EC73-486 Plotting Pleats for Skirts Jane Speece
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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. -
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. -
First Review - Professional Peers - ITAA Members
DESIGN EXHIBITION COMMITTEE First Review - Professional Peers - ITAA Members Mounted Gallery Co-Chairs: Melinda Adams, University of the Incarnate Word Laura Kane, Framingham State University Su Koung An, Central Michigan University Ashley Rougeaux-Barnes, Texas Tech University Laurie Apple, University of Arkansas Lynn Blake, Lasell College Lynn Boorady, Buffalo State College Design Awards Committee: Melanie Carrico, University of North Carolina, Greensboro Review Chair: Belinda Orzado, University of Delaware Chanjuan Chen, Kent State University Kelly Cobb, University of Delaware Catalog: Sheri L. Dragoo, Texas Woman’s University Sheri Dragoo, Texas Woman’s University V.P. for Scholarship: Youn Kyung Kim, University of Tennessee Rachel Eike, Baylor University Andrea Eklund, Central Washington University Jennifer Harmon, University of Wyoming First Review Erin Irick, University of Wyoming A total of 107 pieces were accepted through the peer review Ashley Kim, SUNY Oneonta process for display in the 2017 ITAA Design Exhibition with Eundeok Kim, Florida State University a 37% acceptance rate. All jurying employed a double blind Helen Koo, Konkuk University process so the jurors had no indication of whose work they Ashley Kubley, University of Cincinnati were judging. A double-blind jury of textile and apparel peers Jung Eun Lee, Virginia Tech reviewed each submission including design statement and YoungJoo Lee, Georgia Southern University images. Further, a panel of Industry experts reviewed submissions Diane Limbaugh, Oklahoma State University -
That Was a T-Shirt!!! We Need Tops! While Cotton Tops Are Easy to Make, Knit Tops Are the Most Versatile Due to the Forgiving Stretch
That was a t-shirt!!! We need tops! While cotton tops are easy to make, knit tops are the most versatile due to the forgiving stretch. Because of the challenges in working with knit fabric, updating a t-shirt is the perfect compromise. Our goal is to have someone look at our top and say “that was a t-shirt?!” All hemlines need to be removed and restyled and the neckline needs to be either ruffled (size small and some medium) or trimmed. Here are some guidelines that we are looking for. Simply sewing a decorative stitch or zigzag over the existing hemline (sleeves and bottom hem) does not make visual changes to the t-shirt. Please cut off the existing hemline and if you like, you can make it shorter. If you have a serger, you can finish the edge prior to hemming but because the knit does not ravel it is not necessary. You also do not need to turn over the edge prior to hemming. Sleeves Match the sleeves and cut off both hems at the same time. You can cut straight or at an angle and make it a cap sleeve Use a decorative stitch for the hemming, variegated thread looks great! Use either white or black thread in the bottom as variegated thread is expensive. Remember to sew on the right side with your finger on the bottom feeling for the fabric edge. Watch for those sales and coupons!! Sulky blendables, 30 weight, 100% cotton is very nice to use. If you hem with a straight stitch, make it a little longer perhaps 3.0 and add some elastic to make it gathered at the hem edge. -
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”. -
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. -
Impoved Family Manual.Pdf
FORM 7129 . July 7, 1891. Supersedes Form 7006 . DIRECTIONS FOR USING THE 1MPKO),7r,D IAPXIL~q SIXGER st.-AWING ACHINE1 THE SINGER MANUFACTURING GO., NEW YORK. 1891 . DIRECTIONS FOR USING ~ ~- ~ ~~- -~~ e~ == " ~~ ~ . ce ca ~ ~ c . ~~-- ' -- m_--' B . ..................... ~ a 8 w ~ ~ ~ ~ ~ ~ " THE IMPROVED FAMILY SINGER . FIG. 2. ~1E4 __._Stop Motion _.,.Right Lag IMPROVED FAMILY MACHINE, WITH STAND. DIRECTIONS FOR USING FIG. 3. OILING PLACES SHOWN BY ARROWS . AILING PLACES SHOWN BY ARROWS. DIRECTIONS FOR USENG THE 11112er Y rr+peoved Parr,Iiy t4achile. To Oil the Machine. Be sure that every part is clean before you commence to sew. If the machine runs hard at any time, IT IS CERTAIN that someplace has not been oiled. Oil holes will be found for all bearings which cannot be reached without them. Each place requiring oil is indicated by an arrow head in the cuts on the opposite page. The shuttle should be oiled sparingly, but often, if the machine is in constant use ; always be careful to use no more oil than is needed, a single drop being sufficient at any point. If the machine runs hard after standing idle for some time, use a little kero- sene oil or benzine on the wearing points, run rapidly, zvi~e clean, and then oil with the BEST slerni oil, which should always be used. To make sure of getting good oil, buy it at at any of the Company's offices or from its authorized representatives. The genuine oil is put up in bottles which have The Singer Manufacturing Company's " trade-mark " blown in their panel, and bear the Company's label. -
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 . -
ABBREVIATIONS: Worsted Weight Yarn Approximately 250-400 CC=Coordinating Color (I Used White) Yards
SNOWLICIOUS SLOUCHy hat MATERIALS: ABBREVIATIONS: Worsted weight yarn approximately 250-400 CC=coordinating color (I used white) yards. I used Red Heart Super Saver and Loops ch=chain & Threads Impeccable hdc=half double crochet Tapestry needle Hhdc=herringbone half double crochet GAUGE: MC=main color H 5.0mm hook rsc=reverse single crochet 7-8 st = 2” RS=right side of work (outside of hat) Hdc x 4 rows=1.5-1.75” sc=single crochet Hhdc x 4 rows=1.25-1.5” sk=skip SIZE: SRT=seamless round technique Circum. Length Fits sl st=slip stitch S: 16” 8-9” 18” st=stitch M: 18” 10-11” 20” sts=stitches L: 20” 12-13” 22” WS=wrong side of work (inside of hat) Snowlicious Slouch Hat http://www.thehookedhaberdasher.com SPECIAL STITCHES & TECHNIQUES: Herringbone half double crochet (Hhdc) - Yarn over and insert the hook into the next stitch. Yarn over and pull the loop through the stitch AND through the first loop on the hook. Two loops remain on hook. Yarn over again and pull the loop through both loops on the hook. Reverse single crochet (rsc) – Working left to right, insert hook in next stitch to the right, complete as sc. Seamless Rounds Tutorial – All body rows of this pattern utilizes this technique. If you haven’t watched the tutorial yet, please do so prior to beginning your project. For hdc and Hhdc, I go into both loops to join, instead of just the BLO – watch the videotutorial and you’ll understand what I mean. Beginning with R2 of the body, you will be using the technique at the beginning and end of each row. -
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