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Convertible Collar Construction
Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2. -
My Bernette Sewing Machine Mastery Workbook – B37
MASTERY BOOK SERIES SEWING MACHINES BERNETTE SEWING MACHINE WORKBOOK For bernette models b37 and b38 ©2017. Permission granted to copy and distribute in original form only. Content may not be altered or used in any other form or under any other branding. TABLE OF CONTENTS Introduction ........................................... 3 Sewing Machine Needles ...................... 4 Thread .................................................... 6 bernette Presser Feet ............................ 7 Stitch Selection ...................................... 8 Securing Stitches ................................... 9 Turning Corners ..................................... 10 Zigzag Stitch .......................................... 11 Blind Hem .............................................. 12 Triple Straight Stitch ............................. 13 Overlock Stitch ...................................... 14 Stretch Stitch ......................................... 15 Buttonholes .......................................... 16 Attaching Buttons ................................. 17 Stitching Zippers .................................... 18 Decorative Stitching .............................. 19 Satin Stitching ....................................... 20 Stitch Combinations/Memory ............... 21 Alphabets ............................................... 22 The information in this workbook applies to bernette models: b37 and b38. Double Needle Stitching ....................... 23 Note: Some exercises apply only to certain models Supplies ................................................. -
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. -
About Pins Guide Reformatted Layout 1 2/17/12 11:34 AM Page 1
023-507P8 All about Pins Guide reformatted_Layout 1 2/17/12 11:34 AM Page 1 SELECTING THE PROPER STRAIGHT PIN Select pins according to the type of pin, length of pin, type of pin head, type of metal from which it is made & project for which it will be used. Applique STRAIGHT PINS Applique Short length helps position and hold appliques during hand sewing Ball Point BAll point Rounded tip is specially designed for knits and lingerie fabrics Beading e d long BAll point i Long pin for use on medium-weight knit fabrics u g s BeAding Bridal and Lace n Large head is ideal for lace, open-weave fabrics and beading crafts i p t BridAl And lAce u Extra-fine pin for use on delicate or lightweight fabrics and lace o b Color Ball color BAll a l General purpose sewing pin for medium-weight fabrics l a extrA-long color BAll Extra-long for lofty fabrics, quilt basting & home decor sewing Craft crAft Extra-long pin for heavyweight fabrics, home decor projects and crafts dressmAker Dressmaker General purpose sewing pin suitable for medium-weight fabrics flAt flower or flAt Button Extra-long, fine pin with flat head for lace, eyelet, loose weaves, lofty Flat Flower fabrics and home decor more projects, tips & techniques at Joann.com ® free Flat Button 023-507P8 All about Pins Guide reformatted_Layout 1 2/17/12 11:34 AM Page 3 glAss HeAd SPECIALTY PINS T-Pin A general purpose pin with a heat-resistant glass head used for medium- corsAge & Boutonniere weight fabrics Black and white, pearlized head used for pinning corsage or flower onto Glass Head garment for -
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. -
Round 'N Round, We Go Circular Embroidery
Circular Embroidery Attachment Round ‘n Round, We Go (BERNINA Foot #83) Brought to you by: Foot #83 Circular Embroidery Attachment An attachment for most BERNINA (legacy and classic editions) for sewing in circles with any stitch on your machine How to install the attachment: • Within the box you will find a booklet of detailed instructions, the flat metal attachment, a special screwdriver and two flat head set screws (one is a spare). • There is a small screw hole on the bed of the machine, close to the throat plate. The metal attachment has a corresponding hole. Line up the holes, place the set screw in these holes and use the special screwdriver to fasten the attachment to the machine. • Do not over-tighten the screw. • The flat head of the screw allows the fabric to smoothly slide over the attachment. • The metal attachment has a sharp, positioning pin with a rubber cap. The cap protects your fingers from the sharp pin and holds the fabric in place on the attachment. The • The positioning pin is attached to a black tab with grooves. There are notches along the metal bar for locking the pin in place. Positioning Pin • The positioning pin can be adjusted to the desired size circle you want to sew. Press on the black tab to gently slide the setting pin. Do not push or pull on the pin to make the size adjustment because it can become bent or dislodged. What size can I do? • The distance from the setting pin to the sewing machine needle is the radius of the circle. -
Lmc 6313 Principles of Interaction Design
Principles of Interaction Design – LMC 6313 Syllabus Course Number: LMC 6313 Location: Skiles 346 Times: T/Th – 3:00p-3:50p F (lab) – 11:15a-2:00p Instructor: Dr. Anne Sullivan Instructor Email: [email protected] Office Hours: By Appointment (Mondays are the best bet) Office Location: TSRB 317C TA: Takeria Blunt TA Email: [email protected] Course Website: http://canvas.gatech.edu Course Description: What is interaction, what is design, where did these notions come from, and where are they going? Through the activities in this course, you will return to questions of what kind of designer you are and wish to be, what you believe in, and how that will extend to your research and practice. You will also develop your own critical take on the material in the class and sharpen your voice and arguments about your perspectives. Interaction design wasn’t invented from scratch as a singular, monolithic practice. It was born out of the intersection of a number of disciplines from within design and human-computer interaction, and also from art, media, architecture, politics, and philosophy, and beyond. There are many different definitions of what it is and where we fit into it, and no two people we meet in this class will likely have the same definition. And that’s the way it should be. Through my suggestions and yours, we will also turn to design questions in digital culture, film, tv, fiction, gaming, music, art and beyond as we together frame our understandings. As you read, The syllabus, dates, times, assignments, and details are subject to change by instructor notification through Canvas or email. -
Elejq . 5W4” \/ Inventor
Jan. 29, 1963 ' C..RUBIO 3,075,202 PIN COLLAR STAYS Filed June 13, 1955 8 , \ / 7 3 .ELEJQ . 5W4” \/ INVENTOR. 5. [40 I5 4 Carlos Ruble 3,b75,2d2 United States Patent 0 " 1C6 Patented Jan. 29, 1353 1 2 FIGURE 7 is a plan view showing a modi?ed form of 3,075,202 angular adjustable stay for collars. PIN COLLAR STAYS FIGURE 8 is a plan view showing a modi?ed form of Carlos Rubin, 126 E. 83rd St, New York, N.Y. cross adjustable collar stay, according to the invention. Filed June 13, 1955, Ser. No. 514,840 FIGURE 9 is a plan view showing another modi?ed 2 Claims. (El. 2-132) form of collar stay with unitary main body construction. FIGURE 10 is a front elevational view of the collar This invention relates to improvements in devices for stay shown in FIGURE 9. staying and smoothing shirt collars and the like. FIGURE 11 is a right end-elevational View of the collar An object of the invention is to provide a novel and im stay shown in FIGURE 9. proved shirt collar stay which is carried by the collar in FIGURE 12 is a plan view showing another modi?ed order to retain the collar in unwrinkled form, and with a form of quadrilateral stay of a type suitable for collars smooth attractive appearance. also. ' Another object of the invention is to provide a novel The presently disclosed devices are convenient for main and improved shirt collar stay which may be employed on 15 taining the most attractive and uniform appearance de any type of shirt collar, whether or not it is equipped sired in connection with the wearing of shirt collars. -
General Video Brainstorming for Workshops
Standard Brainstorming Brainstorming, also known as the Delphi technique, is used to generate innovative ideas. Osborn (1957) introduced brainstorming to create synergy within the members of a group: ideas suggested by one participant would spark ideas in other participants. Subsequent studies (Collaros and Anderson, 1969, Diehl and Stroebe, 1987) challenged the effectiveness of group brainstorming, finding that aggregates of individuals could produce the same number of ideas as groups. They found that production blocking, free-riding and evaluation apprehension were sufficient to outweigh the benefits of synergy in brainstorming groups. Since then, many researchers have explored different strategies for addressing these limitations. For our purposes, the quantity of ideas is not the only important measure. We are also interested in the relationship among the members of the group. As de Vreede et al. (2000) point out, one should also consider elaboration of ideas, as group members react to each other's ideas. Brainstorming sessions have two phases: the first for generating ideas and the second for reflecting upon them. A small group (three to seven people) agree on a specific topic and a limited period of time. The goal is to generate as many ideas as possible, maximizing quantity over quality: Twenty different ideas are better than three indepth ideas. Phase 1 usually lasts from half-an-hour to an hour, depending upon the topic and the group. Sessions longer than an hour are not recommended. Even if ideas are still flowing, the group should stop when time is up. It is better that everyone leaves feeling energized and excited by the ideas rather than tired and bored. -
An Overview of the Building Delivery Process
An Overview of the Building Delivery CHAPTER Process 1 (How Buildings Come into Being) CHAPTER OUTLINE 1.1 PROJECT DELIVERY PHASES 1.11 CONSTRUCTION PHASE: CONTRACT ADMINISTRATION 1.2 PREDESIGN PHASE 1.12 POSTCONSTRUCTION PHASE: 1.3 DESIGN PHASE PROJECT CLOSEOUT 1.4 THREE SEQUENTIAL STAGES IN DESIGN PHASE 1.13 PROJECT DELIVERY METHOD: DESIGN- BID-BUILD METHOD 1.5 CSI MASTERFORMAT AND SPECIFICATIONS 1.14 PROJECT DELIVERY METHOD: 1.6 THE CONSTRUCTION TEAM DESIGN-NEGOTIATE-BUILD METHOD 1.7 PRECONSTRUCTION PHASE: THE BIDDING 1.15 PROJECT DELIVERY METHOD: CONSTRUCTION DOCUMENTS MANAGEMENT-RELATED METHODS 1.8 PRECONSTRUCTION PHASE: THE SURETY BONDS 1.16 PROJECT DELIVERY METHOD: DESIGN-BUILD METHOD 1.9 PRECONSTRUCTION PHASE: SELECTING THE GENERAL CONTRACTOR AND PROJECT 1.17 INTEGRATED PROJECT DELIVERY METHOD DELIVERY 1.18 FAST-TRACK PROJECT SCHEDULING 1.10 CONSTRUCTION PHASE: SUBMITTALS AND CONSTRUCTION PROGRESS DOCUMENTATION Building construction is a complex, significant, and rewarding process. It begins with an idea and culminates in a structure that may serve its occupants for several decades, even centuries. Like the manufacturing of products, building construction requires an ordered and planned assembly of materials. It is, however, far more complicated than product manufacturing. Buildings are assembled outdoors by a large number of diverse constructors and artisans on all types of sites and are subject to all kinds of weather conditions. Additionally, even a modest-sized building must satisfy many performance criteria and legal constraints, requires an immense variety of materials, and involves a large network of design and production firms. Building construction is further complicated by the fact that no two buildings are identical; each one must be custom built to serve a unique function and respond to its specific context and the preferences of its owner, user, and occupant. -
Lean Product Launch: 3 Ways 3P Events Can Reduce Waste, Risk, and Time to Market
LEAN PRODUCT LAUNCH: 3 WAYS 3P EVENTS CAN REDUCE WASTE, RISK, AND TIME TO MARKET www.viantmedical.com / [email protected] By Todd Clark Program Manager INTRODUCTION Get a diverse group of smart people in a room and present them with a challenge. Brainstorm ideas and collaborate to choose the best solution. Build a mockup and simulate the process to learn as much as you can before bringing it into the real world. Sounds like a solid foundation for a successful a product launch, right? We think so, too. In a nutshell, that’s what happens during a Lean Production Preparation Process (3P) event. For more than a decade, Viant teams have been leveraging Lean Product Development and Lean Product Launch techniques to improve product quality, lower cost, and speed time to market. We’re bringing Lean to life across the product lifecycle to support our customers in expanding their product offerings, optimizing their supply chains, and managing costs on a global scale. Both Lean Product Development and Lean Product Launch have Lean principles at their core, like identifying and reducing waste. Both use Lean tools, including cross-functional teams and set-based design. However, Lean Product Development is used earlier in the product lifecycle and focuses on the process of product design. While there is often some overlap, Lean Product Launch happens later in the product lifecycle and focuses on the design of the manufacturing process. 3P is a Lean Product Launch tool that has been particularly effective for our customers. 3P events bring stakeholders together to identify and reduce waste in every step of a process, thereby increasing efficiency, de-risking the manufacturing process, and compressing the timeline. -
Sres Logo Download What Is SRE (Site Reliability Engineering)? Site Reliability Engineering (SRE) Is a Software Engineering Approach to IT Operations
sres logo download What is SRE (site reliability engineering)? Site reliability engineering (SRE) is a software engineering approach to IT operations. SRE teams use software as a tool to manage systems, solve problems, and automate operations tasks. SRE takes the tasks that have historically been done by operations teams, often manually, and instead gives them to engineers or ops teams who use software and automation to solve problems and manage production systems. SRE is a valuable practice when creating scalable and highly reliable software systems. It helps you manage large systems through code, which is more scalable and sustainable for sysadmins managing thousands or hundreds of thousands of machines. The concept of site reliability engineering comes from the Google engineering team and is credited to Ben Treynor Sloss. SRE helps teams find a balance between releasing new features and making sure that they are reliable for users. Standardization and automation are 2 important components of the SRE model. Site reliability engineers should always be looking for ways to enhance and automate operations tasks. In this way, SRE helps to improve the reliability of a system today, while also improving it as it grows over time. SRE supports teams who are moving from a traditional approach to IT operations to a cloud-native approach. What does a site reliability engineer do? A site reliability engineer is a unique role that requires either a background as a software developer with additional operations experience, or as a sysadmin or in an IT operations role that also has software development skills. SRE teams are responsible for how code is deployed, configured, and monitored, as well as the availability, latency, change management, emergency response, and capacity management of services in production.