Enclosed Accessories
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Operation Manual Product Code 885-V31/V32/V33 GETTING READY
Computerized Embroidery and Sewing Machine Operation Manual Product Code 885-V31/V32/V33 GETTING READY SEWING BASICS UTILITY STITCHES EMBROIDERY APPENDIX Please visit us at http://solutions.brother.comp where you can get product support and answers to frequently asked questions (FAQs). — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — Introduction Thank you for purchasing this embroidery and sewing machine. Before using this machine, carefully read the "Important Safety Instructions", and then study this manual for the correct operation of the various functions. In addition, after you have finished reading this manual, store it where it can quickly be accessed for future reference. Important Safety Instructions Please read these safety instructions before attempting to use the machine. This machine is intended for household use. DANGER - To reduce the risk of electric shock 1 Always unplug the machine from the electrical outlet immediately after using, when cleaning, when making any user servicing adjustments mentioned in this manual, or if you are leaving the machine unattended. WARNING - To reduce the risk of burns, fire, electric shock, or injury to persons. 2 Always unplug the machine from the electrical outlet when removing covers, lubricating, or when making any adjustments mentioned in the instruction manual • To unplug the machine, switch the machine to the symbol “O” position to turn it off, then grasp the plug and pull it out of the electrical outlet. Do not pull on the cord. • Plug the machine directly into the electrical outlet. Do not use an extension cord. • Always unplug your machine if the power is cut. 3 Never operate this machine if it has a damaged cord or plug, if it is not working properly, if it has been dropped or damaged, or water is spilled on the unit. -
Elegant Table Runner H
Elegant Table Runner Designed By Patty Peterson Featuring Kreinik Metallic Machine Sewing Threads Finished size 11.5" X 40.75" ave you ever wondered how you can use the decorative stitches on H your sewing machine? Well here’s a quick and easy project where you can combine your machine’s decorative stitches with beautiful metallic threads and make an absolutely elegant table accessory. Whether you make it for your own home or as a gift, this table runner project will help you see the possibilities of those decorative machine stitches in a whole new light! ! SUPPLY LIST: 1.!!! Kreinik Metallic Machine Sewing Threads (34 colors available). This project uses:! Fine Twist threads: 0001 SILVER, 0002 PEWTER, 0003 WHITE GOLD, 0006 ANTIQUE DK GOLD 2.!!! Kreinik Silver Metallized Gimp:! 0030 SILVER, 0032 ANTIQUE GOLD, 0033 BRASSY GOLD! 3.!!! Size 14 Topstitch needle 4.!!! Sewing or embroidery machine/combination 5.!!! Walking foot or dual feed foot to construct table runner 6.!!! Tear-away stabilizer (depending on your hoop size) 7.!!! Bobbin thread 8.!!! Scissors 9.!!! Kreinik Custom Corder!™ 10. !If you plan on embroidering out the stitches in your embroidery hoop you will need 3/4 yard of Kona Bay, Black cotton fabric !! 11. If you are sewing the decorative stitches you will need!1/2 yard Kona Bay, Black cotton fabric 12.! Background fabric 13" x 44" (WOF) width of fabric (our model uses light weight patterned nylon)! 13.! Backing fabric: Kona Bay, Black cotton 13" X 44" (WOF) 14. !Extra fabric to sew test stitches, such as a couple of 6" x 6" squares 15. -
Cultural Reinvention: Design Management for Korean Cultural Textile Products
Cultural Reinvention: Design management for Korean cultural textile products Meong Jin Shin Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of Design September 2011 The candidate confirms that the work submitted is her own, except where work which has formed part of jointly-authored publications has been included. The contribution of the candidate and the other authors to this work has been explicitly indicated below. The candidate confirms that appropriate credit has been given within the thesis where reference has been made to the work of others. The candidate has published 4 papers from her thesis and these have been submitted with the thesis. She is the first named author and definitely the main author with all others named being in normal supervisor or adviser roles. All the data collection was carried out by the candidate and the other authors helped with tool design, methodology advice and advice on analysis and interpretation. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2011 The University of Leeds and Meong Jin Shin ii Abstract The subject dealt with in this thesis is to develop design management models for a translation from a traditional cultural product into a modern product to meet a relevant target market. This thesis provides a review of the basic disciplines of culture, cultural product and design management. Attention is focused on the concept of cultural reinvention as an effective design management tool for producing a successful cultural product, which can fit into a contemporary market. -
Sleeveless Blouse Tutorial by Marianne Jeffrey Adventurousquilter.Blogspot.Com
Sleeveless Blouse Tutorial By Marianne Jeffrey Adventurousquilter.blogspot.com #sleevelessblousebyAQ Quick and easy to make! 1 Fabric Requirements This blouse tutorial has been written to suit any size; you take vital measurements and decide from several options offered. You will need up to: 2 yards of cotton fabric It is highly recommended you use cotton sateen as it drapes well. However you could use quilting cotton. I have found that a high quality yet lighter & softer quilting cotton such as some of those manufactured by Art Gallery Fabrics or M & S Textiles Australia drape well for use in cotton clothing. Harmony Art Organic Design has fabulous organic cotton sateen, you can buy it here: https://organiccottonplus.com/collections/prints-harmony-art Spoonflower also has a cotton sateen available in their range and offers a multitude delightful fabric designs by indie designers: https://www.spoonflower.com/ Rayon is another fabric option that drapes well but be sure to wash and dry before making the blouse to preshrink! Lightweight linen is also a great option or a linen/rayon blend! In dressmaking it is common for sewists to make a “wearable muslin” In simple terms a “muslin” involves making a ‘test’ garment from cheap fabric such as muslin to perfect the garment size, cut etc before using high quality fabrics for the final garment. A “wearable muslin” is made from cheaper quality fabric than your final garment, so that it is a wearable piece of clothing once it is complete! If you choose to do this you can shop the clearance aisle of large retailers such as Joann, Hobby Lobby, Walmart, Spotlight etc to buy cheap yardage for your test garment. -
Simplified Sewing: Hems
South Dakota State University Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange SDSU Extension Fact Sheets SDSU Extension 1964 Simplified Sewing: Hems Cooperative Extension South Dakota State University Follow this and additional works at: https://openprairie.sdstate.edu/extension_fact Recommended Citation South Dakota State University, Cooperative Extension, "Simplified Sewing: Hems" (1964). SDSU Extension Fact Sheets. 865. https://openprairie.sdstate.edu/extension_fact/865 This Fact Sheet is brought to you for free and open access by the SDSU Extension at Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in SDSU Extension Fact Sheets by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. .. ... -~--- - --v · . --,-.-.- , -. ·. ..•, .. ·'··· .••,.,. - .t:\. --(. ......., • ... ·\•i• ....,.,•-•1•,··...- .,.. "\' ·,- • • • -:\. -: ·):.~\:,..,:}:,:.·,:,..,:;:,:.~:,-:-,:.0:.- ·,~\:,.!;;;; ··:,:.\!.t:,-;..:,t;.,:,:,:.i:1:,:.'.:.•; .-·F_:,~::::_:.~:~~~~~;.:::z~:;:'.·---~-~;:~~L ::·.1~~~~1::.:;.:_;~~: File Copy FS244 THE l-lE~I of your dress can have the "professional - Wearer should stand in a natural position with look" or the "homemade look." In general, the best arms at sides and weight on both feet. hem is the least conspicuous, and every step in making a hem is planned with this in mind There are several methods of marking a hem. You may use any one of these: The professional touch is recognize-cl by the follow- ing characteristics: Various types of chalk markers or pin markers - Inconspicuous from the right side Yardstick - Even distance from the floor Tailor's square. - Wide enough for good proportion and to gi\.re With some of these you can mark enough weight to hang well your own hem; others require a - Even in width help«. -
Taking Shape DARTS ADD SHAPE TURNING a FLAT PIECE of FABRIC INTO a THREE-DIMENSIONAL FORM to MATCH the CONTOURS of the BODY LINDA TURNER GRIEPENTROG
Techniques Taking Shape DARTS ADD SHAPE TURNING A FLAT PIECE OF FABRIC INTO A THREE-DIMENSIONAL FORM TO MATCH THE CONTOURS OF THE BODY LINDA TURNER GRIEPENTROG ustline, hip, waistline to tummy, elbow and shoulder. Darts can be horizontal, vertical or anywhere in between, straight or curved, but the stitching principles are the same. BThe goal of quality dart stitching is smooth, pucker-free points that don’t call attention to themselves. SHAPING A single-point dart is shaped like a triangle, and when stitched it takes a wedge of fabric out of the garment allowing for controlled fullness at the point. A single dart may be on the lengthwise fabric grain, angled or slightly curved. (1) A double-point or contour dart is diamond or rugby ball shaped, and is used to shape the waistline, leaving fullness at both ends for the bust and hip. (2) A French dart is a curved shape from the garment side seam to the bustline. This dart has cut edges joined like a seam. (3) V9082 Vintage Vogue, 1960. Misses’ A5(6-8-10-12-14) E5(14-16-18-20-22). Sew Rating: Average. Price code Orange. Illustrations: Theresa O’Connell Theresa Illustrations: 1 2 3 26 SEW TODAY May/June 2019 MARKING to anchor the stitches. Stitch (7) and stitch toward the point, Darts are indicated on the along the line, removing the A third technique for dart then repeat for the other pattern tissue by either solid pins as you get to them. Taper point, slightly overlapping or dashed lines and a dot the stitching to the point the beginning stitching lines at the point. -
Almost Amish Apron, Children's Size
Almost Amish Apron, Children’s Size 7 ½” Selvages 1/2” Pocket 7 ½ ” Ruffle Ruffle Tie (makes 2) 17” waistband Body of Apron (cut 1) 11 ” Fold 3 ¾” 3 ¾” 3 ¾ ” 4 ½ ” 13” 1/2 yd red fabric for ruffles, ties, waistband, and pocket 3/8 yd floral fabric for body of apron (makes 2) 1. Make ties by sewing right sides together then turning right side out. 2. Form ruffle by sewing two pieces together to form one long piece, fold in half length-wise with wrong sides together, run gathering stitch (long machine stitch) with raw edges together. 3. Apply ruffle to side and bottom edges of apron, gathering up the ruffle to fit and discarding extra ruffle. 4. Prepare pocket and topstitch onto apron. Sew on button. 5. With right sides together stitch waistband to top edge of apron, folding ends of waistband under to be even with edge of ruffle. Fold waistband to inside and pin barely over seam. On right side of apron, topstitch waistband near seam line. 6. Insert ties into ends of waistband and stitch across. Almost Amish Apron, Detailed Instructions 1. Fabric amounts and cutting of pieces are shown below. 9” Selvages Pocket 9” Ruffle Ruffle Tie Tie 22” waistband Body of Apron (cut 1) 13 ¼” Fold 4” 4” 4 ¾ ” 4 ¾ ” 5” 19” 3/4 yd red fabric for ruffles, ties, waistband, and pocket 5/8 yd floral fabric for body of apron 2. Fold tie in half length-wise right sides together and press. Stitch long edge and one short edge 1/2” from raw edge. -
History and Design of Nineteenth-Century Minpos^ Korean Commoner's Wrapping Cloths 一 Focused on Supo 一
IJCC, Vol. 5, No. 2, 120 〜130(2002) 42 History and Design of Nineteenth-Century Minpos^ Korean Commoner's Wrapping Cloths 一 Focused on Supo 一 Sung-Kyung Im and Myung- Sook Han Dept, of Clothing and Textiles, Sang Myung University Abstract The purpose of this research is to survey minpofthe nations pojagi), especially supo(the embroidered pojagi), of the Yi Chosun of Korea during the nineteenth century. This study explores the history and background of minpo, its characteristics, including forms, designs, materials, and how they related to womens daily life during the Yi Chosun in social and cultural aspects. There were minpos for use in everyday life as well as for special occasions such as weddings, funerals and religions rites, including Buddhist and other services. The research undertaken here is done by classifying minpos according to composition, design, pattern and motif. Key -words: poiagi, tninpo, supo, embroidered pojagi. ulace, from the aristocratic class to the non I. Introduction -titled Koreans. This study explores the history and back During the Chosun Dynasty (1392 〜1910) in ground of minpo, its characteristics, including Korea, women lived in the shadow of men, their forms, designs, materials, and how they related fathers, husbands or sons. Few outlets of expres to women's daily life during the Chosun Dy sion were available to women; one of them was nasty in social and cultural aspects. There were the creation of exquisite wrapping cloths and minpos for use in everyday life as well as fbr covers for food, pojagi, which were replete with special occasions such as weddings, funerals and creativity. -
Instructions and Free Patterns
Instructions and free patterns www.mybernette.com “Romantic style” project sewing instructions Frilly blouse Sizes 3434––––4242 European (4(4(4-(4 ---1212 US/6US/6----1414 UK) You'll need - 1.2m (1 3/8 yd) pink taffeta (fabric width 1.5m (5')) - 0.45m (½ yd) white tulle (fabric width 1.5m (5')) - 0.50 m (1/2 yd) pink voile (fabric width 1.5m (5')) - 1.5m (1 2/3 yd) satin ribbon, approx. 4mm (1/6") wide - Assorted sewing and embroidery threads in pink - Embroidery stabilizer for the facing - Spray adhesive - Sewing thread to match the color of the fabric - Gathering foot - Cording foot Fabric rerecommendationcommendation Taffeta or other shiny, slightly crisp fabric for the blouse. Sheer fabrics that can be gathered with the gathering foot for the frills. Good to know The decorative stitches will cause the fabric to shrink slightly, so be sure to add 2.5cm (1") seam allowance to the outer facing when cutting it out. After embellishing the facing with decorative stitching, reposition the paper pattern on the stitched fabric and trim the seam allowance to 1.5cm (5/8"). Cutting out Seam allowanceallowancess ––– When cutting out, add 1.5cm (5/8") seam allowance to all edges and the hem, and 1cm (3/8") to armhole curves. Pink taffeta 2 x front 1 x back to fabric fold 2 x facing 2 x belt loops: 1.5cm x 8cm (5/8" x 3 ¼"), including seam allowance 1 x belt: 8cm x 66cm (3 ¼" x 26"), including seam allowance 2 x bias binding for armhole, cut on cross-grain: 4cm x 47cm (1 5/8" x 18 1/2") Sheer voile, taffetataffeta,,,, or tulle Tear or cut (depending on the fabric's texture) 2cm- (7/8"-) wide strips for the frill on the facing. -
The Linked TEI: Text Encoding in the Web Book of Abstracts - Electronic Edition
The Linked TEI: Text Encoding in the Web Book of Abstracts - electronic edition Abstracts of the TEI Conference and Members Meeting 2013: October 2-5, Rome Edited by Fabio Ciotti and Arianna Ciula DIGILAB Sapienza University & TEI Consortium Rome 2013 Attribution-NonCommercial-ShareAlike 3.0 Unported Contents Introduction 1 Ciotti, Fabio; Ciula, Arianna Keynote speeches 5 Faceting Text Corpora 6 Demonet, Marie Luce Text encoding, ontologies, and the future 8 Renear, Allen Papers 11 The Linked Fragment: TEI and the encoding of text re-uses of lost authors 12 Berti, Monica; Almas, Bridget “Reports of My Death Are Greatly Exaggerated”: Findings from the TEI in 16 Libraries Survey Dalmau, Michelle; Hawkins, Kevin S. From entity description to semantic analysis: The case of Theodor Fontane’s 21 notebooks de la Iglesia, Martin; Göbel, Mathias Ontologies, data modelling, and TEI 26 Eide, Øyvind TEI and the description of the Sinai Palimpsests 30 Emery, Doug; Porter, Dot From TUSTEP to TEI in Baby Steps 34 Fankhauser, Peter; Pfefferkorn, Oliver; Witt, Andreas How TEI is Taught: a Survey of Digital Editing Pedagogy 39 Gavin, Michael Andrew; Mann, Rachel Scott TEI metadata as source to Europeana Regia – practical example and future 44 challenges Gehrke, Stefanie Documenter des “attentes applicatives” (processing expectations) 47 Glorieux, Frédéric; Jolivet, Vincent The Lifecycle of the DTA Base Format (DTABf) 49 Haaf, Susanne; Geyken, Alexander Promoting the linguistic diversity of TEI in the Maghreb and the Arab region 57 Hudrisier, Henri; Zghibi, Rachid; Sghidi, Sihem; Ben Henda, Mokhtar XQuerying the medieval Dubrovnik 63 Jovanović, Neven Analyzing TEI encoded texts with the TXM platform 66 Lavrentiev, Alexei; Heiden, Serge; Decorde, Matthieu "Texte" versus "Document". -
Sewing Math: How to Add, Subtract, Multiply & Divide
PAGE 8 KITCHEN-KLATTER MAGAZINE, SEPTEMBER, 1974 it's gathered and full, the best proce dure is to sew the skirt to the bottom of the bodice and add an attractive purchased belt. If it's fairly straight or A-line, you can do that, or you can set SEWING MATH: it on flat and neat to the knit bodice, turn the seam upward (again toward the HOW TO ADD, knit) and topstitch. It's entirely possi SUBTRACT, ble, if your girl needs even more MULTIPLY & DIVIDE length, to cut the knit bodice long enough for a dropped waistline; then by Mary Feese the "new" dress can be worn with or without a belt, as its wearer prefers. As you re-use fabrics, you'll find buttons, zippers, and some trim that you don't need for the project in hand, yet that are too good to throw away. You look at that title and wonder, figures, the problems are somewhat Save them! Small buttons store well in "What on earth does that mean?" Well, different. Anything that fits this month pill bottles; larger ones can be put simply this: you can add, subtract, may not do so next month! Let's say into plastic sandwich bags to keep multiply, and divide with items of she has a good dress, whose fabric is them together, yet easily visible. To clothing your family already owns. Re well worth redoing - but there's just re-use zippers and various trims, take cycle, alter, remake, restyle, hand no room in the bustline. The "tank the time to spray-starch and press them down, freshen up - and come out with top" idea can solve this one. -
HEG84-199 Topstitching
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Historical Materials from University of Nebraska-Lincoln Extension Extension 1984 HEG84-199 Topstitching Rose Marie Tondl University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/extensionhist Part of the Agriculture Commons, and the Curriculum and Instruction Commons Tondl, Rose Marie, "HEG84-199 Topstitching" (1984). Historical Materials from University of Nebraska- Lincoln Extension. 1391. https://digitalcommons.unl.edu/extensionhist/1391 This Article is brought to you for free and open access by the Extension at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Historical Materials from University of Nebraska-Lincoln Extension by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. HEG84-199 Topstitching This NebGuide describes the use of topstitching on jackets and coats, including techniques and materials required for a professional look. Rose Marie Tondl Extension Specialist-Clothing and Textiles Topstitching is an important yet distinctive finishing touch to a jacket or coat. Not only is it decorative, but a line of topstitching helps to keep interfacings in place, creates a neat, crisp edge on a tailored jacket, and accents seams. Topstitching can be done in various places on the garment, including lapels, pockets and pocket flaps, hems, cuffs, pleats, waistbands and major seams. The key to beautiful topstitching is the thread. It can be done with regular or special topstitching thread. Look on the end of the spool for the label that says "topstitching/buttonhole twist." Note the fiber content. Some are silk, some are 100% polyester and some are polyester wrapped with cotton.