DOCSLIB.ORG

The New Dressmaker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The New Dressmaker THEJ^EW RESSMAKER THE BUTTERICK PUBLISHING COMPANY LONDON ' TORONTO • PAfKIS NEW YORK The New Dressmaker WITH C:OMPLETE AND FULLY ILLUSTRATED INSTRUCTIONS ON EVERY POINT CONNECTED WITH Sewing, Dressmaking and Tailoring FROM THE ACTUAL STITCHES TO THE CUTTING- MAKING, ALTERING, MENDING AND CLEANING OF CLOTHES lOK LADIES, MISSES, (ilRLS, CHILDREN, INFANTS, MEN AND BOYS. "THE NEW DRESSMAKER" IS THE ACCEPTED AUTHORITY ON DRESSMAKINCJ AND TAILORING AND THE METHODS WHICH IT GIVES MAY BE USED WHENEVER THE CURRENT STYLES f;ALL FOR THEM. A New, Revised and Hnlarj^ed Edition THE ^UTTERICK PUBLISHING COMPANY NEW YORK TORONTO PARIS LONDON ^p f\ THIRD E.DITION PUBLI5HLD BY THL BUTTLRICK PUBLISHING COMPANY BUTTLRICK BUILDING. NEW YORK PARIS LONDON NE.W YORK TORONTO CopvriShl. 1 92 1 , bv The Butterick Publishing Company m IB 1921 S)C!,A611.658 » . I — — CONTENTS PAGE PE^FACE — 5 Chapter i The Necessary Eqxjipment for Dressmaking 7 Chapter 2 Butterick Patterns 10 Chapter 3 Altering the Length of Patterns 19 Chapter 4 Altering W.aist Patterns for Figures That Vary From the Average 24 Chapter 5 Altering Skirt, Yoke and Drawer Patterns for Figures That Vary From the Average 28 Chapter 6 Materials, Sponging, Cutting, Etc 32 Chapter 7 Waists, Blouses and Shirtwaists. Part I ^Dress Waists. 37 Chapter S—Waists, Blouses and Shirtwaists. P.art II 42 Chapter g Skirts for Ladies and Misses 47 Chapter 10 Dresses for L.adies, Misses, Girls and Children — 51 Chapter ii S.ailor or N.aval Suits 153 Ch.apter 12 Coats and Capes for Ladies, Misses, Girls and Children . 58 Chapter 13 House Dresses, Negligees, Kimonos, Bathrobes, .\prons, Bathing-Suits and Rompers 65 Chapter 14 Making and Finishing Undergarments 68 Chapter 15 Maternity Clothes and the Layette 72 Ch.apter 16 Sewing Stitches 81 Chapter 17 Se.ams 86 Chapter 18 Hems 91 Chapter 19 F.acings 94 Chapter 20 Tucks and Plaits 97 Chapter 21 Plackets 100 22 Chapter Pockets 104 Chapter 23 Collars, Cuffs and Belts 109 Chapter 24 Buttonholes, Eyelets, Buttons, Patent Fasteners, Hooks AND Eyes AND Blind Loops 112 Chapter 25 Trimming Stitches 118 Chapter 26 Bias Trimmings 129 Chapter 27 Applied Trimmings, Ruffles, Embroidery and Lace. Part I 132 Chapter 28 Applied Trimmings. Part II 137 3 — PAGE Chapter 29 Sewing on Braid, Applique Embroidery, Marabou and Fur 143 Chapter 3o^Darning and Mending 146 Chapter 31 Remodeling 151 Chapter 32 Pressing 154 — Chapter ;!,;} The Care of the Clothes 156 Chapter 34 Cleaning 157 Chapter 35 Washing Clothes 160 Chapter 36 Boys' and Men's Clothes 161 INDEX 166 THE NLW DRL55MAKLR PREFACE THE best-dressed women in the world have their clothes made for them, on lines that are suited to their type, and in colors and materials that emphasize their good points and minimize their weak ones. Women of wealth and fashion go to Paris for their clothes. The woman of moderate means can not go to Paris nor can she have her clothes made for her. The only way that she can be really well dressed is to make her clothes herself. She too can e.xercise her taste and discrimination in choosing the correct fashion, the new material, the charming color, the line that will make her look young, slender and elegant. And like the woman who wears French dresses, she can have clothes that are cut to fit her figure, that are not too long in the shoulder, too big under the arms, too low in the waist, or too short at the elbow. VY/OMEN are so well trained in economics nowadays they will readily understand that in making their own clothes they pay for the bare materials and nothing else, and so effect a tremendous sa\-ing which is further increased by the fact that they can buy a better quality of fabric that will lengthen the-life of their clothes. With the present simple styles dressmaking was never as easy as it is now. Com- pared to the elaborate trimmings of the "awful Eighties" and even the whalebone and crinolines of later date, the extreme simplicity of the dresses of to-day has reducedthe work of di-essmaking to its lowest possible terms. Trimming is so often in the form of effecti\'e but bold, easily executed embroidery, braiding, etc., for which you get the newest French designs in Needle-Art, the special Butterick publication on this subject. The Delineator, Butterick Fashions and the Butterick Fashion Sheet illustrate the latest French way of using the new trimmings and the little finishing touches that give a dress a Parisian look. The object of this book is to enable a woman to make her clothes with the same per- fection of finish, the same attention to detail that she would receive in the atelier of a French dressmaker or in the workrooms of a Fifth Avenue establishment. The success of a dress depends on four things: style, material, construction and finish. yHE first is line or style. This you get from Butterick Patterns, which give you French fashions adapted to the needs of well-dressed American women. It does not give you conspicuous, ephemeral extremes. For example, when the French mannikins wore dresses which reached just below the knees at the same time that certain American manufacturers of ready-made clothes were making the very long lead-pencil skirt, Butterick Patterns kept to the smart conservative length of skirt used by the best-dressed Parisians and New York women. You can absolutely rely on the styles given you in Butterick Patterns. An interesting collection of the latest Paris and New York fashions appears each month in The Delineator and Butterick Fashion Sheet, and at the beginning of each season in Butterick Fashions. You get every phase of the new fashions including the Parisian conception of the French modes as sketched from the models of Worth, 5 6 THE NEW DRESSMAKER Paqiiin, Poiret, Doueet, etc., to the simple practical versions prepared for American women. CECOND, the materials and colors which change every season stamp a dress -n-ith its year mark. The new materials which are suitable for yoiu- dress, blouse, suit, etc., are given on the Butterick Pattern envelope. This information is also given every month in the Delineator and every season in Bctterick K'ashions, where you see the actual colors and color combinations on the color pages. IN THE third ijlace, your dress must be cut and put together and finished with profes- .-iional skill and precision. THE DELTOR, the very wonderful complement of the Butterick Pattern, shows you in pictures how to cut the garment and put it together and tells you how it should be finished. The Deltor shows you in its Illustrated Layouts exactly how to place each size of each version of the pattern on material of every suitable width. The Layouts show how the pieces of the pattern can be laid out so as to use the least possible amount of material to give the right style effect. If it is necessary to fold the material the Lay- outs show where to fold it so that it wUl cut without waste. With the Deltor it is possible to give what is known as "trick-lays"—that is, layouts planned by expert cutters, which save an eighth, a quarter or half a yard of material over the layout that a woman could plan for herself. With an inexpensive material these "triek-lays" save the price of a pattern, while with expensive material the saving amounts to two. four, six dollars or even more. With the saving made possible by the Deltor the pattern itseh costs nothing. The Layouts give the correct position for each piece of the pattern in relation to the selvedge so that it will be cut on the right grain of the fabric. If a garment is cut on the wTong grain it will have a bad style effect. The Illustrated Layouts save the woman the work of planning the cutting of her mate- rial. She sinijily copies in five minutes a layout that is the result of several hours' work on the part of an expert. It saves her time and gives her the benefit of an expert cutter's knowledge of grains and cutting fines. The Butterick Illustrated Instructions are a series of pictures which show you how to cut and put your dross together step by step. For example, in making a skirt the first pictiu-e will show you just how to put the pieces together, match the notches and just where to baste the seams. Another picture shows you how to make the inside belt down to the last hook. Still another puts the skirt on the belt for you. There is no possibility of misunderstanding. You don't have to read directions—you simply follow the pictures. T!ie Butterick Pattern is the only pattern in the world that has this remarkable picture guide. It isn't necessary to know anything about dressmaking when you have the Deltor. A beginner can ch-ape the most elaborate skirt or put together a tailored coat as expertly as a dressmaker or a tailor, for the simple reason that highly skilled pro- fessionals show her each step in the illustrations. They show you how to make clothes by pictures in the same easy, absorbing way that a movie teUs you the story of the play. IN THE fourth place, your dress must have the eon-eet finishing touches which are so characteristic of the French gown. All women dread the "home-made look." It is al- ways traceable to one of two things.
Load more

Recommended publications
  • Islander Sewing Systems: Tuesdays at Two with Janet Pray and Jessica
    Islander Sewing Systems: Tuesdays at Two With Janet Pray and Jessica Johnson Index Through June 2019 Subject Type Topics Video Date Alterations Charge at least $10 to hem a pair of pants October 2, 2018 Alterations Tip If asked to hem pants or sew on a button, show the person who asked how October 2, 2018 Alterations Learn how to do alterations for any figure "flaws" and make it a priority for April 9, 2019 one's sewing education Alterations One can just say no to requests for alterations. Give the person who asks for October 2, 2018 alterations a high price; the individual will accept or say no. If one accepts alterations, do it under your conditions Batting Tip Use two layers of Insulbrite or similar batting with a silver backing, not one December 18, 2018 layer. Temporarily adher fabric to back, quilt top, and then put on the binding Bias Tape Maker Demo Make bias tape strip twice as wide as needed using iron and Simplicity Bias July 10, 2018 Tape Maker Books & DVDs Connie Crawford's Patternmaking Made Easy is a textbook, but filled with 3/27/18 & 11/13/2018 good information Books & DVDs Easy Zipper class is available online or on DVD and includes five different 4/24/18 & 8/28/2018 zipper techniques. The class is also on SewBetter.com Books & DVDs Fitting and Pattern Alteration by Elizabeth Leichty and Judith Rasband is an 5/15/2018 & 5/30/18 excellent resource, or take a class from Lorraine Henry Books & DVDs Gail Yellen's It's All About Embelishments is a good resource for decorative April 24, 2018 serger techniques.
    [Show full text]
  • Taking Your Measurements \ I / \ I / ' ------/ / ' ,,,__
    • 1mp s __ ...,... ___ _. _____ ___ ,,.­ -, Bulletin 498 / January 1956 / ' : TAKING YOUR MEASUREMENTS \ I / \ I / ' ------ / / ' ,,,__..... --- ------- ./ _,."' / / --- --- 1 -------------- \ \ ' A good looking dress is a well-fitted dress. Achieving a good fit depends upon three things: knowing your own figure measurements, selecting the size and type pattern which most nearly corres­ ponds to your measurements, and then making any necessary alterations in the pattern before cutting your dress. This leaflet tells you how to take your measurements and provides a place for you to record them. What Is A Well-fitted Dress? A dress that fits you well adapts itself to your body. Ir brings out your good points and skillfully hides your poor ones. You will know a good fit by- Direction of grain of fabric. - Crosswise yarns are parallel to the floor at the center-front and back busdine, and at the hipline, unless the dress has unusual style details. lengthwise yarns are at right angles to the floor at the center-front and back of both skirt and bodice of a dress. lengthwise yarns on the sleeve cap lie in the direction of the arm when it hangs straight at the side . This varies slightly on different figures but in general the crosswise yarns are also parallel are straight in front and back of your arm except to the floor. when special style features, such as extended shoul­ Direction of seam lines. - Seam lines that ders, requir.e otherwise. lie and hang straight keep your dress in proper li~e The waistline seam appears to be straight around on your figure.
    [Show full text]
  • General Information
    General Information: Summer dresses, made from lightweight fabric like silk organza or printed cotton, were popular during the time of the early bustle era from 1869-1876 for excursions to the sea or sporting activities like tennis. Hence the name “seaside costume” comes. Beside strong and light colors also striped fabrics were popular. Striped fabric often was cut on the bias for ruches and decorations to create lovely patterns. At the beginning of the era skirts were supported by smaller crinolines with an additional bustle at the back. At the middle of the seventies the crinoline was displaced by the actual tournure or “Cul de Paris”. Information’s about the sewing pattern: A seam allowance of 5/8” (1,5cm) is included, except other directions directly on the sewing pattern. Transfer all marks carefully when cutting the fabric. Pleas always do a mockup first. To get the desired shape the dress should be worn over a corset and suitable underpinnings. The dress is intended to be worn for more sporting activities, so it is designed to be worn over a small to a medium size bustle pad. If you want to wear the dress over a small crinoline or a larger bustle you have to spread the back width of the skirt to the hip era. Plan to make two or three pleats into the skirt gore #2 and #3 at the hip section. The front waist piece and the front apron are cut as one piece, at the side and the back the apron pieces are sewn on and folded into regular pleats at the back.
    [Show full text]
  • Ergonomic Tools and Accessories
    Ergonomic Tools and Accessories 21.115 Page 1 Tool manufacturers from all industries are now designing tools to be more ergonomic or body-friendly. Tools used repetitively over an extended period of time can cause injury if they’re not ergonomically designed. Sewing and sewing tools are no exception to this rule. Each year, manufacturers of notions and tools are creating more items that are kinder to our hands, backs and necks. It is important that sewers, whether young or old, take as much care as possible when sewing as there is plenty of repetitive motion! This guideline focuses on tools. For information on ergonomic chairs, see Guideline 21.110. Snips & Scissors Fiskars Bent-Handle Scissors are durable There are several varieties of scissors and and offer consistent, exceptional cutting snips engineered with ergonomic handles performance. The ergonomic handle is that provide a comfortable, pain-free grip designed for very comfortable cutting, and when used for long hours at a stretch. the plastic is molded to fit comfortably in your hand. The scissors are designed Below are some choices of ergonomically specifically to avoid touching pressure designed scissors and snips. points and to distribute resistance across Omnigrid® Scissors Ergonomic Thread more of the hand during cutting, thus Snips: These scissors are a good basic pair providing comfortable cutting action. An for many of your sewing needs. They have adjustable tension screw allows you to soft, cushioned handles that greatly reduce reduce or fatigue and are perfect for those with increase the arthritis or carpal tunnel syndrome. The cutting-motion snips fit comfortably in your hand for resistance.
    [Show full text]
  • International Journal of Textile Science and Engineering Chowdhary U
    International Journal of Textile Science and Engineering Chowdhary U. Int J Text Sci Eng 3: 125. Review Article DOI: 10.29011/IJTSE-125/100025 Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool Usha Chowdhary* Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Mich- igan, USA *Corresponding author: Usha Chowdhary, Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Michigan, USA. Email: [email protected] Citation: Chowdhary U (2019) Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool. Int J Text Sci Eng 3: 125. DOI: 10.29011/IJTSE-125/100025 Received Date: March 5, 2019; Accepted Date: March 20, 2019; Published Date: March 29, 2019 Abstract The study examined breaking strength, elongation and time at break for 100% medium weight knitted wool with in- terfacings and lining. Several ASTM standards were used to measure structural and performance attributes. Fabric strength, elongation, and time taken to rupture for fabric exclusively and with interfacings and lining attached were measured for eight relationships. Hypotheses were tested using T-test analysis. Confidence level was established at 95%. Results revealed that majority of the hypotheses were accepted. Results for fusible and non-fusible interfacings varied. Adding fusible interfacing did not enhance strength in the lengthwise direction. Fusible and non-fusible interfacings did not differ for elongation. It took longer for fabric to break in lengthwise than the crosswise direction. Future research is needed to confirm the findings of this study for various fabrics, seam types, stitch types, fabric construction and fiber contents.
    [Show full text]
  • GRADUATE LEARNING PLAN for Pamela Vanderlinde
    DePaul University School for New Learning Graduate Programs MASTER OF ARTS PROGRAM IN APPLIED PROFESSIONAL STUDIES (MAAPS) 1 E. Jackson Blvd., Chicago, IL 60604 [email protected] (312-362-8448) GRADUATE LEARNING PLAN for Pamela Vanderlinde •ADDRESS: •PHONE: •EMAIL: DOCUMENT DATE: January 18, 2011 FOCUS - Applying study of historical and contemporary AREA: bespoke fashion to my design practice, philosophy and teaching. Prof. - Ms. XXX XXXX Advisor: •PA Position/Title: _Instructor, Illinois Institute of Art-Chicago •PA Address: _____________________________________ •PA Phone: ______ •PA Email: Faculty - Michelle Navarre Cleary, PhD •Position/Title: Resident Faculty, School for New Learning, DePaul University Mentor: •Address: DePaul University, 1 E. Jackson Blvd., Chicago, IL 60604 •Phone: 312-362-7301______ •Email: [email protected] Cluster: - 86_______ - __1/21/11_____ (date approved by Student’s Academic Committee) Approval: - ___2/18/11________ (date approved by Graduate Student Program Review Committee) - 1 - PART I: Personal/Professional Background & Goals Directions: In Part I, the student provides a context for the Graduate Learning Plan and a rationale for both his/her career direction and choice of the MAAPS Program of study as a vehicle to assist movement in that direction. Specifically, Part I is to include three sections: A. a brief description of the student’s personal and professional history (including education, past/current positions, key interests, etc.); B. an explanation of the three or more years of experience (or equivalent) offered in support of the Graduate Focus Area; C. a brief description/explanation of the student’s personal and professional goals. A. Description of My Personal/Professional History: I have many passions in this world; fashion, teaching, travel, reading, yoga to name a few.
    [Show full text]
  • Cloth, Fashion and Revolution 'Evocative' Garments and a Merchant's Know-How: Madame Teillard, Dressmaker at the Palais-Ro
    CLOTH, FASHION AND REVOLUTION ‘EVOCATIVE’ GARMENTS AND A MERCHANT’S KNOW-HOW: MADAME TEILLARD, DRESSMAKER AT THE PALAIS-ROYAL By Professor Natacha Coquery, University of Lyon 2 (France) Revolutionary upheavals have substantial repercussions on the luxury goods sector. This is because the luxury goods market is ever-changing, highly competitive, and a source of considerable profits. Yet it is also fragile, given its close ties to fashion, to the imperative for novelty and the short-lived, and to objects or materials that act as social markers, intended for consumers from elite circles. However, this very fragility, related to fashion’s fleeting nature, can also be a strength. When we speak of fashion, we speak of inventiveness and constant innovation in materials, shapes, and colours. Thus, fashion merchants become experts in the fleeting and the novel. In his Dictionnaire universel de commerce [Universal Dictionary of Trade and Commerce], Savary des Bruslons assimilates ‘novelty’ and ‘fabrics’ with ‘fashion’: [Fashion] […] It is commonly said of new fabrics that delight with their colour, design or fabrication, [that they] are eagerly sought after at first, but soon give way in turn to other fabrics that have the charm of novelty.1 In the clothing trade, which best embodies fashion, talented merchants are those that successfully start new fashions and react most rapidly to new trends, which are sometimes triggered by political events. In 1763, the year in which the Treaty of Paris was signed to end the Seven Years’ War, the haberdasher Déton of Rue Saint-Honoré, Paris, ‘in whose shop one finds all fashionable merchandise, invented preliminary hats, decorated on the front in the French style, and on the back in the English manner.’2 The haberdasher made a clear and clever allusion to the preliminary treaty, signed a year earlier.
    [Show full text]
  • Rando – Introducing the World's First Ski Suit in 3-Layer Gore-Tex® Active
    Press release February 2013 Rando – introducing the world’s first ski suit in 3-layer Gore-Tex® Active Perhaps the secret of Randonée lies in the contrast of struggling up the mountain only to later enjoy the ride down. Perhaps it is the science of finding snow that no one else has broken before. Or perhaps just to enjoy the vast landscape. Regardless of the reason, the activity places special demands on the equipment. For the 2013 winter season Haglöfs is introducing a new extensive collection for skiers who want to explore far away from the lift system and pistes. All of these products, which are gathered under the RANDO family, were developed with a focus on safety and being able to quickly and easily adapt the clothing based on changing weather conditions or whether you are headed up or down the mountain. One of this year’s big releases is RANDO AS SUIT – the world’s first ski suit in 3-layer Gore-Tex® Active. During its product development stage, Haglöfs focused on taking advantage of the properties of Gore’s Active technology in order to be able to offer the lightest and the most comfortable, waterproof and breathable skiing garment on the market. RANDO AS SUIT has an unembellished design, but with all of the product features a skier would expect, such as a helmet-compatible, adjustable 3-way hood, a DWR-treated outer surface and pockets strategically placed so that they are accessible even when carrying a backpack. The suit also has long, reinforced and waterproof zippers at the armpits and along the thighs in order to maximize ventilation.
    [Show full text]
  • I Was Tempted by a Pretty Coloured Muslin
    “I was tempted by a pretty y y coloured muslin”: Jane Austen and the Art of Being Fashionable MARY HAFNER-LANEY Mary Hafner-Laney is an historic costumer. Using her thirty-plus years of trial-and-error experience, she has given presentations and workshops on how women of the past dressed to historical societies, literary groups, and costuming and re-enactment organizations. She is retired from the State of Washington . E E plucked that first leaf o ff the fig tree in the Garden of Eden and decided green was her color, women of all times and all places have been interested in fashion and in being fashionable. Jane Austen herself wrote , “I beleive Finery must have it” (23 September 1813) , and in Northanger Abbey we read that Mrs. Allen cannot begin to enjoy the delights of Bath until she “was provided with a dress of the newest fashion” (20). Whether a woman was like Jane and “so tired & ashamed of half my present stock that I even blush at the sight of the wardrobe which contains them ” (25 December 1798) or like the two Miss Beauforts in Sanditon , who required “six new Dresses each for a three days visit” (Minor Works 421), dress was a problem to be solved. There were no big-name designers with models to show o ff their creations. There was no Project Runway . There were no department stores or clothing empori - ums where one could browse for and purchase garments of the latest fashion. How did a woman achieve a stylish appearance? Just as we have Vogue , Elle and In Style magazines to keep us up to date on the most current styles, women of the Regency era had The Ladies Magazine , La Belle Assemblée , Le Beau Monde , The Gallery of Fashion , and a host of other publications (Decker) .
    [Show full text]
  • Cotehardie Construction from Extant Pieces
    Cotehardie Construction from Extant Pieces Mistress Mairghead de Chesholme [email protected] Mka Jacquelyne Aubuchon Uppsala gown reconstruction http://www.kostym.cz/Anglicky/1_Originaly/01_Goticke/I_01_13.htm Very few examples of clothing from the High Middle Ages have survived to the present day. Of those garments, even fewer are available for study to the amateur costumer. Marc Carlson’s website “Some Clothing of the Middle Ages” provides an invaluable resource for the costumer to find garments with which to make comparisons. For this examination, I have selected five garments for comparison. These garments include the Soderkoping kirtle, Herjolfnes No. 42, Herjolfnes No. 39, Herjolfnes No. 38, and the Uppsala gown. The Herjolfnes garments immediately precede the cotehardie in fashion, but are not necessarily cotes. What they show is a continuity of cut and style that can arguably be carried over to application in construction of cotehardies. For example, think of a man’s dress shirt. Envision the places where the seams lie on a modern shirt. One hundred years ago, the technology was radically different, but the seams will correspond on a man’s shirt from the 1800’s. Clothing construction is constantly tweaked, skirts get longer and shorter, dresses range from fitted to volumous, but the basic lines for seams remain the same. By utilizing what is known on the above five garments one can reasonably reproduce a cotehardie using a pattern that would have been plausible at the time. Soderkoping Kirtle http://personal.utulsa.edu/~marc-carlson/cloth/soder.html The first garment and most degraded of the five is the Soderkoping kirtle.
    [Show full text]
  • Aic Paintings Specialty Group Postprints
    1991 AIC PAINTINGS SPECIALTY GROUP POSTPRINTS Papers presented at the Nineteenth Annual Meeting of the American Institute for Conservation of Historic and Artistic Works Albuquerque, New Mexico Saturday, June 8,1991. Compiled by Chris Stavroudis The Post-Prints of the Paintings Specialty Group: 1991 is published by the Paintings Specialty Group (PSG) of the American Institute for Conservation of Historical and Artistic Works (AIC). These papers have not been edited and are published as received. Responsibility for the methods and/or materials described herein rests solely with the contributors and these should not be considered official statements of the Paintings Specialty Group or the American Institute for Conservation. The Paintings Specialty Group is an approved division of the American Institute for Conservation of Historical and Artistic Works (AIC) but does not necessarily represent AIC policies or opinions. The Post-Prints of the Paintings Specialty Group: 1991 is distributed to members of the Paintings Specialty Group. Additional copies may be purchased from the American Institute for Conservation of Historical and Artistic Works; 1400 16th Street N.W., Suite 340; Washington, DC 20036. Volume designed on Macintosh using QuarkXPress 3.0 by Lark London Stavroudis. Text printed on Cross Pointe 60 lb. book, an acid-free, recycled paper (50% recycled content, 10% post-consumer waste). Printing and adhesive binding by the Mennonite Publishing House, Scottdale, Pennsylvania. TABLE OF CONTENT S Erastus Salisbury Field, American Folk Painter: 4 His Changing Style And Changing Techniques Michael L. Heslip and James S. Martin The Use of Infra-red Vidicon and Image Digitizing Software in 4 Examining 20th-century Works of Art James Coddington Paintings On Paper: Collaboration Between Paper 11 and Paintings Conservators Daria Keynan and Carol Weingarten Standard Materials for Analysis of Binding Media and 23 GCI Binding Media Library Dusan C.
    [Show full text]
  • Sewing Technique: Lock Stitch (Hem 1”)
    Sewing Technique: Lock Stitch (Hem 1”) The lock stitch is a hand stitch used for hemming purposes. It gives a secure hold with limited view of the thread on the outer side of the garment. STEP 1: Stay stitch ¼-inch from the fabric edge. (A stay stitch is a single line that is used for guidance and to keep the fabric from fraying. It is a normal stitch length and backstitching is a personal preference.) STEP 2: Fold the hem edge back 1-inch. Press fold in order to make a crease in the fabric. Press fabric 1 again ¼-inch. This press will follow the stay stitch seam. STEP 3: Secure thread to the folded edge of fabric on stay stitch line in order to hide the knot. STEP 4: Moving left, make a small stitch (1/2 to ¾ inch). The stitch should first go through the ¼-inch fold; then a small stitch is made that only goes through the outside layer of the garment. Pull thread gently back through to the inside of the garment. Avoid pulling the thread tight as the needle passes back through the loop created from the stitch. 5 3 5 STEP 6: To tighten lock stitch, pull thread to the left. STEP 7: Continue moving left and repeating step 5 until seam is complete. STEP 8: Once finished, secure thread to prevent it from unraveling. NOTE: The lock stitch can be used in place of a catch stitch. 7 6 Industry Standards for a Well-Constructed Hem: • Hem is level • Hem lies flat • No puckers, twists, or extra bulk • Hand stitching is not visible on correct side of garment • Hand stitches are evenly spaced • Topstitching is even and parallel to hemline References: Readers Digest.
    [Show full text]