Sewing Machine Operator (Job Role)
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Glossary of Sewing Terms
Glossary of Sewing Terms Judith Christensen Professional Patternmaker ClothingPatterns101 Why Do You Need to Know Sewing Terms? There are quite a few sewing terms that you’ll need to know to be able to properly follow pattern instructions. If you’ve been sewing for a long time, you’ll probably know many of these terms – or at least, you know the technique, but might not know what it’s called. You’ll run across terms like “shirring”, “ease”, and “blousing”, and will need to be able to identify center front and the right side of the fabric. This brief glossary of sewing terms is designed to help you navigate your pattern, whether it’s one you purchased at a fabric store or downloaded from an online designer. You’ll find links within the glossary to “how-to” videos or more information at ClothingPatterns101.com Don’t worry – there’s no homework and no test! Just keep this glossary handy for reference when you need it! 2 A – Appliqué – A method of surface decoration made by cutting a decorative shape from fabric and stitching it to the surface of the piece being decorated. The stitching can be by hand (blanket stitch) or machine (zigzag or a decorative stitch). Armhole – The portion of the garment through which the arm extends, or a sleeve is sewn. Armholes come in many shapes and configurations, and can be an interesting part of a design. B - Backtack or backstitch – Stitches used at the beginning and end of a seam to secure the threads. To backstitch, stitch 2 or 3 stitches forward, then 2 or 3 stitches in reverse; then proceed to stitch the seam and repeat the backstitch at the end of the seam. -
1, 2, 3 Sew: Build Your Skills with 33 Simple Sewing Projects
Text copyright © 2011 by Ellen Luckett Baker. Photographs copyright © 2011 by Laura Malek. Illustrations copyright © 2011 by Ellen Luckett Baker. All rights reserved. No part of this book may be reproduced in any form without written permission from the publisher. ISBN 978-1-4521-0481-2 The Library of Congress has previously cataloged this title under ISBN 978-0-8118-7649-0 Designed by Vivien Sung Typesetting by Melinda Macfadden Photo styling by Ellen Luckett Baker Chronicle Books LLC 680 Second Street San Francisco, CA 94107 www.chroniclebooks.com Contents Introduction Getting Started Choosing Fabric 15 Essential Tools CHAPTER 1: DINING AND DISHES Fruit Tea Towels Hooked on Napkins Set the Table Runner CHAPTER 2: PILLOWS Skyline Pillow Concentric Squares Pillow Circles Floor Pillow CHAPTER 3: ORGANIZERS Pencil Holder Storage Cube Craft Caddy CHAPTER 4: QUILTED KITCHEN Ticking Stripe Hot Pad Plaid Coasters Rippled Place Mats CHAPTER 5: TOTES Market Tote Doodle Bag Lunch Sack CHAPTER 6: POUCHES Grid Glasses Case Polka Dot Pouch Lawn Cosmetic Bag CHAPTER 7: HANDBAGS Pintuck Clutch Tiered Bag Pleated Satchel CHAPTER 8: ACCESSORIES Eyelet Headband Tea Towel Apron Yo-yo Scarf CHAPTER 9: REVERSIBLE FOR KIDS Play Your Way Cape Change Your Mind Skirt Mix It Up Smock CHAPTER 10: FOR BABY Sampler Burp Cloths Initial Blanket Sunshine Bib CHAPTER 11: BLOCKHEAD ANIMALS Mouse Pincushion Blockhead Puppets Bunny Softie Basic Embroidery Stitches Patterns Sewing Glossary Resources Acknowledgments Index SPECIAL BONUS PROJECT Available online! Visit www.chroniclebooks.com/123Sew for the instructions INTRODUCTION I started sewing eight years ago. Before then I never considered myself a crafty person, though I always had an interest in art and design. -
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. -
F7eb73228f1ff535d9120c7e0ffd0
PRODUCT FEATURES GENERAL TOOL BELT MATERIAL and FEATURES 5609 BALLISTIC POLYESTER Premium quality ballistic poly fabric is woven with elevated tenacity polyester thread in a 2x2 or 2x3 basket weave with yarn made of unusually high denier strength, typically from 840 denier to 1680 denier. Denier refers to the weight and thickness of the yarn, not TOOLS & SPECIALTY ITEMS TOOLS & SPECIALTY necessarily to the strength of the fabric. The 2x2 "ballistic weave" is extraordinarily strong and lightweight, and resists abrasion and tearing. Ballistic poly fabric is great for high-use and extreme work applications. Patented pouch handles Allow for simple belt adjustments and easy one-hand carrying, and convenient on-hook storage. Heavy-duty stitching and rivets Bar-tack stitching and rivets used to reduce additional wear and to reinforce stress points for added durability. MULTI-USE, EASY ACCESS POCKETS Large main pockets and small side and interior pockets, allow for the carrying of a wide variety of tools. GENERAL SOFT SIDE MATERIAL and FEATURES ECPL38 POLYESTER Quality polyester fabric is woven with thread that has been coated with a synthetic polymer in order to increase durability and fabric strength. Polyester is a versatile yarn and can easily be blended with other fibers to enhance specific properties that create materials with wear, and environmental resistance. Polyester fibers have high tenacity as well as low environmental absorption which makes it able to handle stressful usage and work environments. Reinforced WEB HANDLES Padded web carrying handles for comfort and convenience. Heavy-duty stitching Heavy-duty, bar-tack stitching used to reduce additional wear and to reinforce stress points for added durability. -
2000 Proceedings Cincinnati, OH
Cincinnati, OH USA 2000 Proceedings DOGWOOD IN GREEN AND GOLD Tammy Abbey Central Washington University, Ellensburg, WA 98926 The purpose in creating this piece is to design an elegant garment through the combination of two very different techniques, metalsmithing and sewing. This design was inspired by extensive study in both metalworking and sewing and by blooming dogwood. The garment can be described as a dark green, fully lined dress in a polyester crepe satin. It is designed with princess lines and a gold charmeuse godet in the back. The dress is strapless and supported by the metal "lace." The "lace" is formed with brass blossoms and leaves that wrap the shoulders and overlap the front and the back of the dress. Brass blossoms also accent the godet. Construction began with an original pattern which was hand drafted. A muslin test garment was sewn, fitted and used to adjust the pattern. The main body of the dress was sewn and an invisible zipper was installed. A godet was sewn into the back. A polyester lining was sewn and then added to the dress. After the body of the dress was completed, the metal work began. Blossoms and leaves were cut from sheet brass. Then each was individually chased (hand shaped with the use of hammers and tools.) The pieces were given a copper patina (coloring) and brass brushed to a matte golden color. A dress form was used to assemble a base web of brass chain onto which the blossoms were sewn into place with thread and wire. Two blossoms and chain were added in the back to accent the godet and to contain it. -
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 & -
Oregon 4-H Clothing Project Guidelines for Leaders: Basic, Expanding, and Advanced Skills
Archival copy. For current version, see: https://catalog.extension.oregonstate.edu/4-h32000l Oregon 4-H Clothing Project Guidelines for Leaders: Basic, Expanding, and Advanced Skills 4-H 320-00L • October 2014 The 4-H clothing project is designed to help boys and girls develop as individuals and become responsible adults. By participating in project activities, 4-H members develop their ability to make decisions, express creativity, and gain knowledge and skills in the areas of sewing, clothing, and personal appearance. These leader guidelines outline four groups of progressive skill levels: Basic Skills—Level 1; Basic Skills—Levels 2 and 3; Expanding Skills—Levels 4, 5, and 6; and Advanced Skills—Levels 7, 8, and 9. Each level includes activities in the five learning areas: Planning and evaluation Individual development and outreach Management, consumership, and wardrobe building Textiles and science Construction For most learning areas, activities from the leader resource materials are listed to give you possible ideas for teaching the topic. You should choose and adjust activities to meet your members’ needs. To meet individual interests and encourage breadth within the program, there are more activities suggested here than can be accomplished during the project year. Individual members, with guidance from their leader and parents, can plan the direction that best suits their personal interests. Skill levels are not restricted by age. All members, regardless of age, need to start with basic skills and build toward advanced skills. Members with no previous sewing experience or who are younger might advance more slowly. Others who have had some sewing experience might advance more quickly. -
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. -
Stitch Setting Chart
STITCH SETTING CHART STITCH SETTING CHART The following chart shows information for each utility stitch concerning applications, stitch lengths, stitch widths, and whether or not the twin needle mode can be used. Stitch width Stitch length Presser foot [mm (inch.)] [mm (inch.)] Twin Stitch Stitch name Applications needle Auto. Manual Auto. Manual Straight stitch General sewing, gather, pintuck, (Left) etc. Reverse stitch is sewn while 0.0 0.0 - 7.0 2.5 0.2 - 5.0 OK pressing “Reverse/ (0) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Straight stitch General sewing, gather, pintuck, (Left) etc. Reinforcement stitch is sewn 0.0 0.0 - 7.0 2.5 0.2 - 5.0 OK while pressing “Reverse/ (0) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Straight stitch General sewing, gather, pintuck, (Middle) etc. Reverse stitch is sewn while 3.5 0.0 - 7.0 2.5 0.2 - 5.0 OK pressing “Reverse/ (1/8) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Straight stitch General sewing, gather, pintuck, (Middle) etc. Reinforcement stitch is sewn 3.5 0.0 - 7.0 2.5 0.2 - 5.0 OK while pressing “Reverse/ (1/8) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Triple stretch General sewing for 0.0 0.0 - 7.0 2.5 1.5 - 4.0 OK stitch reinforcement and decorative (0) (0 - 1/4) (3/32) (1/16 - 3/16) ( J ) topstitching Stem stitch Reinforced stitching, sewing and 1.0 1.0 - 3.0 2.5 1.0 - 4.0 OK decorative applications (1/16) (1/16 - 1/8) (3/32) (1/16 - 3/16) ( J ) Decorative Decorative stitching, top 0.0 0.0 - 7.0 2.5 1.0 - 4.0 OK stitch stitching (0) (0 - 1/4) (3/32) (1/16 - 3/16) ( J ) Basting stitch Basting 0.0 0.0 - 7.0 20.0 5.0 - 30.0 NO (0) (0 - 1/4) (3/4) (3/16 - 1-3/16) Zigzag stitch For overcasting, mending. -
Thnndajj Tebriiarr-1^1888. •ONONDAGA
Aurellua pfoplo have witneeaed for .Sttjcrs Si Plielps.—Hardware. Legal. many yearo. ' Mw. CondasHolIey recently return- STATiJ OF RGUBBN It. IHJU,KN, DE- censed. State of Mtchlsun, county of edfrntn theaoutheni part of the atato, :h«iii, as. At a session of tlio probate court ThnndAjj Tebriiarr-1^1888. E wlier^ alie haa been some time vialting HARDWARE ! for tho county nl Initham, boldun nt tho probata rolatlona and frleuda. ollleo, in the city of Mason, on tho SUltaday of, January, In the year ono thousand oltiht hun •ONONDAGA. dred and oiahty.three, John Bullen baa beautified the gen STRENGTH eral expreaalon or bis farm much by I'lOBOut, Uen, F, Oillatn, judno of probato. i In thu matter of tho uttute of Iteubon ' Jamea P. Townaend baa gone to the the addition of a building that he re The Public are reapoctfully iavited to call nnd examine R. Bullen, doceaaed. state pfNew York. cently purchaaed of Win. Webb and to vigoroutly push a bu.iiness, our Nkw and Widk Selkctkd Stock of HARDWARE, Onreadlnaend UIIhk tbo petition, dulyverl- , P. VanBtperhaa been visiting frleuda moved upon hia place. consisting of all thu latest styles in llod, of Jamim T. Bullen, prayinK that VOL. XXV.-NO. 6. MASON, MICH.. THURSDAY, FEBRUARY 8, 1883. ttrengtli to study a profession, ndnilnlstration nf enldeBtuto may bo eranlod to WHOLE NO. 125:. at St. Jpbna during tho paat week. Some time ago the houac of Charley lilekard J. Bullen, or some other suitable poreon, ' ' It ia aaid'that Win. Sohuflman ia Merrlieawaa entered during their ali- strength to regulate a hoiischoldj I Thereannn It ir ordered, that Monday, the Builders' Hardware, 20th day of February next, nt ten o'clock In the , about.to atnrt for England on a visit. -
GLAMOUR Create a Custom Dress with Extra Flare
Godet GLAMOUR Create a custom dress with extra flare BY THE THREADS EDITORS godet is a triangular wedge of fabric sewn into a gar- ment, either in an existing seam or within a cut A opening. Its purpose is to add circumference, or are, at a hemline. With godets, you can achieve a body-skimming t through the bodice and hips and fullness around the hem. Godets cre- ate a pretty silhouette and enhance movement in a skirt or dress. ey require precise stitching, but there is a foolproof method that relies on fusible tape to install the in-seam variety. To learn the technique, try making the dress shown with six in-seam godets. A template for the design, in six sizes for bust mea- surements from 30 inches to 52 inches, is available at readsMagazine.com. Once you know the godet insertion technique, you can easily apply the method to tunic, skirt, or dress projects. Fusible tape simplifies sewing godets in shifty fabrics like burn-out velvet. 36 THREADS T211_CU_Godets.indd 36 7/23/20 1:24 PM FABRIC OPTIONS Godets are shown to advantage in light- weight, drapey fabrics. In a owing textile, a godet hangs beautifully when still, and Add godets in the seams for greater swings out gracefully when the body circumference at the hem. This simple is in motion. Sti or crisp textiles design is adaptable to any figure type. create pronounced angular exten- Fabric: burn-out velvet, MoodFabrics.com. sions. Chi on, georgette, burn-out velvet, challis, charmeuse, or crepe are good fabric choices.