valance 25" returns to the wall to cover the hardware. • This valance works best when constructed out of a medium-weight decorative fabric. We like to use a contrasting fabric for the pleat insert and piping. The valance is lined and interlined and has a facing along the bottom to prevent white lining from showing to the front side. We illustrate the facing out of the face fabric; however, a contrasting decorative fabric can be used for the facing instead. • Use drapery interlining to give the valance the best body and shape. Interlining is a flannel-like cotton fabric that hangs between the face fabric and the lining. It is available in white or natural colors and can be found at most decorative fabric stores or at www.patemeadows.com. It is not the same thing as interfacing . • This pattern allows for a 3 ½” return; therefore, the valance must be installed with a 3 ½” projection from the wall (see illustration above). It will not work installed on knobs alone. We recommend using decorative knobs with post adapters which are available at www.patemeadows.com. • The ties can be omitted and the valance can be hung on a decorative rod with rings as shown at right. -
Design Iterations Through Fusion of Additive and Subtractive Design
DESIGN ITERATIONS THROUGH FUSION OF ADDITIVE AND SUBTRACTIVE DESIGN A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Gordon Stumpo May 2016 i Thesis written by Gordon Stumpo B.A., Washington State University, 2014 M.A., Kent State University, 2016 Approved by Vince Quevedo, Thesis Supervisor Brian Peters, Committee Member Margarita Benitez, Committee Member Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art Mr. J.R. Campbell, Director, The Fashion School Dr. Christine Havice, Director, The School of Art Dr. John Crawford-Spinelli, Dean, College of the Arts ii TABLE OF CONTENTS Page LIST OF FIGURES ……………………………………………………………………………………….……….…….….vi LIST OF TABLES………………………………………………………………………………………...……….………..xi ACKNOWLEDGMENTS……………………………………………………………………………...………..………..xii CHAPTER I. INTRODUCTION…………………………………………………………………………………………..………….13 Concept……………………………………………………………………………………...................................13 Design Framework…………………………………………………………………………………………..…13 Surface and Structure Frameworks…………………………………………………………….….……14 Additive Design…………………………………………………………………………………………..…..….18 Subtractive Design……………………………………………………….……………………………....….…18 Tension…………….……………………………………………………………………………….…………..…..18 Price Point…………….…………………………….………………………………………………………...…..19 Personal Skills & Background…………….……………………………………………………….…..…..19 Problem Statement & -
LAPTOP SHOULDER BAG by Jackie Robinson, Animas Quilts - 2017
LAPTOP SHOULDER BAG by Jackie Robinson, Animas Quilts - 2017 Hydrangea Embroidery - digitized by OESD adapted from Hydrangea fabric by Jackie Robinson & Benartex LLC Outer Fabric - 7/8 yd Fusible Woven Interfacing - 1-3/4 yds if 40” wide or 3-1/2 yds if 20” wide Pellon Fleece - 1/2 yd Lining Fabric - 1/2 yd Medium weight Tear-Away, preferably Ultra Clean & Tear from OESD OESD Perfect Press Cloth Begin by measuring your laptop – width, height, and thickness. MacBook is: 14.125 x 9.75 x .75 I wanted a 6” flap, 2” of gusset (it has to include that on top, plus 9.75” height for the back = 17.75” x 14.125. Add 1” to both measurements (1/4” seams plus ease for the included batting) = 18.75” x 15.125” That’s the measurement I trimed to after embroidery. Therefore, begin with a 20” x 17” for the Back & Flap. It’s large, so fuse two layers of woven iron-on interfacing to the wrong side. Double interface all the pieces for strength, as well because of embroidery on the back as well as the flap. Use two layers of stabilizer also. Flap embroidery is 5” x 12”. At the Raw edge of the flap, mark center 2.5” + .5” = 1.125” + 4.125” up from the edge. Strap - Cut fabric at least 7” x 42” Two layers of Interfacing. Place leaves as desired, with two layers of stabilizer. After stitching, trim to 6-1/8” x 36” Cut front 10.75” x 15.125”. Double Interface. -
Since 1978 Children's Corner Has Honored the Classic Traditions Of
BY LEZETTE THOMASON Since 1978 Children’s Corner has honored the classic traditions of children’s garment sewing with timeless designs. The four original owners began a shopClaire that designed and stitched custom garments for little girls and boys. The vision of sharing these Children’s Corner designs with other heirloom shops was realized a few months later. Through the years new patterns have immerged while older ones have been retired. Children’s Corner attempts to keep up with current fashion trends, still ever respectful of a timeless look. All patterns are sized to be age appropriate. Children’s Corner prides itself on well-fitting patterns that are drafted using the excellent teachings of Elizabeth Travis Johnson. The patterns are drafted using the same sloper for each size, insuring the same fit from one pattern to the next. The pattern pieces, such as collars and sleeves, are therefore interchangeable. Original watercolor by Lucy Poyner In 1981, the Children’s Corner pattern Claire was born. Claire featured time-honored traditions – pleats, a Peter Pan collar and tiny corded piping. Lezette designed Claire to button in the front as modern mothers wanted a little girl to dress herself. Mothers also wanted to avoid Elizabeth Travis Johnson’s dreaded placket, “opening under a back pleat”. Claire, now updated, has a longer length and loose pleats rather than pressed down pleats. Lezette includes some helpful lessons in these instructions. The first is neatly finishing a sleeve edged with corded piping without bulkiness. The second lesson is how to make a machine overcasted seam look like it has been serged. -
Sewing Machines Glossary of Terms
Sewing Machines Glossary of Terms BALANCE WHEEL: Also known as a hand or fly wheel. KNEE LIFT: A linkage often found on industrial sewing Located on the right side of the sewing machine and helps machines that makes it possible to lift the presser regulate the rate of movement of the sewing machine parts. foot of a sewing machine with your knee. POWER PLUS WHEEL: Large diameter balance wheel MC-SCR MOTOR: A motor control, silicon-controlled rectifier that that increases slow speed power and control. Comes is compact, powerful, and offers greater slow speed power and standard with Ultrafeed™ and Big-N-Tall machines. control than a clutch motor. Power is consistent up to a top speed and is controlled with a high quality potentiometer foot pedal. BOBBIN: A spool that sits in the lower part of the machine holding the thread that makes the underside of a stitch. MECHANICAL WALKING FOOT: A foot that moves forward and back in time with the feed dog to ensure that layers of CARRYING CASE: Sailrite's Ultrafeed™ Sewing Machine fabric are consistently moving together through the machine. comes in an instrument quality wooden cabinet covered in high quality black vinyl and reinforced with durable NEEDLE BAR STROKE: The range of movement of the plastic corner caps. Carrying handle and latches are strong needle up and down. In general, a longer stroke makes a enough to easily handle the weight of the machine. sewing machine more capable in thick fabric assemblies. CLUTCH MOTOR: The tried and true standard for the NEEDLE (THROAT) PLATE: The flat surface below the production sewing industry. -
" 47.4% Attorney United States Patent Office
C, A, TURNER. ONE BUTTON UNION SUIT, 1,204,615. APPLICATION FLED NOW, 8, 1915. Patented Nov. 14, 1916. Fig.5 INVENTOR CHARLES A TL/FNER " 47.4% ATTORNEY UNITED STATES PATENT OFFICE. CHARLES A TURNER, OF UTICA, NEW YORK. oNE-BUTTON UNION-suIT. 1,204,615. Specification of Letters Patent. Paterated Nov. 14, f$91 6, , Application filed November 8, 1915. Serial No. 60,215. To all whom, it may concern; will eliminate, the double thickness of cloth Be it known that I, CHARLEs A. TURNER, at the crotch and obviate bulkiness in this a citizen of the United States, residing at section. However, if a double flap should Utica, in the county of Oneida and State of be found desirable, a small gusset can be New York, have invented certain new and readily attached to the corresponding edge 60 useful Improvements in One-Button Union of the garment to obtain this effect. Suits, of which the following is a specifica The flap or gusset, at the back of the gar tion, reference being had therein to the ac ment, is designed to be sewed to one edge of companying drawing. the slit or opening in the rear of the garment 0 My invention relates to one button union and to extend from the top or neckportion 65 suit, and I declare the following to be a full, to the crotch. The flap is cut with a greater clear, 'concise and exact description thereof width in that part opposite the lower per sufficient to enable anyone skilled in the art manent opening of the garment, whereby to to which it appertains to make and use the prevent the accidental opening of the same 15 same, reference being had to the accompany and the consequent exposition of the body. -
Princess & the Pea Pincushions
Princess & the Pea Pincushions Materials Required Granny Square Cushion Selvage String Cushion Fabric: Fabric: • 8 - 1 3/4” squares The Sweetest Thing • Variety of strips between 1” and 1 1/2” to blue & green prints make 4” x 6” string piece • 3 - 3 1/8” squares Bleached Denim solid • 1 - 4” x 6” rectangle Main Flower Blue • 1 - 4” x 6” rectangle Main Flower Blue • 1 - 2” x 21” strip Chevron Blue • 1 - 2” x 21” strip Chevron Blue Notions: Notions: • Sewing Machine • Sewing Machine • Fiberfill Stuffing • Fiberfill Stuffing • Vase Filler or Crushed Walnut Shells • Vase Filler or Crushed Walnut Shells • Hand sewing needle & thread • Hand sewing needle & thread • Scissors or rotary cutter • Scissors or rotary cutter 1 Granny Square Cushion 1. Cut Setting Triangles & Piece Top First, cut the three 3 1/8” squares into four quarter square triangles for setting, you will need 10 triangles for this project, two are leftover as scraps. Next arrange prints as shown and sew together in diagonal rows. Press seams in opposite directions, as shown, to make lining up points easy. Sew the rows together; then add the corner triangles to the piece. 2. Trim & Round Corners Trim the block so that 1/4” of the Bleached Denim fabric extends beyond the prints. Using a circle with a 1” diameter (I used a small spray bottle, but have provided a circle on the printer friendly pattern), draw a rounded corner on each corner triangle. Place the backing piece wrong sides together with the top and cut around the curves through both layers. -
Key Details We Look for at Inspection
Key Details We Look for at Inspection Please not that these lists are not all inclusive but highlight areas that most often cause difficulty. Additional details are included on spec sheets for individual costumes. Boys’ Costumes Achterhoek: 1. Overall appearance of costume 2. Do you have the correct hat? This is the high one. Volendam is shorter. 3. The collar extends to the edge of the shirt and can be comfortably buttoned at the neck. 4. Ring on scarf and is visible above vest. If necessary use a gold safety pin to hold the ring in place. 5. Is the scarf on the inside of the vest, front and back? 6. Shirt buttons are in the center of the front band 7. The vest closes left over right. 8. The chain is in the 2nd buttonhole from the bottom 9. Welt pockets are made correctly and in the correct position. 10. Pants clear shoes. 11. Pants have a 6” hem Marken: 1.Overall appearance of costume 2.Red shirt underneath jacket 3.Red stitching on jacket placket 4.Closes as a boy (L. over R.) 5.Pants at mid-calf when pulled straight 6.Pants down 1” from waist Nord Holland Sunday: 1. Overall appearance of costume 2. Correct hat and scarf 3. Neck - can fit 1 finger 4. 2 dickies (one solid and one striped) 5. Jacket - collar flaps lay smooth 6. Buttonholes are horizontal 7. Jacket closes as a boy (left over right) 8. Cord, hook and eye at back of pants 9. Pants clear shoes 10.6 inch hem Noord Holland Work: 1. -
Rectangular Cushion Pattern Rectangular Cushion Pattern
Rectangular Cushion Pattern Rectangular Cushion Pattern Rectangular Cushion FREE PATTERN This Cushion measures 30cm x 56cm wide (12” x 22”). Many embroidery designs lend themselves perfectly to be made into small square pillows. By simply adding a piece of complementing print fabric at each side, you can easily make a beautiful bolster style cushion instead. BY Anna Scott Embroidery PO Box 80, Kangarilla SA 5157, Australia Email: [email protected] www.annascottembroidery.com.au Anna Scott © Rectangular Cushion | 1 www.annascottembroidery.com.au Rectangular Cushion Pattern Rectangular Cushion Pattern You will need Cutting Out * 35cm x 35cm wide (7" x 7") piece of medium weight Cut the fabric pieces according to the measurements cotton to compliment your embroidery below. * 50cm x 125cm wide (20” x 49”) piece of linen or Medium weight print cotton medium weight cotton for backing and piping Side front: cut two, each 30cm x 16cm wide (12" x 6 1/4") * 40cm (16") matching zip Backing fabric * 175cm (1yd 33") size 6 piping cord Back: cut two, each 16.5cm x 58cm wide (7" x 22") * 40cm x 60cm wide (16" x 24") cushion insert Piping: cut four on the bias, * Matching sewing thread each 60cm x 6cm wide (24" x 2 3/8 ") 1 2 2 2 2 1 Changing size The measurements given in these instructions suit a Cutting layout centre panel that measures 30cm (12”) square. Backing fabric If your embroidery is very different in size to the one 1. Back used here you can change the size of the finished 2. Piping pillow to suit smaller or larger pieces of embroidery using the following: Construction All seam allowances are 1cm (3/8") unless otherwise specified. -
Projects > Foot of the Month > Piped Potholders Designed Exclusively For
ProjectsFoot of >the Month > Piped Potholders Use your Brother Sewing Machine along with the Brother Piping Foot to make perfect piped potholders. We will show you how to cut and sew bias strips for piping, and then use the piping foot to decoratively finish the potholders with piping. Accent your potholder with an embroidered monogram, built in decorative stitches, or make a trio like ours using both techniques. Use pre-quilted fabric for a jump start on this project and you will be finished in no time! Materials and Supplies Brother Sewing Machine SA192 Brother Piping foot. Brother Embroidery Thread SA5810 Brother Pacesetter® Medium Weight Tear Away Stabilizer for embroidery and decorative stitching. For the Embroidered Monogram: Brother Machine with Embroidery Capability 4-inch X 4-inch Embroidery Hoop Built in lettering and frame pattern or Brother Embroidery Lettering Software. Basic sewing notions including sewing thread to match fabrics, and a fine wash out marker or chalk pencil. Seam sealant for treating raw edges. Figure #1a Fabric Requirements for each square potholder: Font Style: Plumage Frame: BMF-SF-0012 Double faced, pre-quilted fabric, one piece measuring 9-inches square for front side of potholder. Quilt weight cotton fabric, two pieces measuring 9-inches square for back side of potholder. Thin cotton batting, two pieces measuring 9-inches square for filler. Fabric Requirements for each round potholder: Double faced, pre-quilted fabric, one piece measuring 9-inches square for front side of potholder. You will cut the circle for the front after decorative stitching is completed. Quilt weight cotton fabric, two 9-inch circular pieces for back side of potholder.