Sunday, March 29Th, 2020 DAILY DELIGHT
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Pillow with Pleated-Smocked Front
Pillow with Pleated-Smocked Front Th is is an elegant design which creates a textured and eye-catching accent pillow. Materials and Supplies: Items Face Fabric Perfect Pleating Tape – DYC85 or DYC86 Fusible Stabilizer – FB10 Erasable Marker – PM21 John James Needles – TP110 or any other size 1 ¾ yards covered welt cord – WCP2/L or decorative trim 5 decorative or fabric covered buttons 12” x 16” Pillow Form – FD32/25, FD32/10 or PJ32 Step-by-step 1. Cut fabric for pillow front 15” x 54”. Place Perfect Pleating Tape along both long edges on the back of the face fabric, being careful to line up marks evenly to match. (Photo 1) 2. Pleat up fabric to create fi ve, 3” wide box pleats. Leave at least ½” on each side of the fi rst and last pleat for a seam allowance. (Photo 2) 3. Cut a piece of Fusible Stabilizer 15” x 18” and iron to the back of the pleats. (Photo 3) Photo 1 Photo 2 Photo 3 4. On the front of the pillow, mark the center at the edge of each pleat with an Erasable marker. Tack pleats to create smocking using a hand sewing needle and matching thread. Stitch the two edges together for each pleat and stab the thread through the front to the back and knot securely. (Photo 4) Photo 4 ©Rowley Company 2010 1 5. Place the smocked pillow front on the worktable and pin top and bottom of pleat fl at with the edge. (Photo 5) 6. Measure pillow from top to bottom and side to side and mark it at 12”x 16”, being sure the smocked stitching is centered. -
Pleat Effects with Alternative Materials and Finishing Methods
TEKSTİL VE KONFEKSİYON VOL: 29, NO. 1 DOI: 10.32710/tekstilvekonfeksiyon.397595 Pleat Effects With Alternative Materials and Finishing Methods Sedef Acar1*, Derya Meriç1, Elif Kurtuldu1† Dokuz Eylül University, Faculty of Fine Arts, Textile and Fashion Design Department, 35320, İzmir, Turkey Corresponding Author: Sedef ACAR, [email protected] ABSTRACT ARTICLE HISTORY In this study, various pleating methods formed by shrinking and finishing are experienced as an Received: 22.02.2018 alternative to the pleats formed with weaving method, numerical and visual values of these methods Accepted: 31.12.2018 were determined and in the conclusion part, their contributions to new design ideas were analyzed. In the experimental study, the factors such as weaving method, structure, and density were kept at KEYWORDS standard values, besides polyurethane-elastomer, wool and cotton yarns that could shrink under different conditions were used as variable groups. As a result, it was observed that the results obtained Pleat, elastane, wool, caustic from the fabrics passing through alternative processes such as the use of elastomer, fulling, and soda, seamless garment, local caustic soda application, supported ‘the local shrinking on fabrics and clothes’ idea. shrinking, woven pleat 1. INTRODUCTION (4). Therefore, the raw material and the yarn has a significant role in the chemical, physical and visual structure Nowadays, trends that guide fashion in all design areas and of the fabric (1). also in fabric design require an innovative perspective. In the field of textiles as in the case of all areas of human Creating three dimensional relief effects are significant in interest, the widespread and even foreground of design quest of innovation and variety in woven fabrics. -
Dress with Pleat
Lekala 2262 Dress With Pleat Dress With Pleat - Sewing Pattern #2262 Recommendations on fabric: natural/mixed fabric suitable for dresses. You will also need: dress zipper, fusible interfacing. Seam allowances: all seams 1 cm; seam allowance for hem of garment and hem of sleeve – 2.0 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. Back - cut 2 2. Front - cut 1 on fold 3. Sleeve - cut 2 4. -
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. -
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. -
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. -
Hand Tailored Clothing Style Manual Vest Front Style Options
HAUTEBUTCH Hand Tailored Clothing Style Manual www.hautebutch.com Vest Front Style Options #14162 #14163 #14164 8 x 4 Buttons Five Buttons Six Buttons Double Breasted Single Breasted I Notch Lapel Single Breasted I Peak Lapel No Breast Pocket No Breast Pocket No Breast Pocket Straight Welt Pockets Straight Welt Pockets Straight Welt Pockets #14165 #14166 #14167 Four Buttons 6 x 3 Buttons 8 x 4 Buttons Single Breasted I Shawl Collar Double Breasted I Peak Lapel Double Breasted I Shawl Collar No Breast Pocket No Breast Pocket No Breast Pocket Straight Welt Pockets Straight Welt Pockets Straight Welt Pockets - 19 - Vest Formalwear Front Style Options #14168 #14169 One Button 6 x 3 Buttons Single Breasted Shawl Collar Double Breasted Peak Lapel Straight Piped Pockets Straight Piped Pockets Satin on Lapel & Covered Buttons Satin on Lapel & Covered Buttons - 20 - Vest Formalwear Front Style Options #14170 #14171 #14172 Three Button Four Button Five Button Single Breasted Single Breasted Single Breasted No Breast Pocket No Breast Pocket No Breast Pocket Straight Welt Pockets Straight Welt Pockets Straight Welt Pockets • #14173 #14174 #14175 4 x 2 Buttons 8 x 4 Buttons Three Button Double Breasted Double Breasted Single Breasted I Shawl Lapel No Breast Pocket No Breast Pocket No Breast Pocket Straight Welt Pockets Straight Welt Pockets Straight Welt Pockets - 21 - Pants/ Trousers Pleat Options ::::. I ::::. C I I ..... .. ..... .. , ... ·· #14176 #14177 #14178 Plain Front Single Forward Pleat Double Forward Pleat I I rJ ..... .. .... ·· #14179 #14180 Single Reverse Pleat Double Reverse Pleat - 22 - Pants/ Trousers Front Pocket Options I .. .. .. , .... , .... , .... L #14181 #14182 #14183 1/4 Top Pocket On-seam Pocket Offset Slanting Besom Pocket I I I l . -
" 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. -
The Cauldron 2015
Mikaela Liotta, Cake Head Man, mixed media The Cauldron Senior Editors Grace Jaewon Yoo Muriel Leung Liam Nadire Staff Pann Boonbaichaiyapruck Phoebe Danaher Daniel Fung 2015 Sally Jee Prim Sirisuwannatash Angela Wong Melissa Yukseloglu Faculty Advisor Joseph McDonough 1 Poetry Emma Woodberry Remember 5 GyuHui Hwang Two Buttons Undone 6 Khanh Nyguen I Wait for You to Have Dinner 8 Angela Wong Euphoria 9 Sabi Benedicto The House was Supposed to be Tan 12 (But was Accidentally Painted Yellow) Canvas Li Haze 15 Adam Jolly Spruce and Hemlock Placed By 44 Gentle Hands Jordan Moller The Burning Cold 17 Grace Jaewon Yoo May 18 Silent Hills 40 Lindsay Wallace Forgotten 27 Joelle Troiano Flicker 30 Jack Bilbrough Untitled 31 Valentina Mathis A Hop Skip 32 Jessica Li The Passenger 36 Daddy’s Girl 43 Eugenia Rose stumps 38 Brandon Fong Ironing 47 Ryder Sammons Mixed Media, Ceramics New Year’s Cold 48 Mikaela Liotta Shayla Lamb Spine 7 Senior Year 50 Mermaid 46 Teddy Simson Elephant Skull 16 Prose Eye of the Tiger 53 Muriel Leung Katie I A Great River 20 Imagination 19 Zorte 52 Sabi Benedicto Geniophobia 32 2 Photography Rachel Choe More Please 8 Pann Boonbaichaiyapruck DEAD 2 Spin 12 Swimmingtotheschor 22 Bigfernfloating 41 Lydia Stenflo LA as seen from the 14 Griffith Observatory at Night in March Beach Warrior 58 Meimi Zhu Reflection 30 Jessica Li Juvenescence 37 The Last Door 42 Brandon Fong The End is Neigh 38 Sunday in Menemsha 53 Liam Nadire Hurricane Sandy #22 47 Pride 58 Painting, Drawing Katie I Risen 4 Oban Galbraith The Divide 9 Joni Leung