DEDICATED TO
SRI BANKE BIHARILALJI
AND
MY FAMILY
PREFACE
Sewing is an ancient art involving stitching of cloths using needle and thread. Previously, it was done by hand gradually, sewing machine came into existence. Nowadays, there is variety of sewing machines available with multi functions and techniques. It makes sewing very easy. Today, ready-made clothing is in trend but it does not affect the popularity of home sewing and at the same time we cannot avoid the trend of readymade garments. Though, there are some garments which we can not stitch at home because stitching them at home seems troublesome say for example Nehru Coat, Gent’s three-piece suit, Blazer etc. Such garments need special skills and technology along with special type of machines to do the same. To simplify, at home with ease this book has been designed to benefit all those who wish to stitch such garments at home.
Stitching at home with fineness and fitness could be each and every woman’s desire alone but might be averse to this thought because it is cumbersome and not so very clear enough to take up
such assignments at home. I have experienced the same sitting alone at my home. And one fine day I decided to venture out and tried to locate some elementary write ups in various book stalls but could not find the same. I have a background in this field and have learnt from many
stalwarts of this trade some tricks and techniques of this trade while learning myself and
thereafter while imparting other housewives and learning students at my home from past several years. My students inspired me to write on this subject the way I have handled them during the learning session. I really got imbibed by them and took up this project with a serious thought. This is my debut venture and might not effectively work out in the way I have tried to
explain things in a simpler way, however, I wish that the same has to be conveyed once to many aspiring learners. Not all but if a few of them are benefited through this book, I shall be quite happy and thankful to my mentors.
To learn home sewing one has to follow some methods and procedures. In the second edition of my book I tried not only to describe all the techniques of sewing in a very easy language but I added instruction and construction of new designer garments of women as blouses, salwar kurta and ghagra or lehenga, which is easy to understand and follow the same. This book will also help to develop the ideas of designing various garments for children and adults. There are many tips which shall help to solve the problems related to fitting of a particular dress by simple cutting and sewing. Many ideas to decorate the dress have been also suggested.
I hope this book will be helpful for those who are interested in sewing and have some innovative ideas of designing the garments.
KUSUM SHARMA (Author)
CONTENTS
CHAPTER 1 PAGE
Basic sewing stitches, seam finishes and fullness in a garment 4 to 9
CHAPTER 2
Neckline, Facing & lining, Pockets & plackets & fasteners 10 to 16
CHAPTER 3
Collars & Sleeves 17 to 24
CHAPTER 4
Basic elements of design 25 to 27
CHAPTER 5
Knowledge of sewing machine 28 to 34
CHAPTER 6
Necessary equipment for sewing and knowledge of fabrics 35 to 39
CHAPTER 7
Body measurement and measurement table 40 to 45
CHAPTER 8
Drafting and layout pattern 46 to 49
CHAPTER 9
Children’s clothes 50 to 70
CHAPTER 10
Women’s clothes 71 to 86
CHAPTER 11
Gents garments 87 to 97
CHAPTER 12
Glossary of sewing terms 98 to 113
CHAPTER 13
Picture’s gallery 114 to 120
CHAPTER 1
BASIC SEWING STITCHES, SEAM FINISHES & FULLNESS OF
A GARMENT
In garment making, knowledge of sewing techniques is necessary. There are some stitches made by hand and machine to complete garment sewing. Some stitches made by hand are temporary and some are permanent. Temporary stitches are used to hold the part of the garment pieces together before permanent stitches are made. Commonly these stitches are made on curved area of the garment such on armhole and necklines. To join facing on neckline and armhole tacking with the hand needle is preferable for good finishing. Some permanent hand stitches are hemming, herringbone and overcastting stitches, which are used to finish the garment.
Basting or tacking
This type of stitches is commonly done as raw stitches to hold the two pieces of fabric together. Hand Basting is very essential while attaching yoke, collar, sleeves, plackets, gathers, pleats or patches.
Running stitch
Hand needle stitch of equal distance is useful for gathering, mending and quilting.
Back stitch
Back stitch is very firm and strong for the area where machine needle cannot reach easily.
Hemming stitch
Hemming is a slant stitch done on wrong side and very fine and small stitches shows on right side. This is very essential stitch to complete and finish the garment. Hemming can be done on neck line, Bottom flair of frocks and skirts, sleeve bottom, plackets etc.
HEMMING
SEAM FINISHES
Seam finish is a finish applied to a raw edge to control ravel and fraying. They also provide a neat appearance to the inside of a garment. The type of finish depends upon the weight of the fabric, the amount and kind of wear and care of a garment and kind of seams of a garment.
Pinked finish
Pinked finish is a trim on edges of seam allowance after the seam. This is a kind of small zigzag cutting on edges. This kind of seam finish is suitable only for light fabric.
Edge stitched finish
In this seam finish the seam is stitched and pressed open, and then under ¼” on each seam edge and top stitch close to the fold without catching the garment. This type of finish is suitable for bulky fabric. This is mostly used on unlined coats and jackets where the seam allowance is wide.
Double stitch finish
After making a plain seam, this stitch is done ¼” away from the raw edges. This finish is for light or normal weight fabric.
Herringbone stitch or catch stitch
This stitch is also a kind of hemming, which is useful for knitted fabric. It allows the fabric to stretch without causing the stitches to
Over casting stitches
Over casting stitches is used for inside seam of two layer of fabric after joining on the edges to lock the threads to come out. It is useful for side seam of trouser, sleeves etc.
Over casting stitch
Bound seam edge finish
After making plain seam, edges of seam allowance is finished by bias strips of fabrics. Bias strips are of light material. Fold the both side edges of strips and bound on the edges of the seam allowance and stitch to finish. This type of finish is done inside the trouser.
SEAM
In general terms of sewing, seam is a line of stitching to join two layers of fabrics. To join different parts of a garment different type of stitch is used. Not only had that even different type of fabric also required different type of seams. Some seams are shown on right side of a garment, and some are hidden inside.
Flat or plain seam
Flat or plain seam commonly used in dress making. Seam allowance for both the layer of fabric will be equal and edges should finished by overcastting or zigzag.
Flat felled seam
First make a plain seam and trim one side of seam allowance to avoid thickness. Press the seam, turn and fold the larger seam allowance to encase the trimmed edge. The folded edge has two rows of machine stitches and is used for jeans and shirts.
French seam
This seam is a seam within a seam. Make a plain seam on the right side of the fabric at a distance of ¼” from edges. The seam is then pressed to one side, turned over to the wrong side of the fabric and then machined at the actual seam line. The first seam is thus enclosed by the second seam line.
Lapped seam
When the yoke and dress or any two sections of fabric to be joined, one upon another then the upper part of the fabric is lapped over the lower edge. This seam gives the raised effect.
Lap felled seam
Parallel stitch to lapped seam is called lap felled seam.
Bound seam
The seam edges are bound by a bias strip of a thin fabric to keep the seam from fraying.
Flat n felled seam
Make a plain seam to join two layers of fabrics. Press both the seam allowances either side and machine two parallel stitches on right side of the garment.
Piped seam
A narrow cord is inserted in the bias strip of a fabric and stitched is piped seam.
Loops
Loops are stitched to insert belt on trousers and shorts. Stitch a strip of a fabric by folding edges of both sides and place on the area to attach and stitch by bar tacking method.
GATHERS
Gathers are fullness of fabric in garment. To make gathers extra fabric is required. Suppose for the skirt ½ of chest + 8” is for normal gathers and for more gathers increase the fabric in inches. Gathering can be done either by hand needle or by machine also. By hand needle make running stitches in equal distance and adjust gatherings by pulling the thread at one end. In machine increase the stitch width and after stitching adjust gatherings by pulling thread at one end. Gathers can be done on sleeves, necklines, skirts or blouses etc.
PLEATS
Pleats are the folds of fabric to control fullness. For the pleats, requirement of fabric depends upon the number and width of the pleats. There are various types of pleats plain pleats, knife pleats, box pleats, inverted box pleats etc.
DARTS
Darts are stitched to give a perfect shape and fitting to a dress. It is used basically in women’s dresses. Darts are stitched in a particular area of dress and can be shift as per requirement of the shape and fitting. Commonly there are shoulder darts, bust darts, waist darts and hip darts for various garments. Some steps to be taken to form a dart.
1 Determine the number of dart.
2 The width, length and position of dart should determine. 3 Dart point should be either one side or both sides.
TUCKS
Tucks are the stitches by hand or machine on the right side of the fabric to give fullness to the garment or for decorative purpose. It gives raising effect. Tucks should stitch on plain fabric first, afterwards cut the pattern of the garment. Tuck can be done on yoke, sleeves, pockets and waist part of skirt. It gives the raising effect. Pin tucks may be only in vertical lines, or vertical and horizontal lines as cross or can be stitched on bias fabric.
FRILLS AND RUFFLES
Frills are a long strip gathered fabric used for the designing purpose. Frills are attached to the garment on one corner. But ruffles are gathered and attached on centre. Frills are used mainly in frocks, skirts, sleeves, collars, necks and yokes. Ruffles are used for shirts, plackets, skirts and frocks etc.
FRILLS RUFFLES
SMOCKING
Smocking is a method to enrich any garment on yoke, neck line and sleeve bottoms. It is suitable for frocks and women’s garments, such as dresses, nighty and blouses. For smocking mark equal points of ½” or ¼”distance on both side edges of the fabric. Stitch the gather on the same points by hand needle, pull the thread from one end for close gathering. Close and vertical lines of folding will be shown. On these folding embroidery can be done by different colour of threads with different types of stitches.
CHAPTER 2
NECKLINES,
FACING
&
LINING,
POCKET,
PLACKETS & FASTENERS
NECKLINES
Neckline finish is very important for the final appearance of the garment. There are various types of shapes of neck lines such as round, square, v shape, sweet heart etc.
To draw neck line mark 0 to 1 as length or depth of the neck as per choice. 0 to 2 is the width of the neck i.e. 1/12th of the chest measurement. 3 is the meeting point of 1 and 2. Measure 4 a center point of 1-3 and 5 a centre point of 2-3. Measure 1” diagonally outside from 3 and name as 6. Draw a curved shape with the help of the French curve on 4 to 5. By following this method other different type of neck shapes can be drawn within the rectangle shape of 0-1-3 & 2. To draw sweetheart shape measure ¾” outside from 4-5 and 6-7 at the center point of 1-3 and 2-3 in second figure. Draw curve shape with the help of French curve on 1-5-3 and 3-7-2. Same method can be followed to draw scalloped shape of neck.
Join 1 and 2 as V shape and divide in two, three or more equal measures as per the size of scallops. Leave a small V shape at point 1 and for other scallops mark the center points. From these center points measure ½” outside for scallops on 7-8 and 9-10. Draw curve shape with the help of French curve on 4-8-5 and 5-10-6.
Necklines can be finished by facing, piping or collar. To finish the neckline with facing, place front and back bodice on a piece of fabric, this is folded on lengthwise. Draw outline of the neck shape and remove the bodice. Now mark the width of the neck shape strip around the neck shape and draw final outline. Cut the strip as per marking. Mark a small notch on the centre back and centre front of the strip and bodice. Place the strip on right side of the bodice with matching front and back notch. Tack the strip with hand needle for good finish. Stitch on ¼” away from edges. Remove tacking, turn and press the seam. Turn the strip on wrong side of the bodice. Fold other side edges of the strip and hem. Before hemming, tacking can give good finish. This method is useful for any kind of neck shape, especially
sweet-heart, scallop shape or any other type of curved shapes. Before turning, cut a small on stitched edges on corners for good shape.
Another way to finish the neck line is with bias strips of fabric. Bias strips are more stretchable so that, after turning it maintains the neck shape. To join two or more bias strips place them as shown in figure and join as per requirement. Place the strip on right side of the bodice and tack with the hand needle. Stitch ¼” from edges. Cut a small on the edges of the (A & B, see the figure) corners and shapes of the neck line. Turn and press the seam.
Fold other side edges and tack. To finish the neck line, hem. Bias strip finish is suitable for curved and V shape necklines. For the piping finish, bias strips should be joined. For piping, strip should stretch on straight line of neck line and should not stretch on curved shapes. Some time neck facing material, easily available in market with one side adhesive and can stick with neck strip, by hot ironing. This facing helps to maintain the pointed shapes of neck on the light weight fabric material. After stitching neck facing strip a small cut diagonally (as shown on below figure) and turn to press the seam and hem to get perfect shape of neckline.
All these methods are useful to finish neck lines in garments like frocks, kurtis and blouses. Lace, collar, embellishment with bids or other materials and embroidery are some other options to finish neck lines.
FACING & LINING
Facing are used to finish the necklines and arm holes in a garment. The felted facing should cut exact the shape of the neck line, round, square or V shape and then cut the same shape of fabric layer also matching to the garment. First place fabric layer of neckline and then lining part on the garment on right side. Tack with hand needle and then machine. Turn on wrong side neatly, fold the edges and hem to finish the neck line. Same method is applicable for arm hole finishing also.
LINING
Lining is a very light material to attach from inside the garment to protect the fabric from sagging. It used for very fine fabrics, transparent fabrics and lace or net fabrics. To attach lining cut the lining
fabric same as the bodice and keep 1/4” allowance for seam on shoulder and side seam and then machine with the main part and turn inside for final stitching. Lining should attach on side seam, and shoulder area.
Mulmul, voile, cambric and satin fabrics are good for lining and can be selected according to the main fabric. If lining material is starched then pre-wash the material before use to prevent shrinkage.
INTERFACING
Interfacing is the material inserted between the garment and the facing or lining to add stiffness. It gives a perfect shape and stiffness for collars, cuffs, plackets, waist belts, pocket flaps and salwar bottoms. Interfacing are cut without seam allowances and place first main fabric then lining and on top place inter facing piece and turn after machining.
POCKETS
Pockets are very important parts of a garment for storage and decorative purpose. There are many types of pockets attached to different types of garments.
PATCH POCKETS
Patch pockets are a patch of fabric matching to the garment, attached on front part of the garment. To attach patch pockets some precautions should be taken such as, the size of the pocket should be according to the proportion of the garment. It should be attached in a correct position.
Fold one side edge of pocket and stitch. Fold other three side edges of the pocket and tack with hand needle. Place the pocket on garment on decided position and tack with hand needle. Stitch the pocket on two sides and bottom. Bar tack or zigzag stitch is necessary at the two sides of open area on top. (A & B)
SLASH POCKET
Slash pockets may be one piece or two piece as per design of the garment. For slash pocket, mark the pocket line and place the pocket on right side of the garment and tack. Slit along the pocket line and make slashes at the two corners up to the seam line. Turn the pocket fabric inside. Press the seam and finish the edges with bias strip. Slash pockets are for blazer, coat and trouser.
Slash Pocket
SEAM POCKETS
Pockets hidden inside the seam line of a garment is called seam pocket. This is a kind of two piece pockets and attached to front part with the side seam of legs and with the waist band.
Join A, B and C, which is the shape of the pocket and turn so that seam part will be inside. Cut a rectangle piece of main fabric according to the length of the open of the pocket. Place the rectangle Piece D on inner layer of the pocket and stitch. Join another layer of pocket with the side seam of front, turn and press the seam and finish the open part with a top stitch. Place the other layer of pocket with side seam of front and back and join. Finish the both ends of opening by bar tacking or zigzag stitch. This pocket is generally attached on lower waist line, such as on trouser, skirt and men’s kurta.
KANGAROO POCKET
As per name this pocket is like a kangaroo bag and attached on the top side of the garment with flap. Generally this pocket is attached on casual wear garments.
Flap stitching Kangaroo Pocket
Cut the piece of pocket as per size. Cut the flap piece as less than half of the length of the pocket. Fold three side edges of flap and stitch. Place the flap piece on garment at position and stitch. Fold the top edges of the pocket and stitch as in patch pocket. Cut a narrow strip of fabric according to the one width and two length of the pocket. Stitch the strip on three sides of pocket. Fold the other side edges of the strip, attached with pocket. Place the pocket on the position close to flap joining, so that flap will cover the top part of the pocket, tack with hand needle and stitch. Kangaroo pockets are for casual wear trousers and Bermuda.
PLACKETS
Plackets are a straight strip of fabric to finish the opening of the garment. Plackets are kept closed with the fasteners such as buttons and buttonholes, hooks and eyes, press buttons or zip. Opening of a
garment depends upon the design, may be on front, back, on shoulder line or on waist line. Some plackets are conspicuous and some are inconspicuous.
One piece placket
This one piece placket is attached on the garment as a slit opening, where there is no seam line. For this type of placket cut a 2” width strip of fabric and length will be more than double the slit. It is attached continuously from one end, tapering towards the midpoint. The fabric is then turned by leaving the needle in the fabric and then machined to the other end. The placket piece is turned fully on the side and machined on folded area. One piece plackets are used for sleeve cuffs, side opening in skirts etc.
One piece or continuous placket
Bound and faced placket
This placket is used in the left seam of the skirt, sari petticoat and back seam of dresses, frocks etc. Cut two strips of fabric as per the length of the opening and 1” extra. One strip is 1 ½” width and the other is 2 ¼”. Place 2 ¼” width of strip on right side of the fabric on right hand side part, and stitch from top to bottom. At the end keep seam line narrow for convenience to turn. Press the seam and keep the placket outer side. Fold the other side edges by ¼” and stitch. Double fold the placket and stitch. Place the 1 ½” width strip of placket on the other part of the garment and stitch the same way as previous one. Fold the edges and stitch. Press the seam and turn placket totally inside of the garment and finish by hemming.
Bound & faced Placket
Zipper placket
There are various methods to attach zip placket. Zip is generally concealed in garment or one side overlap or sometime both side overlapped. Cut a strip of fabric with 1 ½” to 2” width and length as per opening of the garment. Open zip and place by turning one part of zip on right side of the garment and tack with hand needle. Tacking is necessary to avoid slip of zip at the time of machining. Double fold the fabric strip and place on tacked zip and stitch. Repeat the same method for other side. Press the seam and turn the fabric strip on wrong side of the garment. To flatten the zip a top stitch is required on the joining of the strip and zip from top side. To show the zip, this method can be used.
For one side overlap of zip stitching, two stripes of fabric are required as in previous method. Turn one part of zip and place on the garment opening and tack with hand needle. Double fold the strip of fabric and place above the zip and make a stitch close to the zip. Turn and press the seam. To flatten the zip part a top stitch on joining line is required. Now on the other part, double the fabric strip and join with the garment. Place the zip on the fabric strip folded edge and stitch on the edges of the zip part. Press the seam and turn the fabric strip with stitched zip on wrong side of the garment. Join the strip with the garment part ½” away from edges. At the end of the zip opening bar tacking is necessary, so that zip holder will not go inside and for smooth overlapping. Same method is applicable to stitch the zip for trousers and shorts. For both side overlapping follow second part of zip joining of this method.
Conspicuous Placket
Kurta Placket
Kurta placket is two piece plackets. Lower placket is wider than upper one. The centre front line is slit to form the opening in kurta. The wider piece is attached on the right and the other on the left. Both these are then folded into half and machined. The larger placket is then flattened to extend equally on either side of the seam line. The lower edge of the placket is folded into a V-shape and edge-machined.
Right side & Wrong side of Kurta placket
FASTENERS
All garments needs openings to put on and taken off easily. These openings can be closed in a variety of ways. Plackets are stitched to finish the openings. For women garments, the right side part of the garment laps over the left side and left side laps over the right side for men’s garment. Fasteners should be selected to suit the colour, design and texture of the fabric, the style and use of the garment and the position of the placket. Fasteners should stitch after completing the garment by machine sewing.
Hooks and eyes
There are various kinds of hooks and eyes available. Hooks and eyes are generally made of metal and are mostly applied on waist bands. There are provision of small holes to stitch hooks by needle and thread. Generally, hooks and eyes remain hidden on the garment. The placket stitched with hook laps on the placket stitched with eye. Place the hook on the edges of the placket and stitch making loops around the hole of the hook. Repeat the same method of stitching for all the holes. Place eye on the opposite side of placket, on edge and stitch on both ends hole on the same way.
For the small hooks, threaded eyes can make. Make a small loop of thread by stitching with hand needle on the placket, repeat the loop three to more times for strong ness. Now fill the loop with blanket stitch to bind all the loops together. Threaded loops used on the ladies blouses, dresses and frocks.
Buttons
Buttons stitched on the garment right side and for both functional and decorative purpose. Buttons are also several types and made of various things. Buttons can be stitched with buttonholes or so many type of press buttons are there to stitch on both side plackets to close. Buttons are made of plastic, wood, beads, pearl and metal.
Place the button on the right side of the placket and stitch on the holes by inserting needle with thread one to another by making two parallel stitch or cross.
Button Stitching Buttonhole Stitching
To make buttonhole mark the position and length of the buttonhole on the right side of the placket. Buttonhole position will be always 3mm away from the placket edge. Same distance 3mm is applicable for vertical or horizontal buttonhole. Buttonhole always made with matching thread of garment. Do not slash the buttonhole. Stitch around the entire buttonhole using very fine hand running stitches to indicate the width of the stitching. Fold the buttonhole end to end and make a small cut in the middle with a sharp pointed pair of scissor. Open cut and slash to each end. Leaving thread unknotted take a back stitch on the wrong side near the end of the buttonhole. Bring the needle out through the buttonhole to the right side. With the right side of garment up, hold the cut buttonhole over the index finger of your left hand and work the buttonhole using close buttonhole.
Buttonhole can be stitched by machine with close zigzag and both the ends should bar tack. Machine stitched buttonholes are strong than stitched by hand. Vertical buttonholes are for men’s shirt and horizontal buttonholes for children’s garment.
Press Buttons
Press button are made of metal and available in different size. There is two part of press buttons; one is ball and the other is socket. Ball is to press in socket to close the button. After completing the garment and finish opening with placket, mark the points for button. Place ball part of button on right side, at the centre of the placket width, which will lap on the other and stitch four holes of buttons one by one with repeating the thread stitch four to five times. Place the socket part of button on wrong side of placket and stitch in a same way.
CHAPTER 3
COLLARS & SLEEVES
COLLARS
A collar is an added piece of fabric that surrounds the neck and is attached to the neck line of the garment. Collars may be soft or stiff and may be for only decorative purpose, such as collars made by embroidered fabric or by lace. There are varieties of collars attached to various garments. To cut a collar piece for a particular garment basic bodice of that size is required as half-front and half-back.
To cut a collar for any garment, place front and back part of bodice on a paper, by matching neck point. Draw the outline of neck line and remove the bodice. Mark the points as per the pattern of the collar and draw the shape of the collar. Cut the paper pattern. Fold the fabric lengthwise for the continuous piece of collar and place the paper pattern on the folded fabric and fix with pins. Draw inner and outer line of the collar. Cut two piece of collar of the fabric. Separate the collar piece either on front or back for opening in the garment, as per pattern.
Draw neckline on paper pattern. Draw collar pattern. Place paper pattern on fabric.
Finish opening part of the garment, before stitching the collar. Place two piece of collar by facing right side, keep in and keep wrong side on top. Stitch on outer shape of the collar along with two ends to join together. Turn and press the seam. Mark a small notch on either centre front or back, on both collar and bodice. Cut a fabric strip as the neck line shape or bias. Place the collar on right side of the garment by matching notch mark and tack with the hand needle. Fold the edge of the fabric strip for finishing and stitch together joining garment with collar and finish the other end same way. Press the seam and turn the fabric strip on wrong side and hem neatly. This method is applicable only for flatten collars.
PETER PAN COLLAR
Place front and back bodice blocks by matching neck point to shoulder line, opposite to each other as shown in figure. Draw out line. Mark collar width and shape. Draw collar pattern as per design and cut paper pattern. Place this paper pattern on fabric and mark seam allowance all around. On paper pattern seam allowance is not counted. Cut the two layer of fabric and one piece of facing for collar. Peter Pan collar is popular for women’s shirts and frocks.
Peter-Pan-Collar
BERTHA COLLAR
Place the front and back bodice block as same for the peter-pan-collar and draw an outline. Bertha collar has lowered neck line and it extends beyond shoulder. Draw lowered neck line for both front and back and from neck point mark width of the collar and draw the shape with extension of shoulder by 3/4th to 1”.
.
Bertha Collar
CAP COLLAR
Cap collar is wider than bertha collar and goes beyond the shoulder line. Place front and back bodice block and draw neck line and from neck point mark the width of the collar 6:5 to 7”inches. Draw
Shape the collar out line with extension on shoulder. Cap collar looks good on frocks and dresses.
SCALLOP COLLAR
Scallop collar is a type of decorative collar for frocks. First draw the cap collar as per instructions and then decide the one or two scallop point and redraw the collar shape.
Scallop Collar
BISHOP COLLAR
Bishop collar is V shape on front and curved shape on back and extended on shoulder as cap collar. Draw front and back outline and draw back collar shape curved as cap collar. On front collar width is extended up to waist line at the centre front. As per name this collar is popular for the bishop’s dress.
Bishop Collar
SQUARE COLLAR
Draw front and back bodice block and mark the width of the collar from neck point. Draw square shape as per the extension on shoulder line. Back collar width looks wider than front because of the short neck depth. The neck shape of the garment may be curved or square as per the collar shape.
SAILOR COLLAR
Sailor collar is wide square shape on back and pointed on front. After drawing front and back draw square shape for back. On centre front line mark the point for the width of the collar. Join this point to neck point and shoulder point as shown in figure. This collar has triangle shape on front.
Sailor Collar
SHIRT COLLAR
Shirt collar is convertible collar. This collar is cut on straight grain of a fabric. The neck line is raised at the centre front by 3/4th to 1 inch as per size of the shirt. The neck line is raised at the centre back by ½”. The raised neck line is then measured from the centre back to centre front line.
Draw a vertical line A-B as per width of the collar. A-D & B-C = ½ the neck circumference.
D-C = A-B
E = Centre point of A-D & F = Centre point of B-C. C-G and D-H = ½ inch upside.
Join F and G. Join E to H with the extension of 1:5” to 2” up to point I. The stand of the shirt collar
Draw A-B as per the width of the stand which is less than the collar width. B-C & A-D = same as collar.
C-D = A-B.
C-G and D-H = ½” upside.
Extend F and G up to J by ½” and extend E-H up to I by same. Draw curve on H-I-J.
After drawing the collar and stand draft draw ¼” extra all around for seam allowance.
Shirt collar Stand Collar & stand joining
Cut two piece of collar and two piece of stand of fabric and one piece each of facing or buckram without seam allowance. Place two piece of collar, facing right side to each other. On wrong and top side, stitch on A, B, C and D. Turn and press the seam. Insert buckram piece inside the collar and stitch on edges on A, B, C and D. Stitch one parallel line to edges as per shape of the collar. Place the stand same way as
collar, place collar on B-D part in between a piece of stand and another piece of stand with buckram. Fix with pins or tack with hand needle. Stitch together. Turn and press the seam and stitch on edges in a same way as in collar. Mark a small notch on the centre of the back neck of shirt and centre of the collar. Fold edges of one piece of stand and stitch. Place the collar on shirt by matching notch mark. Stitch from front to back and come back on front other side. Press the seam and by keeping inside the seam, lap the other finished edge on and stitch. Finish both the end neatly by machine.
MANDARIN COLLAR
Draw a rectangle box ABCD.
F = centre of B-C and E = centre of A-D. C-G and D-H = ½” upside.
H-I = ½” inside. Join E-G and F-I-G. Draw curve on I.
Place two piece of collar facing right side each other and join on A, E, H and G. Turn and press the seam. Mark a small notch at the centre of the collar and on back neck of shirt. Finish edges of one piece of collar by folding edges and stitch. Match the notch mark of collar and shirt and fix with pins. Stitch collar piece with neck line from front to back and come back to front. Press the seam and by keeping inside, place the finished edge of collar and stitch to finish the collar.
Mandarin collar is generally worn by Chinese officials with rich embroidered. This type of collar used for Jackets, Blouses and Gent’s kurta.
THE SHAWL COLLAR
Shawl collar is for coat and dress which turned down to fall a continuous line around the back of the neck to the front.
Draw a vertical line A-B.
Place the centre front of the bodice block on the line A B and mark the outline.
Extend the shoulder line and the centre front line and mark the point of inter section as A, Mark a point C ½” above A, Join C-F.
Draw a line C D at right angle to C F and equal to the length of the back neckline. Complete the rectangle FCDE making DE=CF and CD=EF.
The line DE is the centre back of the collar.
DE is attached by a seam to the corresponding line on the second front section. Mark a line at a distance of 1”, parallel to the centre front line AB.
From the point D shape out as desired and curve down to the extended centre front line as illustrated.
THE SHAWL COLLAR
SLEEVES
PLAIN SLEEVES
Plain sleeves are attached to any garment with matching to centre point of sleeve and shoulder joining. The length of the sleeve may vary as short, medium or full length. 0-1 is the short or medium length of the sleeve plus fold as per choice. 0-2 is the 1/4th of the chest as the width of the sleeve. Draw a box by joining 0-1-3 & 2. 4 are the center point of 0-2 and 5 is the center point of 0-4. Measure 2-6 same as 2-4. Measure ¼” on 5-7, ½” on 5-8 and 1.25” on 8-9. Join 6-8-7 & 0 for the back armhole shape and join 6-9 & 7 for the front armhole shape. Measure 1-10 as half of the bottom girth of the sleeve with seam allowance. Join 6-10 as per shape. To cut follow back armhole shape first then open the sleeve and cut front armhole shape on one side of the sleeve.
To stitch, first finish the bottom of the sleeves by hemming or by machine. Mark a small notch at the centre of the armhole of the sleeves. Match this notch with the shoulder joining of the bodice and simultaneously match the back and front armhole of sleeves and bodice. Tack the sleeve with hand needle and machine.
PUFF SLEEVES
There are three types of puff sleeves. In the first type of sleeve puffs are on both side means on the shoulder and on the centre of the sleeve bottom. There are puffs only on shoulder or top of the arm is the second type of puff sleeve. In the third type of sleeve puffs are only on sleeve bottom. To draw the pattern of puff sleeve, first draw plain sleeve draft and then apply slash method to add puffs on shoulder or on bottom of the sleeves. For puff on both sides separate all the segments of plain sleeve and place them in equal distance according to the requirement of the puffs, redraw the out line of sleeve. If puff is required only on one part then don’t slash completely, but keeping other side joint spread the slash part according to the requirement of puffs.
Puff sleeves are always popular for frocks, blouses and women’s shirts.
Both side puff sleeve by slash method Puff on armhole Puff on sleeve bottom
T
o stitch puff sleeve stitch gathers on decided area of armhole and bottom. Adjust gathers at the center and place a strip of fabric on the right side of the sleeve bottom as per the measurement of the bottomgirth plus seam allowance. Press the seam and turn the strip towards wrong side and finish with machine stitch or hem. Place side of the sleeve on the side of the body of the garment by matching of the armhole of front or back shape and start stitching towards center. Adjust gathers at the center of the armhole by keeping other sides of sleeve and body equal.
THREE FOURTH LENGTH OF SLEEVE
To draw the pattern for the three fourth length of the sleeve measure the length 0-1 from shoulder point to down the elbow. Rest of the sleeve shape is to be drawn as plain sleeve only bottom of the sleeve will be half girth measurement of the elbow with seam allowance.
VARIOUS TYPES OF FULL LENGTH SLEEVES
0-1 is the full length of the sleeve with bottom fold. 0-2 is 1/4th of the chest for the width of the sleeve. Draw a box by joining 0-1-3 & 2. 4 are the center point of 0-2 and 5 is the center point of 0-4. Measure ¼” on 5-8, ½” on 4-6 and 1.25” on 6-7. Measure 2-9 same as 2-4. Join 9-6-5 & 0 for the back armhole shape and join 9-7-8 for the front armhole shape. 0-10 is same as 2-9. Join 9-10 as a straight line. Mark 11 as the center point of 1-10. Measure 11-12 as the half of the elbow girth with half inch of seam allowance. Measure half inch less than 11-12 on 1-13 for loose bottom or half of the bottom girth of the sleeve with seam allowance for fitted bottom. Join 9-13 as per shape. To cut follow back armhole shape first then open the sleeve and cut front armhole shape on one side of the sleeve. Stitching method of this plain full sleeve is same as plain sleeve.
Full sleeve with puff on shoulder
To get puff on the shoulder on full sleeve length extend 0-14 by 2.5” upside. Redraw the armhole shapes with extended line and shape and cut. Stitch gather on 4-14 and adjust on shoulder while joining with the armhole shape of the garment.
Full sleeve with puff on shoulder and gathers on bottom
To get gather on bottom also measure 3-13 just half inch for shape and join 9-13. Stitches gather on 1-13 and adjust at the center to get perfect shape. Finish bottom of the sleeve with the strip of the fabric.
Gathers on shoulder and bottom
Extend 0-A and 1-B by 2 to 2.5” for the gather. Rest of the sleeve drafting is same as plain full sleeve. Stitches gather on extended part of the sleeve and adjust at the center of the sleeve. Finish bottom of the sleeve and join with the armhole of the garment.
Sleeve with cuff at bottom
This type of the sleeve is generally stitched for shirts. 0-1 is the full length of the sleeve less cuff length by 2.5” to 3”. Rest of the sleeve is drawn same as plain sleeve. Measure 3-13 just half inch for shape and join 9-13. 0-1 and 2-3 is the length of the cuff. 0-2 & 1-3 is ½ of the wrist girth with additional 1” for loose and ½” for seam allowance. Measure ½” on 3-4 and 3-5 for shape and draw a small curve shape on it. Measure ¼” all around 5-1-0-2 & 4 for seam allowance. Cut one buckram piece of cuff without adding seam allowance of ¼”. Cut two layers of cuff on fabric. Place both the layers by facing right side in and place buckram piece on it and fix with alpines. Stitch ¼” from the edges on 0-1-5-4-2. Turn and press the seam. Top stitch all around ¼” from the edges. Fold ¼” of one layer of the cuff on wrong side and stitch. Cut a small notch at the center of the sleeve cuff. Before joining cuff with the sleeve finish the opening of the sleeve by stitching placket. Now match unstitched layer of 0-2 open of the cuff with the sleeve bottom by adjusting extra fabric of sleeve as a pleat by facing towards open of the cuff. Press the seam and place stitched layer of cuff on the seam by keeping seam inside and stitch on edges.
BELL SLEEVE
Bell sleeve is as per name from top arm to bottom, bell shaped. This sleeve is flared on bottom and looks good with soft fabric. The drape of the sleeves comes perfect if cut on bias fabric.
Bell sleeve on bias fabric
BISHOP SLEEVE
Bishop sleeve is a type of long sleeve for dress or blouse. It is full below elbow and gathered at wrist.
LEG’O MUTTON SLEEVE
This a tight fitting sleeve from wrist to elbow. The leg’o mutton sleeves balloons out from the elbow to the top of the arm where it is gathered or pleated into the bodice of the dress.
KIMONO SLEEVE
Kimono sleeve has extra large sleeve panel which is set into a deep armhole that reaches from shoulder to waist. The kimono sleeve is basically taken from traditional costume from Japan and Singapore. It has been used by the designers for coats, jackets and sweaters.
RAGLON SLEEVE
It is a sleeve named after Lord Raglan, British Commander during the World War I. The sleeve extends from the neck line to the waist. It is joined to bodice of a coat or dress by disregard seams from the neck to under the arms allowing for greater mobility of the arms and the body. Raglan sleeves are used for sports wear also.
DOLMAN SLEEVE
This sleeve is a part of a body cuts as an extension of the bodice of a dress, blouse or jacket. This is designed without socket from the shoulder, thus creating a deep wide armhole that reaches till the waist. Dolman sleeves are used for knit wear and sports wear.
SLEEVE CUFFS
Sleeves have to be finished at the lower end by hemming or with a cuff. Sleeve cuff is a band with or without ruffles attached to the bottom end of the sleeves. Cuffs are of various types such as lapped cuff, shirt cuff, band cuff or French cuff. Some cuffs are decorated with ruffles or lace for the women’s garments. Shirt cuff is for the formal type of shirts. The lapped cuff has one end lapped over the other end with the opening along the seam line.
Lapped cuff Shirt cuff*
BASIC SEWING TECHNIQUE
If any dart is there, stitch the darts on front or back parts. If there are two or more pieces for the front part according to the design join them to complete a part. Finish the opening of the garment. Join front and back shoulder. Finish the neckline with facing or collar. Finish the bottom of the sleeves. Match the centre notch of the sleeve with the shoulder seam of the body. If gather is there on shoulder adjust it and tack with hand needle or pin. Join sleeves with body. Mark side seam line and machine. Fold the hemline and stitch. Finish the garment with fasteners.
For the leg wear finish the front open with zip attachment. Place pockets and stitch. Join front and back sides together. Fold the bottom part of the leg and stitch. Stitch on inner leg parts. Finish the crochet seam. Stitch waist belt with garment. Finish the garment with hooks on waist.
CHAPTER 4
BASIC ELEMENTS OF DESIGN
Lines, colour, shapes, textures, and value are the basic elements of design. These elements plays an important role to design or to select a particular garment for a particular person. Most individuals do not have perfect, well proportionate figures and clothing style have the advantage of being able to hide those features that are unattractive and also to form new lines that give a graceful and pleasing appearance. Elements of the design are the tools used by clothing manufacturers when a garment is designed and constructed to enhance the appearance of a person.
LINES
The lines have characteristics that symbolize dignity, movements, waves and repose etc. An individual can project different faces of the personality by selecting appropriate lines to suit the mood and the occasion. Lines, which fall within the garment, are darts, tucks, pleats, colour contrasts and hemline. These lines are generally matched to the dress silhouette. A silhouette refers to the outer shape of the garment. A narrow silhouette gives height to the person and a wider silhouette make a person look shorter. Triangular silhouette are broad on the top and narrow at hem line, resembling a triangle. Selection of fabric also affects the silhouette of a garment. For example, a soft fabric with lots of gathers frills or lace in the design makes a dominant silhouette.
A line with a designing effect, adds another dimension to silhouette. When skillfully used they create a pleasing illusion or dimension. The visual effect of lines can be varied depending on the width of each line and the distance between two adjacent lines. Close vertical lines adds height to the figure, where as wider lines tends to cut the height of a figure. Horizontal lines denote flexibility and informality. Diagonal lines with a small angle, creates a falling of fullness and with a wider angle gives the impression of broadness. Curved lines are considered graceful and feminine; those in a diagonal direction are the most graceful and can be seen in the soft folds of material in a draped dress or a ruffled collar.
COLOUR
Colour plays an important role in the selection of garment. Shades worn, ones taste and discretion can add or reduce to ones personality. It is therefore necessary to understand the quality of warm or coolness of a colour, which reflects and how they affect the temperament and appearance of the garment one wears. Colour adds rest, stimulates moods, creates pleasantness and helps to relax.
Light colours add width to figure and dark colours make one look slimmer. If a person have very fare complexion, should avoid very light colours and a person with dark complexion should not go for dark colour garments. Shorter height person should avoid bright colours, and should select the fabric with vertical stripes or small prints.
The colours of spectrum are called hue. Red, green, violet are the colour of rainbow are called as hue. Brightness is the value of colour. Black has the lowest value of brightness and white has the highest value of brightness. When any colour is diluted with black is called shades and opposite to that if any colour is diluted with white it is called tints.
There are three primary colours red, blue and yellow. Black and white is neutral colours. By mixing two primaries one secondary colour can be obtained. For example red + white = pink, yellow + blue = green. Complementary colour is the result of mixing one primary colour with one secondary colour.
Choice of colour for the garment depends not only on figure but purpose, season and fashion also. One should avoid bright colours for the formal wear and for the party wear dull colours should not select.
Warm colours are suitable for the winter season and cool colours are good for summer season. Thus choice of colour for a garment not only depends upon personality but also on the season and occasion.
SHAPE/FORM
Form is the shape and structure of a garment. Shape is two dimensional and appears flat; form is three dimensional with length, width and depth. (A circle is a shape; a ball is a form). Shapes define a figure, create ground relationships and relate forms and figures.
TEXTURE
Texture is the surface quality of a fabric or material. It is how something feels when it is touched or looks like it would feel if touched; rough, smooth, soft or hard.
VALUE
Value is the relative degree of lightness and darkness in a design element. Line, colour, texture and shape all need value contrast in order to be seen. Value is used to describe objects, shapes and space.
PRINCIPLES OF DESIGN
Principles of design are how we use the tools to create looks (whole outfits, accessories, shoes etc.) that are different or unique.
PROPORTION
The relative length of two parts of a garment termed as proportion. The placement of waist line, yoke line or the hemline divides the length of a dress approximately so that it appear pleasingly proportionate to the person’s height and to the measurement from waist to ankle. The size of the collar, buttons and pockets and the width of the belt and cuff also can affect the appearance; therefore these should be proportionate to the size of the wearer.
BALANCE
Details to maintain a feeling of equal weight or attraction from side to side, front to back and top to bottom is termed as balance. There are basically two approaches to balance.
FORMAL BALANCE: A formal balance is achieved through replacement of identical details at equal or opposite distance from vertical line at the centre, or a horizontal line at the waist shows a formal balance.
INFORMAL BALANCE: When the details on the garment are not identical to each other, it obtains an informal balance, because a diagonal line divides the garment in two pieces which are not even.
RHYTHM
Rhythm means the repeat use of lines or shape to create a pattern. For example, the colour of a collar or yoke can be repeated in the skirt in the form of pocket, a patch design or a frill. The shape of the neck or collar can also be repeated in any other decorative features such as flaps or pockets. This recurrence of a feature or colour in the dress arrangement gives it an acceptable, harmonious rhythm.
EMPHASIS
Emphasis is a single point of interest referred to the dominants of one part with the supporting of others. A good design feature which is the centre of interest of focal point by the other features supported. It should have the effect of leading the eye to the same attracting features. For example, a plain kurta with an attractive hand embroidered yoke. If the fabric is elaborate then style should be simple and if the fabric is plain then the silhouette can be elaborate.
UNITY
Unity includes clothing, all accessories and you. Lines and shapes that repeat each other show unity. Colours that have a common hue create unity (a soft texture with curved lines). Try to create a certain mood or theme---sporty, tailored, dramatic, casual- and keep the clothing and accessories in harmony with your colouring, your build and your age. Then you’ll have unity.
CORRECT STYLE FOR CORRECT FIGURE
The average figure can carry off most styles without any difficulty, but those with figure irregularities have to adapt fashion style to hide or make the irregularities seem less obvious.
A person with short neck should avoid style with collars and ruffles neck lines. Low cut neck line dress will appear the neck line longer. Opposite to that high collars and standing ruffles are suitable for a figure with long neck line.
Use styles that do not emphasize the shoulder width such as kimono sleeves or raglan sleeves. Narrow shoulder figure should go for dropped shoulder style or shoulder pads can help.
Loose flowing style from the shoulder, cut in panels or on the bias, is suitable for the large bust lines. A person with a high waist or a prominent waistline should avoid the style that emphasizes the waist. Loose and long T- shirts or blouses are more suitable for high waist line figure. For those who have narrow and attractive waist line, styles such as shirring, and belts are appealing.
Trousers and tight skirts should avoid the figure with large hips. They can choose the dress flared from waist line.
ACCESSORIES
There are three types of accessories. Embroidery, show buttons and laces are the accessories, which enhances the garment. Some accessories wear by figure or body such as jewelry, shoes or make-up and hair style also includes in this category. Purse or umbrella is the third type of accessories which is carrying by model.
CHAPTER 5
KNOWLEDGE OF SEWING MACHINE
To work with sewing machine one should know the system operation and maintained of it. Today there are varieties of sewing machines are available in market. In previous days simple machines were there with selected functions, but now a days technology is so developed so there are multi-functional machines are available with electric or motor operated. Now just by changing knob different stitches can be done. To know about the function of sewing machine, knowledge of different parts is necessary. First we will discuss about the common parts of a sewing machine, which are present in both, simple and multi-functional sewing machine. Though there are some special parts in the multi functional machine for different functions.
ORDINARY SEWING MACHINE
1- PRESSURE REGULATING SCREW
This screw should be tightened while working with finer fabric like organdie and chiffon and to be loosened for the thick fabric like denim.
2- TAKE UP LEVER
It controls the flow and movement of the spool thread.
3- SPOOL THREAD TENSION DIAL
It can be turned to the right to left or right to left to increase or decrease the tension of the spool thread.
4- NEEDLE CLAMP
It holds the needle in position.
5- PRESSURE FOOT
It holds the fabric in place and under it feed dog feeds the fabric during the sewing process.
6- NEEDLE PLATE
Needle plate has guidelines to help to keep seams straight.
7- SLIDE PLATE
The slide plate slides out side to load or unload bobbin case. Some time it can be flips up.
8- STITCH REGULATOR LEVER
It regulates the required stitch length. At the top position stitch length is larger and reverse for small stitches. Large stitches are for thick fabric and small stitches for sheer fabrics.
It holds the bobbin for winding the thread.
10- SPOOL PIN
Spool pins are for thread spool to rotate freely during sewing.
11- BALANCE WHEEL
To start the machine this balance wheel rotates. First this rotation is done by hand and then simultaneously it continues with handle or by foot paddle. To stop machine, balance wheel should be stopped by hand.
12- BOBBIN WINDER THREAD GUIDE
It regulates thread tension for bobbin winding.
MULTI-FUNCTIONAL SEWING MACHINE
There are some special knobs for different functions in this machine.
13- STITCH WIDTH SELECTOR
This regulator is to select the width of plain stitch and zigzag stitches.
14- NEEDLE POSITION SELECTOR
This selector places needle position right, left or at the centre as per requirement.
15- DROP FEED CONTROL
This is used for free-motion work. It drops feed below needle plate, so you control the feeding of the fabric.
At present there are sewing machines available with advance technology. No error threading process, surefit bobbin and stay bright led light are some features available in the machine. Quilting, embroidery, button holing, button stitching, zip attachment, zigzag stitching can be done in a very easy manner.
INSTRUCTIONS FOR USING THE SEWING MACHINE
BALANCE WHEEL STOP MOTION
This device allows the balance wheel to run free, so that bobbins may be wound and the correct method of threading acquired, without operating the stitching mechanism. To loosen the wheel, hold it with the left hand and with the right hand turn the stop motion screw round towards you.
TO OPERATE THE TREADLE MACHINE
After loosening the balance wheel, place both feet upon the treadle and run the balance wheel round towards you, at the same time allow the feet to move freely and lightly with the motion of the treadle. Continue to do this until a regular and easy movement is acquired and you are able to work the treadle so that you can re-start the machine without the balance wheel turning in the wrong direction.
When familiar with the working movement, tighten the balance wheel by turning the stop motion screw away from you, and place a piece of material under the pressure foot. Lower the latter by means of the lifter and again work the machine, without its being threaded, until you are accustomed to guiding the material.
TO OPERATE MULTI FUNCTIONAL MACHINE WITH ELECTRIC MOTOR
Before plugging in your machine, be sure that the voltage and frequency indicated on the motor are within the range of marked on the electric meter installed by your company.
Push the machine plug into the receptacle at the right end of the machine. Then connect the power-line plug to your electrical outlet. To start the machine press, the pedal of the speed controller slowly. In the beginning don’t press much, because gradually you can control the speed of the machine by practicing. The harder you press, the faster the machine will sew.
TO SET THE NEEDLE
Raise the needle bar to its highest point and loosen the thumb screw. Hold the needle with the left hand and, with its flat side to the right, insert it into the needle clamp as far as it will go, then re-tighten the thumb screw.
TO SET THE NEEDLE
TO THREAD THE NEEDLETurn the balance wheel until the lever is at its highest. Place a reel of thread on the spool pin (1) on top of the machine and pass the thread through the notch (2), downward between the tension discs (3 & 4) from the back up over the thread guard from behind, into the loop of the spring, up and through the hole in the end of the lever (5) from the back, down into the guide (6), and from left to right through the eye of the needle (7). Draw about three inches of thread through the eye of the needle with which to commence sewing.
TO THREAD THE NEEDLE
TO REMOVE THE BOBBIN CASE AND BOBBINTurn the Balance Wheel towards you until the take-up lever is at its highest point. Draw opens the slide in the bed of the machine and, with the thumb and forefinger of the left hand, opens the latch and withdraws the Bobbin Case. While the latch is held open, the bobbin is retained in its case. On releasing the latch and turning the case downward the bobbin will drop out.
REMOVING THE BOBBIN CASE
TO WIND THE BOBBINLoosen the Balance Wheel and place a reel of thread on the lower spool pin. Pass the thread under the Bobbin Winder Tension Bracket and onto the bobbin, placed on the Bobbin Winder Spindle. Now pass the thread through a hole in the left disc of the bobbin from the inside. Press the lever where marked, Hold the free end of the thread, and proceed to wind. Then after a few turns of the Balance Wheel, Break off the end of the thread and again operate the machine as when sewing, until the bobbin is filled. The winder stops automatically when the bobbin is full.
TO WIND THE BOBBIN
TO THREAD THE BOBBIN CASEHold the bobbin between the thumb and forefinger of the right hand with the thread leading from the right to left, as shown in Fig. With the left hand hold the bobbin case and place the bobbin into it. With the right hand draw the thread into the slit down in the edge of the Bobbin Case as shown in Fig.
TO THREAD THE BOBBIN CASE
TO REPLACE THE BOBBIN CASE
After threading the bobbin case, hold its latch between the thumb and forefinger of the left hand and, with its position finger opposite the notch at the top of the shuttle race, replace it on the centre stud of the shuttle. Then release the latch and press the bobbin case back until the latch catches the groove near the end of the stud. Allow the end of the thread to hang free and close the slide in the machine bed.
TO PREPARE FOR SEWING
With the left hand hold the end of the needle thread, leaving it slack from the hand to the needle. Turn the balance wheel over towards you for the needle to move down and up again to its highest point. Pull the thread that you are holding and the under thread will brought up with through the hole in the throat plate. Place both ends of thread under and to the back of the pressure foot.
RAISING THE BOBBIN THREAD
TO COMMENCE SEWINGPlace the material to be sewn beneath foot, lower the latter and commence sewing by turning the balance wheel round towards you.
TO REMOVE THE MATERIAL
Raise the take-up lever to its highest and lift the presser foot. Move the material back and to the left and sever the threads by passing them over the thread cutter above the presser foot. Leave a few inches of thread under and at the back of the presser foot.
TO REGULATE THE TENSIONS
For ordinary stitching, the tension on the upper and under threads should be equal so as to interlock both threads in the centre of the work.
If either tension is stronger than the other, imperfect stitching will be the result, thus
(a) Fine fabrics require a light tension, while heavy materials want more tension to obtain a perfect a stitch. (b) The tension on the needle thread should be regulated only when the presser foot is down. (c) A correct stitch can usually be obtained by varying the tension on the needle thread. (d) Always
use thread with corresponding size of needle. (e) The length of stitch can be altered by loosening the thumb screw and moving it upwards to lengthen, or downwards to shorten the stitch. Then tighten the screw.
TO CHANGE THE PRESSURE ON MATERIAL
For ordinary family sewing it is seldom necessary to change the pressure on the material. If sewing fine silk or flimsy material, relieve the pressure by giving the thumb screw two or three turns upwards. To increase the pressure gives the thumb screw a few twists downwards.
MACHINE FAULTS AND RECTIFICATION
MACHINE WORKING HEAVILY
If the machine runs hard after being idle, oil with paraffin. Then run rapidly, wipe clean and oil with sewing machine oil.
THE BELT
The belt should be only just tight enough not to slip. If too loose, shorten and rejoin. NEEDLE BREAKING
Check that the needle is not bent, the upper tension is not too tight, and the pressure foot or attachments are securely fastened. Avoid pulling the material and do not sew heavy seams or thick goods with too fine a needle.
THREAD BREAKING
If the needle breaks, check that (i) The machine is properly threaded (ii) The upper tension is not too tight (iii) The needle is not bent, blunt or set correctly (iv) The thread is not too coarse for the needle (v) The thread take-up spring is not broken.
If the under thread break, loosen the under tension and see that the bobbin case and the area under the tension spring are free from fluff.
Always follow the booklet with the machine for the correct size of needle for the various types of fabrics.
SKIPPING OF STITCHES
Check that the needle is correctly set, is not blunt, bent or too fine for the thread. STITCHING LOOPING
Check that the spring is not broken, that the upper and under tensions are equal, that both bobbin case and the needle are properly threaded, that the thread is of good quality and of correct size for the needle. MATERIAL PUCKERING
See the both tensions are equal and needle point is not bent.
CLEANING AND OILING THE MACHINE
To ensure smooth running, it is essential that the machine be cleaned at frequent intervals and oiled regularly at all points of the Arm and the Bed where lubrication is required.
For cleaning, use kerosene and a small stiff brush, and soft clean rags for wiping the machine. For oiling, use branded good machine oil. Never use vegetable oils since these clog the machine.
Squirt oil freely into all oil holes and wherever one surface rubs against or turns within another. Never oil the tensions.
Run the machine to work the oil thoroughly into all the bearings. When the oiling is completed, wipe all the excess oil from all parts of the machine. This excess oil collects dust. And too much oil on the shuttle race or needle can cause skipped stitches.
Regular oiling is must for the smooth running of sewing machine. For later oiling, one drop of oil in each bearing and oil hole is enough. It is a good practice to oil the machine after each day’s work or after 8 to 10 hours of use. Oil occasionally, whether the machine is used or not, to keep the oil from drying and gumming.
RELATIVE SIZES OF NEEDLES FOR DIFFERENT FABRICS
SIZES OF NEEDLE TYPES OF FABRICS
No. 9 very thin silk, muslin, cambric, light weight delicate fabrics. No.11 fine calicos, linens, shirtings, fine silk.
No.14 shirting’s, sheeting’s, bleached calicos, silk and general domestic goods, light Woolen goods and all classes of general work.
No.16 All kinds of heavy calicos, drill, woolen goods etc.
No.18 tacking, heavy woolens, trousers, boy’s clothing, corsets, cloaks mantis, Heavy coats and heavy clothing generally.
No.19 or 21 Bags, coarse cloths, canvas, duck, heavy goods of any texture.
CHAPTER 6
NECESSARY EUIPMENT FOR SEWING AND ABOUT
FABRICS
To stitch any garment some necessary equipment are needed to obtain good result. Before starting to cut and stitch any dress you should check that all the necessary tools and equipments are available or not. SEWING MACHINE
There are so many models of sewing machines are available in the market. Always purchase that sewing machine which is suitable for your requirement, usage and convenient to operate.
MEASURING TAPE
In measuring tape both inches and centimeter, marks are given so can be used according to convenience. Measuring tape is used to measure the fabric and the body measurement.
TAILOR’S CHALK
Marking chalks is available in different color so that marking with contrast color of chalk is visible easily. This chalk is to mark on the fabric according to dress pattern, darts and seam lines.
RULERS
To draw vertical or horizontal lines, rulers are useful. Curved ruler is to shape for trouser and skirts.
PINS
Pins are useful to place paper pattern on fabric so that marking becomes easy.
PIN CUSHIONS
Pin cushions can be made at home by soft fabric and filling with soft stuff. Pin cushions are very necessary to avoid pins to poke and keep away from children.