TIPS and TRICKS for REFASHIONING YOUR CLOTHINGS BYADDING EMBELLISHMENTS Tips for Adding Trim
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Jan's Bonus Embellishment Tips
Jan's Bonus Embellishment Tips BONUS! Add a sliver of color to your quilting! This technique is simple and effective for adding a touch of color and style to any quilt project. You'll see this technique on many of Jan's quilts. We are going to make a sample that you'll keep in your notebook for reference. Adding a sliver of color – Determine the width for the accent color. For our sample, we will make a 1/4" sliver of color between two strips of fabric. You can see this effect by examining Jan's Spiral Lone Star quilt (look at the outer diamond units nearest the binding). a – Two fabrics, joined by a single seam. b – Determine the desired width of the accent strip. Add 1/4" seam allowance. Multiply X 2 for accent strip width. c – The same two fabrics plus a contrasting accent strip, attached to the left fabric. For your samples – Cut: 1 – 2" strip of fabric, selvage to selvage. sub-cut into into two pieces. Cut : 1 – 1" x 12" strip of accent color – choose cotton or lamé fabric. Follow the steps below. Attach the samples to the pages and keep in your notebook. 1 – Two 2" strips of fabric one 1" strip of accent color (white strip in illustrations) 2 – Set the sewing machine to stitch at 1/2" by positioning a ruler beneath the presser foot. Lower the needle to touch the 1/2" 2 – Option: add blue tape to follow mark. Lower the presser foot to hold the ruler in place. -
Spring/Summer 2019
SPRING/SUMMER 2019 CLASSIC ROLL UP GOSSAMER INTRODUCING THE... B166 B176 4” UPTURN BRIM & ROUND CROWN 3 1/2” MEDIUM BRIM & ROUND CROWN GOSSAMER MINI Adjustable Sweatband, UPF 50+ Sun Protection Adjustable Sweatband, UPF 50+ Sun Protection B1899H 50% Paper, 33% Polypropylene, 17% Polyester 50% Paper, 33% Polypropylene, 17% Polyester 3 1/4” MEDIUM BRIM & ROUND CROWN Auburn Sand, Black, Denim Multi, White: 45% Paper, 35% Polypropylene, 20% Polyester Auburn Sand, Black, Denim Multi, White: SPRING/SUMMER 2019 Adjustable Sweatband, UPF 50+ Sun Protection 45% Paper, 35% Polypropylene, 20% Polyester 50% Paper, 33% Polypropylene, 17% Polyester Auburn Sand, Black, Confetti, Denim Multi, White: 45% Paper, 35% Polypropylene, 20% Polyester OCEAN AUBURN SAND DENIM MULTI BLACK MULTI AUBURN SAND CONFETTI DENIM MULTI AUBURN SAND BLACK BLACK MULTI BLACK BLACK MULTI TROPICAL MULTI ECRU WHITE NATURAL CONFETTI ECRU NATURAL ECRU NATURAL NAVY RATTLESNAKE WHITE DENIM MULTI BLACK RATTLESNAKE RATTLESNAKE TRUE RED WHITE CLASSIC ROLL UP GOSSAMER INTRODUCING THE... B166 B176 4” UPTURN BRIM & ROUND CROWN 3 1/2” MEDIUM BRIM & ROUND CROWN GOSSAMER MINI Adjustable Sweatband, UPF 50+ Sun Protection Adjustable Sweatband, UPF 50+ Sun Protection B1899H 50% Paper, 33% Polypropylene, 17% Polyester 50% Paper, 33% Polypropylene, 17% Polyester 3 1/4” MEDIUM BRIM & ROUND CROWN Auburn Sand, Black, Denim Multi, White: 45% Paper, 35% Polypropylene, 20% Polyester Auburn Sand, Black, Denim Multi, White: Adjustable Sweatband, UPF 50+ Sun Protection 45% Paper, 35% Polypropylene, 20% -
23. Embroidery As an Embellishment in Fabric Decoration
EMBROIDERY AS AN EMBELLISHMENT IN FABRIC DECORATION By OLOWOOKERE PETER OLADIPO Department of Fine and Applied Arts, Federal College of Education, Osiele, Abeokuta. Abstract Nigeria is endowed with abundant human, natural and material resources, which could be used in different vocational practices. Practitioners have consistently practiced their art with attention to uniqueness and high quality forms, styles and content. Embroidery as a decorative process in Art has played principal roles in entrepreneurship development. Hence, this paper made a critical analysis of the forms, content and significant of embroidery in art, the thread colours, fabric motifs and pattern suitable for a successful embroidery design would also be considered. The general conclusion is that if embroidery is properly done, it would increase the embroiderers sense of creativity in our societal growth and the interested individual should be encourage to learn the craft so that the tradition will remain forever. Embroidery is an interesting stitching technique by which coloured threads, generally of silk or wool are used with a special needle to make a variety of stitches, and it is used to make an attractive design on garment, wall hanging or upholstery pieces. In Nigeria today, embroidery clothing are used far and wide and its unique feature and elegance remain the ability to trill and appeal to the people’s fervent love for it whereby the artisan considered different textile materials such as guinea brocade, damask and bringing out the significance of thread with which it is worked. Ojo (2000) defined, embroidery as an art of making pattern on textiles, leather, using threads of wool, linen, silk and needle. -
The Haskell Silk Company: Manufacturers of Staple Silks Recognized As a "Standard" in the Trade
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2002 The Haskell Silk Company: Manufacturers of Staple Silks Recognized As a "Standard" in the Trade Jacqueline Field University of Southern Maine Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Field, Jacqueline, "The Haskell Silk Company: Manufacturers of Staple Silks Recognized As a "Standard" in the Trade" (2002). Textile Society of America Symposium Proceedings. 384. https://digitalcommons.unl.edu/tsaconf/384 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Haskell Silk Company: Manufacturers of Staple Silks Recognized As a "Standard" in the Trade by Jacqueline Field Haskell Silk Company founder, James Haskell, was a native of the Cape Anne, area of Massachusetts.1 In this locale his early career included service in numerous public and business capacities, not least as agent for The Rockport Steam Cotton Company, and as a State Senator.2 He was a man experienced in politics, finance and textile production. He moved to Maine in 1858 when he acquired the cotton mill at Saccarappa Falls, Westbrook.3 Under his management the mill, renamed The Westbrook Manufacturing Company, flourished and expanded. In 1874, his elder son, Frank Haskell, assumed the role of agent. At the same time James took advantage of, by now, well developed machine twist-making technology and launched into the youngest branch of the textile industry--silk. -
Expression2038 - 2048
expression2038 - 2048 Owner’s manual This household sewing machine is designed to comply with IEC/EN 60335-2-28 and UL1594 IMPORTANT SAFETY INSTRUCTIONS When using an electrical appliance, basic safety precautions should always be followed, including the following: Read all instructions before using this household sewing machine. DANGER - To reduce the risk of electric shock: • A sewing machine should never be left unattended when plugged in. Always unplug this sewing machine from the electric outlet immediately after using and before cleaning. • Always unplug before relamping. Replace bulb with same type rated 5 Watt. WARNING - To reduce the risk of burns, fi re, electric shock, or injury to persons: • Do not allow to be used as a toy. Close attention is necessary when this sewing machine is used by or near children or infi rm person. • Use this sewing machine only for its intended use as described in this manual. Use only attachments recommended by the manufacturer as contained in this manual. • Never operate this sewing machine if it has a damaged cord or plug, if it is not working properly, if it has been dropped or damaged, or dropped into water. Return the sewing machine to the nearest authorised dealer or service center for examination, repair, electrical or mechanical adjustment. • Never operate the sewing machine with any air openings blocked. Keep ventilation openings of the Sewing machine and foot controller free from the accumulation of lint, dust, and loose cloth. • Keep fi ngers away from all moving parts. Special care is required around the Sewing machine needle. • Always use the proper needle plate. -
Embellishment Patterns No.1 (Designed to Compliment the Making Adorable Buttons Collections 1 & 2 - Booklet Nos
Embellishment Patterns No.1 (Designed To Compliment The Making Adorable Buttons Collections 1 & 2 - Booklet Nos. 2010123 & 2010124) Designed by Karina Hittle of Artful Offerings™ These patterns are provided FREE for personal use only. © 2010 Artful Offerings™ ~ www.Artful-Offerings.com Materials 1 ~ Size 3” x 4” Rectangle Of Plaid or Floral Cotton Fabric {For Each Pocket} 1 ~ Size 3” x 5” Rectangles Of Over-Dyed Cotton Muslin Fabric {For Each Bunny & Kitten Body & Paws} Hand Sewing Needle & 6-Strand Cotton Floss To Contrast With Cotton Muslin Fabric Important Note Hot Glue & Glue Gun Lady Bug Vignettes: Making Adorable Buttons Collection 1 Booklet Background Fabric For Vignette Placement & Display Bunny Vignette: Making Adorable Buttons Collection 1 Booklet Kitten Vignette: Making Adorable Buttons Collection 2 Booklet Pocket Cut 1 (for each button) Used For Bunny & Kitten Vignettes Bunny & Kitten Body Bunny & Kitten Directions: Cut 1 pocket , 1 body Cut 1 (for each button) & 2 paws out from cotton fabrics. Use 3-6 strands Used For Bunny & Kitten Vignettes of cotton floss & sew a primitive running stitch around the perimeter of the pocket & stitch paws. See bunny/kitten vignette photos in the Making Adorable Buttons Collections 1 & 2 Booklets, & assemble the pocket vignette on background fabric using hot glue. Sew a completed bunny or kitten button head to the body. Clover Directions: Cut 1 complete large or small clover out of wool felt. See lady bug vignette photos in the Making Adorable Buttons Collections 1 Booklet, & assemble the clover vignette on background fabric using hot glue. Sew a completed large or small lady bug button under the clover. -
Bobbinwork Basics by Jill Danklefsen
SPECIAL CLASSROOM EDITION BOBBINWORK BASICS BY JILL DANKLEFSEN obbinwork is a technique that places heavy decorative 4. The type of stitch chosen as well as the type of “bobbin yarn” Bthreads on the surface of the fabric, sewn as machine-fed selected will dictate how loose the tension needs to be adjusted decorative stitches or as freemotion stitches. Typically, these on the bobbin case. threads, yarns, and cords are too large to fit through the eye of the sewing machine needle. So, in order to achieve a “stitched 5. Remember the rule of tension adjustment --“Righty, Tighty -- look”, you sew with the heavy decorative thread wound onto a Lefty, Loosey” bobbin and placed in the bobbin case of the machine. 6. Use a “construction quality” thread on the “topside” of your machine, as the needle tension will usually be increased. Think of the top thread as literally pulling the “bobbin yarn” into place to form the stitch pattern. 7. Bobbins can be wound by hand or by machine. Whenever possible, wind the bobbin using the bobbin winder mechanism on the machine. This will properly tension the “bobbin yarn” for a better stitch quality. 8. Bobbinwork can be sewn with the Feed dogs up or down. If stitching freemotion, a layer of additional stabilizer or the use of a machine embroidery hoop may be necessary. 9. Select the proper presser foot for the particular bobbinwork YARNS AND THREADS SUITABLE FOR BOBBINWORK technique being sewn. When working with the heavier “bobbin yarns”, the stitches produced will be thicker. Consider selecting • Yarns (thinner types, often a foot with a large indentation underneath it, such as Foot used for knitting machines) #20/#20C.This foot will ride over the stitching much better. -
MANUAL DE INSTRUCCIONES 7640 INTRODUCTION Welcome
INSTRUCTION MANUAL MANUEL D’INSTRUCTION MANUAL DE INSTRUCCIONES 7640 INTRODUCTION Welcome Welcome to the SINGER® family and CONGRATULATIONS on purchasing a brand new SINGER® sewing machine! The SINGER® brand has stood for quality in sewing for over 160 years. We design our machines for sewists of all skill levels so that the joy of sewing, creating, do-it-yourself, crafting and more can be enjoyed by all. It is important to us that you have the easiest and most successful sewing experience. We have provided an instruction manual with easy-to-understand graphics and step-by-step instructions. Additional assistance, by region, may be found on the web at www.singer.com. We’re ready to help and hope that you enjoy your SINGER® sewing machine. Happy Sewing! 2 INTRODUCTION Important Safety Instructions This household sewing machine is designed to comply with IEC/EN 60335-2-28 and UL1594. IMPORTANT SAFETY INSTRUCTIONS When using an electrical appliance, basic safety precautions should always be followed, including the following: Read all instructions before using this household sewing machine. Keep the instructions in a suitable place close to the machine. Make sure to hand them over if the machine is given to a third party. DANGER - To reduce the risk of electric shock : - A sewing machine should never be left unattended when plugged in. Always unplug this sewing machine from the electric outlet immediately after using and before cleaning, removing covers, lubricating or when making any other user servicing adjustments mentioned in the instruction manual. WARNING - To reduce the risk of burns, fire, electric shock, or injury to person : - Do not allow to be used as a toy. -
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 & -
The Developing Years 1932-1970
National Park Service Uniforms: The Developing Years 1932-1970 National Park Service National Park Service Uniforms The Developing Years, 1932-1970 NATIONAL PARK SERVICE UNIFORMS The Developing Years 1932-1970 Number 5 By R. Bryce Workman 1998 A Publication of the National Park Service History Collection Office of Library, Archives and Graphics Research Harpers Ferry Center Harpers Ferry, WV TABLE OF CONTENTS nps-uniforms/5/index.htm Last Updated: 01-Apr-2016 http://npshistory.com/publications/nps-uniforms/5/index.htm[8/30/18, 3:05:33 PM] National Park Service Uniforms: The Developing Years 1932-1970 (Introduction) National Park Service National Park Service Uniforms The Developing Years, 1932-1970 INTRODUCTION The first few decades after the founding of America's system of national parks were spent by the men working in those parks first in search of an identity, then after the establishment of the National Park Service in 1916 in ironing out the wrinkles in their new uniform regulations, as well as those of the new bureau. The process of fine tuning the uniform regulations to accommodate the various functions of the park ranger began in the 1930s. Until then there was only one uniform and the main focus seemed to be in trying to differentiate between the officers and the lowly rangers. The former were authorized to have their uniforms made of finer material (Elastique versus heavy wool for the ranger), and extraneous decorations of all kinds were hung on the coat to distinguish one from the other. The ranger's uniform was used for all functions where recognition was desirable: dress; patrol (when the possibility of contact with the public existed), and various other duties, such as firefighting. -
SPIN Sewing Curriculum.Pdf
Debra Proctor, USU Extension Associate Professor, FCS/4-H, Wasatch County Susan Haws, USU Extension Assistant Professor, FCS/4-H, Summit County Stacey Mac Arthur, USU Extension Assistant Professor, 4-H, State Office Description The Discover 4-H Clubs series guides new 4-H volunteer leaders through the process of starting a 4-H club or provides a guideline for seasoned volunteer leaders to try a new project area. Each guide outlines everything needed to organize a club and hold the first six club meetings related to a specific project area. Purpose The purpose is to create an environment for families to come together and participate in learning activities that can engage the whole family, while spending time together as a multi-family club. Members will experiment with new 4-H project areas. What is 4-H? 4-H is one of the largest youth development organizations in the United States. 4-H is found in almost every county across the nation and enjoys a partnership between the U. S. Department of Agriculture (USDA), the state land-grant universities (e.g., Utah State University), and local county governments. 4-H is about youth and adults working together as partners in designing and implementing club and individual plans for activities and events. Positive youth development is the primary goal of 4-H. The project area serves as the vehicle for members to learn and master project-specific skills while developing basic life skills. All projects support the ultimate goal for the 4-H member to develop positive personal assets needed to live successfully in a diverse and changing world. -
Trims, Labels, Treads, Elastics, Underlying Fabrics, Zippers, Butto
10/12/2009 1 TRIMS AND FINDINGS Chapter 8 2 Findings and Trims Findings: trims, labels, treads, elastics, underlying fabrics, zippers, buttons, other closures, other miscellaneous items Trims: subdivision of findings – decorative materials – ribbons, braids, laces, other narrow fabric trims, appliqués, flowers, beads, sequins, other decorative items Findings/trims usually aren’t the reason for purchase but they are often the reason for discarding a garment 3 Performance Finding/trim must reflect same quality level as the fabric Performance of finding or trim could negate the performance of the body fabric Ex. If fabric is dry-clean only, the trims must be dry-cleanable 4 Establishing specs Often established by the suppliers themselves or by the manufacturers in partnership w/ the suppliers Too many types of findings and trims to be an expert on all and be able to write accurate specs on all – best to rely on the supplier of the specific type of finding you need 5 Aesthetic performance Must complement the appearance of the garment Must be considered in concert with the design, construction, and finish of the garment Need to be attractive, fashionable, and functional to help sell the garment 6 Functional Performance Includes utility and durability of the finding Utility includes: dimensional stability, appearance retention, comfort, ease of care, and safety Durability includes: strength, abrasion resistance, and degradation by chemical & other elements 7 Performance, Cont. Design, materials, and constructions of a garment interact to determine