|
Fabric Layout Preparation Preshrinking the Fabric If you were to take the fabric and immediately cut it without doing the necessary preparation first, it could have disastrous effects on the final garment. Many fabrics shrink when they are laundered or dry cleaned. The most common of these are 100% cotton, wool, linen, rayon, and knit fabrics. Many fabrics need to be preshrunk so the fit of the garment isn't affected after laundering. To preshrink machine-washable fabrics, place them in the washing machine on the rinse cycle using the minimum amount of water. Then place the fabric in the dryer; the heat will shrink the fabric. To preshrink fabrics that must be hand washed, prewash them by hand in cold water. To preshrink wool, first lay the fabric on a flat surface that fully supports the entire piece; next, place an iron directly above the fabric and continuously release steam into the fabric. Allow the fabric to dry completely before moving it. Or, finish the cut ends of the yardage with serging or a zigzag stitch and take it to the dry cleaners for shrinking. All knit fabrics shrink to some degree, so it's best to prewash washable knit fabrics; wool knits benefit from the same process described earlier regarding wool. Do not prewash fabric that requires dry cleaning. Many fabrics don't need to he prewashed. Fabrics such as silk, rayon, polyester, and other synthetic fabrics don't need to be preshrunk; however, if you intend to hand wash a garment made in silk, then do prewash it first. Fabric Alignment Before the patterns are laid on the fabric, the fabric needs to be aligned so the lengthwise and crosswise grains are positioned exactly at right angles to each other. To begin, align the fabric on the crossgrain, from selvage to selvage, so it's straight and "on grain." This isn't done by ruling a line across the fabric and cutting along the line. To align the crossgrain, use one of the following three methods: Method 1: Tear the fabric firmly across the crossgrain. This method of aligning the fabric graininess is the most accurate. However, many fabrics can't be torn because the action of tearing the fibers would be too harsh. Synthetic fibers, some cottons, and silk fabrics can be torn successfully, but fabrics with a coarse or loose weave can't . Some delicate fabrics may be affected by the action of tearing, which can cause little pulls to appear in the lengthwise grain. Knits will not tear; only woven fabric can tear on the crossgrain. Always sample first to see if the crossgrain of the fabric can be torn. To tear the fabric, snip the selvage with scissors and tear the fabric; snip the other selvage with scissors. The selvage can easily rip up the lengthwise grain if you don't cut with scissors. Method 2: If the fabric is coarsely woven, get close up to the fabric and , using good eye judgment, carefully cut across the weft crossgrain. Checks and stripes can also be cut "on grain" this way. Method 3: The third method is to pull a weft thread across the fabric. This is quite easily done in coarsely woven fabrics. To do this, snip into the selvage; pull out a weft fiber with a pin and gently pull the fiber that shows the weft grain on the fabric; cut along the pulled thread. After the crossgrain is perfectly cut "on grain," fold the two selvages together as illustrated in Ill. 13. Observe how the fabric lays; if it's perfectly flat, then the fabric is in alignment. If it doesn't lay flat and looks distorted or twisted, then the fabric is out of alignment. To pull the fabric back into alignment, fold the fabric on the bias grain, hold at both ends, and gently pull the fabric, stretching the bias grain (Ill. 14). Then refold the fabric with the selvages together to see if the fabrics in alignment. If the fabric still doesn't lie flat, repeat the process until it does. Observing the Fabric Surface and Design After the fabric is aligned, it's important to observe the fabric surface, as some fabrics need special attention when laying the patterns on the fabric. One-way surface designs, stripes, and checks take more time to plan and cut. Some fabric designs are printed or embroidered in all directions and don't need the same attention when laying out the patterns on the fabric. One Way Design The garment in Ill. 15 has been cut from a one-way fabric design. Notice how the fabric surface design in the layout all point in one direction; this is what classifies the fabric as a one-way design. The fabric design also has a repeat pattern, which must be matched across the fabric at the side seams so when stitched, the fabric design will continue around the garment. The front and back pattern pieces have also been centered on the fabric design. Fabrics with one-way designs need this special attention in the cutting for the garment to look spectacular. Keep the garment design simple in these types of fabric and let the fabric be the focus of the design. Napped Fabric A one-way fabric layout is also needed when cutting a pile weave or a napped fabric. When a fabric is napped, the short fiber ends of spun yarns are raised with a soft fabric, surface and the fibers lie smoothly in one direction. Because of this, all napped fabric must be cut in one direction. When you touch napped fabric you will notice that one direction ("with the nap") feels smooth while the other direction ("without nap") feels rough. As the light catches the fabric surface, the color will look different from different directions. Hold the fabric against your body and look downward along the fabric. Fabric "without nap" has a rich depth of color. When holding the fabric "with nap," it looks lighter and more delicate in color. The fabric can be cut in either direction; however, the darker option is often preferred because of its richness. Although the fabric can be cut in either direction, cutting must be directional; that's , all patterns must be placed on the fabric one way. Some pile weave fabrics are velvet, terry cloth, corduroy, and suede-cloth. Repeat Pattern The fabric in Ill. 15 isn't only a one-way fabric design but it also has a repeat pattern. Fabrics that have a repeat fabric need extra special care when laying out the pattern and cutting the fabric so the fabric pattern matches together on all seamlines. Fabrics with repeat patterns require extra yardage, so make sure you purchase enough fabric initially. Large Prints Plan carefully; don't place large flowers or circles on the bust and backside. Place the patterns on the print so any motifs are centered on the garment, as this is aesthetically pleasing to the eye. Be careful how the seams are planned on large prints, as cutting too many design lines could take away from the beauty of the large fabric print-let the fabric be the focus of the design. Ill. 15 has a large print, one-way fabric, and repeat pattern; notice how the large print is centered on the garment. Checks Plaids and checks need to be cut carefully so that when the garment is stitched together the checks match horizontally and vertically on the garment (at the shoulder seams and other horizontal seams). Again, time and careful preparation are required when laying patterns on checked or plaid fabric. Garments with bold checks that don't match draw attention to a badly designed and constructed garment. Checks can be even or uneven; uneven checks can't be matched in both directions. The fabric in Ill. 16 is a one-way check fabric. Can you see this? If the garment patterns were turned upside down, the color blocking would be in a different order. So, this fabric has to be cut directionally, and the grainline indicates this clearly. The pattern also needs to be centered. When placing the patterns on the fabric, make sure the notches and pattern markings match in the same check. Place the underarm seams of the sleeve and body on the same check. You will notice that the front underarm seam doesn't match the back underarm seam on the same check. It is impossible to match the underarms for the entire seam length when there is a dart in the side seam. So match the checks from the hem up to the first dart leg. Stripes Stripes can be lots of fun to work with. They offer the designer broad scope to be creative in how the fabric is cut. Striped fabric can be cut on the lengthwise, crosswise, or bias grain. The cutting of a wide stripe takes more time and thought to plan than a tiny, narrow stripe, which doesn't need matching. Stripes cut across the fabric must match on the side seams. If the stripes are cut to match, then they will be stitched to match. Ill. 17 illustrates how a striped fabric can be cut on all three grainlines. Fabric Border Fabrics with borders have a decorative design running down the length of the fabric. Garments are usually cut on the crossgrain to take advantage of the border design. Very often the border is scalloped, or it may be a fabric print, as in Ill. 11. Bordered fabrics are often embroidered, with eyelet designs or scalloped lace. Let the border be used to the design's advantage. All-over Print or a Fabric with a Plain Surface Fabric can be cut with the patterns topped and tailed. This means that the patterns can be turned in either lengthwise direction, as illustrated in Ill. 18. The print in this ill. has an allover fabric print and doesn't have a predominant design to be matched or centered on the fabric. Many fabrics can be cut this way. Fabric Layout Before cutting the fabric, do a practice layout to plan how the pattern pieces will be placed on the fabric. This ensures you will have adequate yardage before you begin. It is a good idea to do this before purchasing the fabric so you know the exact yardage for the design. When laying out the fabric, it can be folded in half down the length by bringing the selvage edges together. Place the correct sides of the fabric together and pin the selvage edges together every 4 to 5 inches. This is an ideal method for cutting designs that are symmetrical (Ill. 13). If the design is asymmetrical, then the patterns must be placed on a single layer of fabric. Be sure to place the patterns correctly following the pattern directions (R.S.U. or W.S.U.) so they will be cut correctly ( Ill. 3b). Clean the cutting surface first. Lay a piece of pattern paper on the table when cutting delicate fabric so it doesn't snag. Place the correct side of the fabric facing down on the table. Ills 18 and 19 both illustrate fabric cut in a single layer. Delicate fabrics such as chiffon, georgette, and silk charmeuse can be slippery to cut. When the fabric is delicate and slippery, draw or pin the patterns onto a layer of pattern paper and use this as a fabric marker. Place another piece of pattern paper on the cutting table with one end cut at a right angle. Lay the fabric directly on top of the paper; then lay the pattern marker on top of the fabric, and cut (Ill. 19). The fabric is now sandwiched between two layers of paper that will hold it stable when cutting. Pin the layers together or place weights on the fabric layout to stabilize it when cutting. The best way to cut slippery fabric is with a very sharp rotary cutter; don't use blunt scissors to cut these fabrics! When laying fabric, place the fabric fold or selvage parallel to the table edge closest to you and about 2 inches away (Ill. 13). After laying the fabric on the table so it's at right angles, place weights on the fabric to keep it stable. Placing the Patterns "On Grain" Place the patterns on the fabric on grain. All pattern grainlines are placed parallel to the selvage of the fabric, regardless of whether the grainline is lengthwise, horizontal, or bias grain. Ills 2 and 20 show how each pattern piece is placed parallel to the selvage. If the fabric is folded, then place the patterns parallel to the foldline (Ill. 13). Use your tape measure and measure from the selvage to the pattern grainline and place each pattern piece on the fabric "on grain." When all grainlines are placed parallel to the selvage, the finished garment will fall beautifully and "on grain." The patterns are pinned to the fabric by placing the pins in the seamlines. Place the pins on the corner of each pattern section and place some pins in between (Ill. 20). Don't overpin, as this takes too much time and isn't necessary; just use a sufficient number of pins to hold the patterns to the fabric. Place weights on the fabric to stabilize it before you begin cutting. Cutting Equipment Ill. 1 shows the hand cutting equipment needed to cut fabric, interfacing, underlining, lining, and threads. Scissors Purchase a quality pair of scissors for cutting fabric and never use them for cutting paper. Bent-handled scissors are shaped for comfort; the handles accommodate more fingers so you have better control when cutting fabric. A good, average pair of scissors to use in design school would be 7 to 8 inches long. In manufacturing settings, larger scissors are used, at least 10 to 12 inches long. Right or left-handed scissors are available. Have your scissors sharpened if they are not cutting fabric accurately. Rotary Cutter/Mats Some students like to use a rotary cutter, as they find them quick and efficient for cutting. They also come in a variety of shapes and sizes. Make sure a mat is placed underneath the fabric when using the rotary cutter. Otherwise, the cuts will indent the table, and later, if delicate fabrics are placed on the table, they could snag. Embroidery Scissors Embroidery scissors are approximately 4 to 6 inches long; they are small and used for detailed cutting such as cutting into a point or cutting the end of each buttonhole. It is better to use embroidery scissors when cutting into these areas, as small scissors are easier to control than large scissors. Thread Clippers Thread clippers should sit right by your side as you stitch. The SEW, CLIP, PRESS method of stitching is what you use to clip the threads when stitching. Sit the thread clippers by the machine so they can be easily picked up to snip threads. Using thread clippers is faster and more efficient than scissors-time efficiency is important in manufacturing, so try to be conscious of this while in design school. When threads are snipped with larger scissors, you run the risk of cutting the fabric by mistake. Using thread clippers gives you more control over what you are doing. Oh yes-thread clippers are not for cutting fabric! Cutting the Fabric Once the fabric is laid on the table and cutting begins, the fabric must not be moved; once each piece is cut, then it can be moved. Many students sit and cut and then twist the fabric this way and that to cut armholes and necklines and other difficult angles. No-this isn't the way to cut! Stand up and be in control of your work. If you have a difficult angle to cut, then move your body so you can cut at any angle rather than moving the fabric. Fabric that's moved can easily slip out of alignment and move off grain. When cutting fabric, use sharp scissors or shears. Cut outside the edge of the pattern; don't cut off any of the pattern. And don't add any extra fabric when cutting around each pattern piece, as this will misshape your garment and change the fit. Smooth, accurate cutting is essential. After the fabric is cut, the pattern markings are transferred to the fabric to give the direction for how to stitch the garment together. We can't stress enough how important it's to transfer all the pattern markings to the wrong side of the fabric before you begin to stitch-ultimately it's going to save time! Snipping Notches Notches snipped in the fabric should be no longer than '/s inch in length. It is important that notches not be cut longer than this length. Many students cut very long notches and cut into the seamline, which makes it impossible to stitch the most basic seam. [IMPORTANT: Always sample the tracing paper on your fabric, checking to see if it can be easily removed from the fabric with a damp cloth, brush, or fabric eraser. Applying heat to the traced markings will set the markings into the fabric.] Marking Dart Points and Matchpoints Dart points, along with notches, indicate the position where the dart is to be stitched. Matchpoints indicate where a seam is to be stitched to or joined to another piece of fabric. They are an alterative to using notches to match seams together. Matchpoints also indicate where to place pockets or other garment parts on the surface of the fabric (Ill. 4). When the pattern is made, indicate the dart and matchpoints by placing an awl through the pattern. Place the awl mark 1/2 inch back from the bust point and 1/8” in and down from the pocket placement position. Patterns markings that are transferred to the fabric in this way it will not be visible on the surface when stitched. An awl can also be used to with a fabric marking pen, such as Mark-B-Gone to mark these positions on fabric, as indicated in Gone, or chalk (a Chaco-liner dispenses the Ill. 21b. Push the awl gently through the chalk in a fine line), on the wrong side of the fabric and don't make the hole too big, fabric. To mark, place a pin Dart and matchpoints can also be marked through both layers of fabric (if cut on the fold) and through one layer if cut singly. Then mark the fabric on the pin-mark with a fabric marker or chalk to indicate the dart or matchpoints. Another method of transferring pattern markings is to use a tracing wheel with dressmaker's tracing paper (Ill. 21). The tracing paper can be single or double sided (which allows tracing of two layers at one time), and have chalk or a wax-based carbon coating. The tracing paper is placed on the wrong side of the fabric underneath the pattern, and the wheel traces the markings onto the fabric. Tracing wheels have points (see Ill. 1) or a straight edge. Tracing wheels with points leave markings that resemble dots; a straightedge tracing wheel leaves a solid line ( Ill. 21d). THREAD TYPES The goal when stitching your project is to find the combination of fabric, needles, and threads that gives the best results. That is why sampling is so important. Poor-quality thread can affect the tension of the stitches by feeding through the tension discs unevenly, resulting in unbalanced stitches. This creates weak seams, which results in precious time spent ripping out and redoing stitches. The wrong-sized needle can ruin the fabric by pulling threads in the fabric, causing runs; or leave holes in seam allowances that have to be ripped out; or worse, break in the middle of a seam, causing a rip or tear in the fabric. Most often, the thread used in the needle of the sewing machine is also used in the bobbin. Keep in mind the following: Create a sample using the fabric, the needle, and the thread that will be used for the final garment. Make a note of the information on the sample worksheet; keep this handy for reference when stitching the same fabric again. Industrial sewing machines have the timing set to stitch a balanced stitch with thread on cones of several thousand yards, usually supplied in black and white-check with your instructor to see if other types of thread such as Gutterman or Mettler will work in the machines, or sample! When stitching will be visible on the surface of the garment, color match the thread or use a contrasting color; if a matching color isn't available, choose a slightly darker shade to blend into the background-dark colors recede. To highlight stitching on the surface, use a contrasting color. How Do I Choose the Appropriate Thread for My Fabric? Choosing the correct thread for the fabric being used is critical to good stitching. Without well formed stitches, the seams won't hold, and without good seams, you won't have a quality garment! Threads should be selected for their color, weight, and the type of stitching being done. The thread must be compatible in weight with the fabric being stitched-you wouldn't use jeans thread on silk charmeuse. Different threads can be used for different purposes, and more than one thread can be used in a project. [NOTE: Several liquid sewing aids, such as Sewer's Aid, have been developed to help the thread pass through the tension discs for smoother stitching. If you find that the thread isn't passing smoothly along the threading path, add a drop of the Sewer's Aid ,very sparingly, to the spool and the bobbin thread. This is especially helpful when using decorative threads. ] ILL. 22C HAND SEWING NEEDLES NEEDLES Sewing machine needles are small but hugely important-needles can make or break your stitch. The type should be selected according to the construction of the fabric, and the size should be selected according to the weight of the fabric. It's always a good idea to have on I land a supply of general-purpose needles and a new specialty needles, in all sizes. This may seem like a lot of needles, but remember that needles break frequently, particularly when students re rushing to meet deadlines. The parts of the needle are shown in Ill. 22a. The different components of the needle are: The shank-the top section of the needle that fits into the sewing machine The shaft-the long body of the needle The groove-found on the front of the shaft in home sewing needles and on the back of industrial needles (It becomes larger as the needle size increases.) The eye-the opening in the needle into which the thread is inserted (It varies according to the needle type.) The tip-the point of the needle (It varies in roundness.) The scarf-the indentation on the back of the eye of the needle. Different types and sizes of needles have different shapes and sizes of scarves, which eliminate skipped stitches when correctly matched to the fabric weight. When threading the sewing machine needle, cut the thread at a slight angle. This makes the end of the thread narrower and helps it to pass through the eye without catching and untwisting. If it's still difficult to thread the needle, use a needle threader (the type with the long wire works best). The threader usually comes with an assortment of hand sewing needles but can also be purchased separately. It's very handy to have! To use the needle threader -- Insert the wire through the eye of the needle. Place the thread at the end of the wire, looping it around the wire. Gently pull the wire through the eye of the needle; the thread will follow. Needle Sizing Industrial sewing machines use a variety of needle sizing systems, and each system works only with particular machines. The sizes range from 1 UD to 400! The needles are not interchangeable between industrial sewing machines and home sewing machines. When purchasing needles for a home sewing machine, consult the manual for information on what system the machine uses. Almost all home sewing machines use a 130/705H needle system, which is indicated on the needle case. The needle name and size are also indicated as two numbers that appear on the packaging; these numbers refer to the American and European sizes. European needles range in size from 60 to 120; the number refers to the diameter taken on the shaft right above the eye. American needles are sized from 8 to 19 and are paired with corresponding European sizes, for example, 60/8 or 70/10; the larger the number, the larger the needle will be. Determine the appropriate needle size based on the fabric weight. After choosing the needle size, match the needle point to the fabric. The needle type and name is usually determined by the characteristics of the needle's point. Fabric, thread, and needle must all work together toward the same goal: a well-stitched garment. Industrial sewing machines used in classrooms require specific needles designed for the particular machine-home sewing machine needles are not long enough to fit into industrial sewing machines and will not produce properly formed stitches. When beginning a project, start with a new needle. This may be difficult in a classroom situation, as many classes of students rotate through the sewing labs, but ask your instructor if you may purchase a sewing machine needle that can be kept in your supply kit and placed in the machine when you are sewing your project. Remember, it's your responsibility to keep track of this needle! Poor stitch quality or a clicking noise as the needle enters the fabric indicates a dull needle; ask for a new or different-sized needle to sample before stitching on your garment. Finer fabrics require smaller needles, and heavier fabrics require larger needles. Needles can be damaged by running the machine too fast, creating "burrs" (distortions of the needle point). Burrs are a common problem for students new to industrial equipment and can also occur from pushing the fabric too hard or hitting the needle on a pin that has been stitched over-always remove pins before stitching over them. Pulling on the fabric while stitching can also bend the needle, causing it to weaken and break. [IMPORTANT Always sample the thread, needle, and fabric before beginning the garment. ] [NOTE: Twin needles are used only in front-to-back threading machines with zigzag features. The needles must be able to fit into the width of the throat plate of the machine. ] Sewing Machine Needle Types The type of needle required depends on the weight of your fabric, and the needle size is an essential contributor to the way the needle works. The needle should be small enough to pierce the fabric without leaving a hole; if the needle is too large, it can leave holes in the fabric or cause the thread to shred. The thread must lie along the groove of the needle to form good stitches. If the thread is too thick, it will move out of the groove, causing the thread to break or skip stitches. If the thread is too fine, the stitches might be loose on top of the fabric. Just as there are good-quality threads, so are there good-quality needles. A cheaper needle might seem like a bargain, but it will wear out faster, cause damage to your fabric, and possibly damage the sewing machine. Sewing machine needles can't be sharpened; replace the sewing machine needle after each project or approximately every four to eight hours of sewing time. Synthetic fabrics, fleece, and heavy upholstery fabric dull needles faster. Embroidery designs with thousands of stitches require fresh needles frequently. The needle types and sizes recommended for particular fabrics are listed in Tbl. 2 and described below. Universal: The universal needle has a modified ballpoint tip and works well on both woven and knit fabrics. Because of its shape, it also helps to prevent skipped stitches. It is available in sizes 8 to 19. Ballpoint The ballpoint needle is specifically designed for knit and elastic fabrics and has a rounded point rather than a sharp point. The needle pushes between the yarns rather than piercing them. This needle is available in sizes 9 to 16; the larger the needle size, the more rounded is the needle point. Leather: This needle has a special wedge-shaped cutting tip that allows it to pierce heavy leathers. Do not use this needle on imitation leathers, suede, vinyl, or woven fabrics-it will cut the fabric rather than pierce it. This needle is available in sizes 10 to 19. Microtex/Sharp: This needle has a very sharp point for sewing microfibers, silk, synthetic leather, or suede and can also be used for heirloom stitching. It is available in sizes 8 to 16. Jeans/Denim: This needle has a strong, slender shaft and sharp tip to pierce heavy, tightly woven fabrics such as denim, canvas, upholstery fabric, artificial leather, and canvas. It has a longer eye, which makes it suitable for topstitching as well. This needle is available in sizes 10 to 18. Topstitching: This extra-sharp needle isn't as rounded as the universal. It has a longer eye and deeper groove to accommodate heavier topstitching and decorative threads. This type of needle is available in sizes 10 to 16. * Metallic needle: Metafil and Metallica needles are used for sewing with decorative metallic threads. These needles have a large elongated eye and groove that allows fragile metallic and synthetic threads to flow through the eye smoothly. They are available in sizes 11 and 14. Embroidery needle: This needle is designed to stitch with the fine threads used in machine embroidery. Because it's a very stable needle, it can withstand the high stitching speeds of machine-embroidered designs. Available in sizes 11 and 14, this needle is suitable for woven fabric or knits. Twin needles: This needle is actually two needles on a single shaft that produces two rows of straight stitching on the surface with a zigzag stitch underneath ( Ill. 22b). Suitable for both woven and knit fabrics, these needles come with two sets of numbering. The first number indicates the needle size. For instance, 4.0/80 indicates there are two size 80 (12) needles set 4.0 mm apart. Twin needles are available in universal, ballpoint, jeans, and stretch variations, with needle widths set 1.6 to 8.0 mm apart and needle sizes of 70 to 100. Other specialty needles: Many needles on the market address other stitching techniques, such as triple, hemstitch, spring, quilting, self-threading, and titanium-coated needles. It is up to the student designer to research which needle will produce the best result in tandem with the thread and fabric being used. Needles and Threads to Use When Stitching Tricky Fabrics TBL. 5 NEEDLES AND THREADS TO USE WHEN STITCHING TRICKY FABRICS HOW DO I Choose the Appropriate Machine Needle for My Project? Determine the needle size by the fabric weight. After choosing the needle size, match the needle point to the fabric. The needle type and name are usually determined by the characteristics of the point. The style of seam being constructed often requires a specialty needle, such as for topstitching, in addition to the needle being used for general garment construction. Refer to Section 6 for detailed information. ILL. 23 THREADING THE SEWING MACHINE: EACH INDUSTRIAL SEWING MACHINE IS THREADED IN A SIMILAR WAY; HOWEVER, THE NEEDLES USED FOR EACH BRAND OF MACHINE MAY DIFFER SLIGHTLY. Upper thread and bobbin threads pulled back under the foot ready to stitch ILL. 24A AND B CHECKING THE BOBBIN TENSION Have lever in this direction to insert bobbin Hand Sewing Needles Even though the design student uses the sewing machine to do the majority of stitching on a garment, there are some steps that require hand sewing. Many of the same principles that apply to machine needles also apply to hand sewing needles. Hand sewing needles are shown in Ill. 22~ and discussed in detail in Section 15. Threading the Sewing Machine Although the method of threading each industrial sewing machine is similar, it will differ slightly for each brand of machine. Refer to Ill. 23 to see the threading path and identify the various parts of the machine. Tbl. 5 lists needle and thread information for use in stitching the tricky fabrics that are covered in every section. Bobbins A bobbin is a small spool that holds approximately 50 or more yards of thread, placed into a bobbin case, which is inserted into the sewing machine (Ill. 1). All sewing machines require a specific type of bobbin in order to be able to form stitches with the upper thread of the sewing machine. If the bobbin is wound too fast, it will be uneven and lumpy, resulting in poor stitch quality. Winding the Bobbin On industrial sewing machines, the bobbin winder is located on the outside of the machine. A spindle holds the bobbin (only) in place after a small lever is pushed forward to lock it in place. The thread is threaded through a spool holder and a separate tension disc that winds the thread smoothly onto the bobbin. If the spool holder isn't threaded properly, the thread will wind onto the bobbin in a mess-and it will not feed properly through the bobbin case to form good stitches. When student designers are becoming familiar with industrial sewing machines, problems with the stitch quality usually stem from improperly wound bobbins. The only answer is to remove the bobbin and the thread, and start over, slowly winding the thread onto the bobbin. Tension Check the bobbin tension. To do this, thread the bobbin and hold the thread in one hand with the bobbin hanging below ( Ill. 24a). Shake the thread; the bobbin should bounce down with the thread still holding the bobbin in place. If the bobbin doesn't move, then the tension is too tight. If the thread lets the bobbin run away, then tension is too loose. Inserting the Bobbin into the Machine The bobbin is placed inside the bobbin case, with the thread placed through the tension slot. A small, hinged lever is opened to slide the bobbin -- bobbin case onto the spindle located under the throat plate of the machine ( Ill. 24b). The lever must close with a click, indicating that the bobbin/bobbin case is indeed locked into position. If it's not clearly locked into place, the needle thread will not meet the bobbin thread to form a stitch, and the needle will break, causing possible damage to the bobbin case and to the timing of the machine. As every industrial sewing machine is different, and each bobbin/bobbin case is individualized to the sewing machine for which it's manufactured, it's impossible for the bobbin -- bobbin cases to be interchanged. Turn the hand wheel one full turn to bring the bobbin thread to the needle plate opening. This forms a loop with the upper thread and is pulled up and under the presser foot, ready to begin stitching. STITCHES Stitch Lengths Not all seams will be stitched using the same stitch lengths. The number of stitches stitched per inch needs to be adequate to hold the garment securely together. The stitch length determines the stitch durability. Longer stitches are temporary, and shorter stitches are stronger. The stitch length is also determined by the purpose of the stitching. Ill. 25 sets out the length of stitches used when stitching muslin, the fabric that's most often used to teach sewing at school: Machine basting stitches ( Ill. 25a) Ease/Gathering stitches ( Ill. 25b) Permanent stitches (Ill. 25~) Stay stitch ( Ill. 25d) Topstitching ( Ill. 25e) Stitches are scrutinized in production in quality control. Garments with too few stitches will not hold together and will be sent back to the manufacturer, and this will incur a huge cost for the manufacturer. The stitch length is most important, as the stitches need to hold the garment together. LET'S STITCH! There is rhythm to sewing and it goes like this: SEK CLIP, PRESS. This stitching rhythm should be used from the start when you begin your first row of stitching. This method of stitching needs to be firmly planted in the sewer's mind from the beginning; with experience, it will become second nature to you. Be assured it will ultimately be quicker as you methodically sew, clip, and press.
Following the SEW, CLIP, PRESS method of stitching will help to produce a professional-quality garment. There's a lot of competition out there, so while at school learn to sew at the highest standard possible. Why Is This Method of Stitching Important? The garment will always be clean with no threads to get tangled up; this helps to keep your work manageable. Pressing as you sew ensures that after every seam is stitched, it lays flat, ready to stitch the next seam to this section. Little pleats or puckers can be stitched into unpressed seams very easily. Pressing each seam flat, directionally as it was sewn, is called melding the stitches. This simply means that the stitches are being set into the fabric by pressing in the direction in which they were sewn. So the wise person presses as he/she sews! At the end of your project the garment should only need a light press. Students always feel rushed to meet deadlines (we see this constantly) and if you follow this process of SEW, CLIP, PRESS, the finishing touches to the garment will be minimal. Getting to the deadline will not be as stressful. Refer to Section 18 for details on finishing the garment. [NOTE -When instructors grade garments. students will lose points if threads haven't been clipped and the garment has not been adequately pressed. ] Stitching Seams Insert the correct needle size to suit the fabric type and weight. Use muslin fabric to practice stitching, as muslin is a good, medium-weight fabric on which to practice. When sampling, place two layers of fabric together with the correct sides together. As you stitch, check to make sure the needle isn't making little pulls in the fabric. If it's , stop stitching and use a different needle size to avoid damaging your fabric. Tbl. 2 lists the needle sizes that best suit each fabric weight. Practice the different stitch lengths as shown is Ill. 25a-e. Make sure the machine and bobbin tensions are adjusted correctly. Loops forming on the top side of the seam indicate that the bobbin tension needs tightening (see Ill. 26a). When loops form on the underside of the seam, the top tension needs to be tightened (see Ill. 26b). A perfectly balanced stitch looks flat and smooth on both the top and bottom of the stitched seam (see Ill. 26~). Adjust the bobbin tension (see Ill. 24a) only after checking that the sewing machine is properly threaded, the needle is inserted correctly, and the correct thread weight is being used for the fabric. Practice sample stitching. Experiment with seam finishes that you think may suit the fabric and the design. Seam finishes and fabric are also a tandem pair-they must work together. If one seam finish doesn't work, then try another until you come up with just the right one for your fabric and design. Reducing Bulk Bulk occurs when several layers of fabric are stitched together and refers to the thickness of the seams. Thick seams can produce an ugly ridge on the correct side of the fabric if the bulk isn't reduced. It is most important to attend to reducing bulk as seams are stitched, rather than thinking you can get back to it later. It's not always possible to get back inside a garment section after it's been stitched. Fabric weights are not all uniform; they divide into heavyweight, medium weight, and lightweight fabrics. Depending on the fabric weight and the type of seam stitched, bulk is more prevalent in some seams than others. Bulk needs to be reduced from collar corners, overlapping pleats, intersecting seams, seam insertions (when a trim or binding is added into a seam), and any other thick seams. The following references from other sections will help you to understand bulk. Ill. 6.29a shows how bulk is cut away from an intersecting seam to reduce the thickness. Ill. 6.34b shows how excess fabric is cut away from a flat-felled seam to reduce bulk. Ill. 6.18d shows a seam with piping; this type of seam becomes very thick with four layers of fabric and bulk needs to be reduced so the seam doesn't show a ridge from the correct side of the fabric. Ill. 15.27 shows how to reduce bulk from a scallop seam allowance. Bulk is also reduced in hems to prevent ugly ridges from showing on the correct side of the fabric. Look at Ill. 15.7 to see how to reduce bulk on hems. How to Use a Seam Ripper to Remove Unwanted Stitches No matter how carefully we stitch, occasionally the stitches are off, the stitch quality isn't good, the stitching isn't the correct length-in short, the stitches need to be removed. In order to remove the stitches without damaging the fabric, they must be taken out with consideration of the fabric and the thread using a seam ripper (Ill. 27). A very handy tool, the seam ripper is available in many configurations, but the best seam ripper is one that feels comfortable in the hand and is large enough to grip without the fingers going numb. The point of the seam ripper should be very sharp, and the small, curved section (which is actually the cutting blade) should be sharp as well, to easily slice through any thread. When faced with removing a long section of stitches, carefully place the point of the seam ripper under a stitch, lifting it slightly away from the fabric and cutting through it with the curved area of the ripper. Continue this process every inch or so. Once you remove the bobbin thread from the other side of the seamline, the short, cut threads will pull out easily. Do not attempt to pull the entire length of stitches out by yanking on the thread-the threads will tighten up and be even more difficult to remove while possibly ripping the fabric. Never attempt to remove stitches by pulling the fabric apart. PROJECT PREPARATION It is really important to begin any new project with preparation. Students who start stitching the garment without first planning it can get into a muddle. We advise you think through every garment project first before beginning to stitch. Filling in a design worksheet (Ill. 28) will help you to define the fabric type, weight, and fibers, along with the seam and hem stitches you plan to use, interfacing choice, and the supplies needed. It also gives a clear direction for the stitching order (Ill. 29) you will use to stitch the garment together. Even though there is a general stitching order (and this guide is written in this order), that order may change for each style. For example, a pocket may be stitched to the fabric surface as the first step in the stitching order, or it could be stitched last in the stitching order. So individualize your own stitching order for each garment. Stitch seam and hem samples after cutting the fabric. All this information is then documented and the sample is mounted on the worksheet and used as a guide as you stitch your garment (Ill. 30). This preparation will help you avoid mistakes such as using a zipper that's too short, interfacing that's too stiff, or forgetting to order the buttons you need. Sampling and preparation will ultimately save time. Here is the list of sampling that will help to direct the stitching of your garment: Interfacing (Attach to the fabric following the directions for sampling, and assess whether the fabric and interfacing weights are compatible; see also Section 3, "Interfacing.") Seam finishes, seam stitching, and pressing Hem finish and pressing Embellishments Design Worksheet Description of Garment Fabric Type Woven Knit Other - Garment Fabric Content Garment Care Garment Fabric: Lightweight Medium -Heavyweight - Stabilizer-Fusible Sew-in Fusible/Knit - Location Lining Type Woven Knit - Lining Fiber Content Seam Type Location Seam Type Location Seam Type Location Hem Stitching Technique Type of Closure Location List Notions Stitching Order: Before beginning your garment, think through the stitching order. Write down the constructional order of how the garment will be stitched together. Sample Worksheet Before beginning any garment stitch some samples to decide on the best stitching techniques to suit your fabric and design. Several samples need to be stitched before deciding on the best one for the project. This preparation is well worth the time involved as it may save making stitching mistakes on the actual garment. Also sample some stabilizers to find the one to suit your fabric. [IMPORTANT Order now all the sewing supplies needed!] FITTING THE GARMENT When a student writes an essay, several drafts may he written before the final essay is completed. For the designer creating fashion, it's no different. The designer makes muslins as the draft design. One, two, or three muslins may be made to fit the dress form, and in that time seams may change position, the length may be shortened, the sleeve cut shorter, and so on, until the designer is satisfied with the new proportions and fit of the garment. Muslin is the fabric (100% cotton) most often used to fit garments, and the term making muslin refers to this activity. Once the muslin version is satisfactory, the garment is cut in the final fabric. However, the fitting doesn't stop there. In fact, the garment is in development until the last stitch! It is always best to make all muslins using a weight that's similar to the fabric that will be used in your final garment. At school, stitching and patternmaking fittings are made using muslin fabric, and this is an excellent choice for practicing. However, it's very difficult to get an accurate first fit in muslin when the final garment you are making will be constructed of a heavier-weight fabric, for example, a coat of heavy wool tweed. It is impossible to get an accurate fit and drape when your final garment will be made of a fabric that's lighter in weight than the muslin, for example, if 100% cotton muslin is used to make a draft garment that will be manufactured as a final garment from lightweight, sheer silk georgette. When making a muslin for leather, use felt; this an ideal substitute fabric. For coats and jackets made in wool or cashmere, use upholstery fabric as the muslin. PRESSING EQUIPMENT Having the correct pressing tools helps to achieve quality workmanship. Pressing is important, as you are about to find out. It may take time to acquire your own equipment, but you will soon find you are unable to live without these tools, as they really do give great support when pressing beautiful fabric. Ironing Board An ironing board is used for ironing clothes and linen ( Ill. 31a). Ironing boards can be freestanding, built in, pullout, or fold away. Whichever style of ironing board is used, the padded work surface should be heat resistant. An ironing board has a cotton ironing board cover that should be replaced when damaged or worn. Steam Iron A steam iron is used for pressing seams, hems, and the final garment ( Ill. 31b). The iron has a metal plate that smoothly glides over the fabric. An iron has a temperature dial to control the heat. On domestic irons the dial is marked with fabric types such as "linen/cotton," "wool/silk," and "synthetic." At school it's not that simple, as the dial is numbered 1,2,3,4,5. The numbers on the dial indicate the following settings: number 1 is the lowest setting and corresponds to fabrics that require low temperatures, such as synthetics, rayons, and so forth; number 2 corresponds to silk without steam; number 3 corresponds to wool and is the beginning of adding steam; number 4 corresponds to linen; and number 5 is the highest setting, with the most amount of heat, which in the case of the gravity-feed irons is really hot! Change the heat temperature to match the fabric type when pressing. It is advisable to press a fabric sample first before pressing the garment. Pressing Cloth A pressing cloth is a square of open-weave cotton or muslin fabric about the size of a men's handkerchief (Ill. 31~). Actually, a white men's handkerchief is the perfect pressing cloth! The pressing cloth is placed over the fabric surface for protection and to prevent the iron from leaving shine marks. The cloth can be dampened to provide extra steam when pressing. A natural-colored piece of silk organza also makes an excellent pressing cloth; since it's sheer you can see what you are doing when pressing. Wool/mohair can be used as a press cloth for tweeds and knits; it works like a needle board, preventing the nap from being flattened when pressed. A rectangle of wool-- mohair can be stitched to have a single layer of cotton such as muslin on one side and be finished on all sides with a serger. Seam Roll A seam roll is a firm cylinder-like cushion covered with cotton on one side and wool on the other ( Ill. 31d). A seam roll is used to press long, narrow seams such as the inseam or outseam of a pant leg or underarm seams. Use the cotton side for pressing most fabrics; the wool side can be used for pressing woolen fabrics. Using a seam roll helps to avoid seam impressions that might otherwise show to the correct side of the garment after pressing. ILL. 51 PRESSING EQUP. Sleeve Board A sleeve board is a small-scale wooden ironing board with rounded, padded ends ( Ill. 31e). It is a wonderful pressing tool. It is used for pressing sleeves, short seams, and hard-to get-at areas that don't fit over a regular-sized ironing board; it canal so be used on the rounded ends to steam out ease at the cap of sleeves. If you make half-size muslins at school, the sleeve board is excellent for pressing a smaller size. Tailor's Ham A tailor's ham is a firm, rounded, or oval cushion that provides a pressing surface to shape darts, sleeve head, lapels, collars, and curved areas of a garment ( Ill. 30f). The covering is usually of wool and cotton. HOW TO PRESS A GARMENT Construction pressing has a basic aim: to press a specific detail without pressing the entire area. The garment has to be positioned correctly and the proper equipment must be used to press a detail. Always press on the grain in the same direction the stitching was done. Don't skip steps, because pressing makes the next construction step easier. Keep all pressed garment sections as flat as possible rather than rolled up in a ball, or thrown in a bag (and thus needing to be pressed again before you are able to continue sewing). Overpressing can ruin fabric! Take pride in the work accomplished from the very beginning of each garment. Remove pins and basting before pressing-pins can mar the fabric as well as the iron. Use silk thread to baste to avoid leaving impressions in the fabric when pressing. Always press the seams as they are stitched, pressing the seams flat as they are sewn, and then open to either side. Then place the seams on a seam roll, a tailor's ham, or on the edge of the sleeve board. Smooth the fabric crosswise and open the seam. Press the point of the iron in the direction of the grain. Finally, press the seam on the outside of the garment, using a press cloth. Areas that are to be shaped are placed over a section of the tailor's ham or a seam roll that properly fits the area to be pressed. Garment areas that must be shaped in this way are: Curved seams such as a yoke or bodice seam. Bust and waistline curves on a fitted seam. Waistline seams-press toward the bodice. Darts and tucks-place a strip of paper under the fold of the dart to avoid leaving an impression on the front of the garment. Bust darts-press dawn. : Waistline and shoulder darts-press toward center front or center back of the garment. Double-pointed darts or contour darts clip at the widest point to lie flat and press toward the center front or center back of the garment. Darts in heavyweight fabric-slash to within M inch of the dart point, place over the tailor's ham, and press open with the point of the iron. Then press again along each side of the stitching line. Elbow darts-press before the sleeve is constructed. Then press the seam open on a sleeve board. Sleeve cap easing-steam press easing to shape. Shoulder seams-press crosswise, the way the shoulder curves away from the seamline, and press the seam open on the underside from the neckline to the armhole. Then, from the correct side of the fabric, shape and press the back shoulder line on the lengthwise grain around the edge of the curved seam roll or tailor's ham. Armhole seam-lay the top sleeve seam (between the notches) with edges together, over the edge of the sleeve board with the sleeve side up. Use the point of the iron to press the seam allowances only. (The underarm section of the seam should not be pressed open; it's trimmed.) Understitched facings-are pressed and turned to the inside of the garment shape with the fingers to perfect the line of the faced edges. Hems-press with the wrong side of the garment facing out, using a lifting rather than a gliding motion. Always press the hem along the fabric grain from hemline to hem edge. Gathers and shirring-press by working the point of the iron into the gathers and pressing toward the stitching line. Avoid creases by lifting the folds away from the iron as pressed. Pleats-these are basted before pressing on the wrong side of the fabric along the foldline to set the crease. From the correct side of the garment, remove the basting; press, using a strip of paper under each pleat to prevent leaving an impression. Final pressing can be kept to a minimum touchup here and there if each step of construction pressing has been done with care. Hang the garment properly to maintain its shape-choose a strong, contoured hanger. Fasten buttons or closures and zippers to retain the garment shape. Refer to Section 18 for more information on final pressing. TRANSFER YOUR KNOWLEDGE Once you get into the rhythm of sampling a project, transfer this system of stitching to all other stitching. Just don't sample muslin fabric; transfer your knowledge and sample every fabric before beginning a new garment. STRETCH YOUR CREATIVITY Stretch your creativity by practicing how to sew. Use different stitches with different colored thread stitched at various angles, in various decorative stitches on different weights of fabric. Stretch your creativity by sketching some designs, and find some fabric swatches to suit the styles. Look at your design and fill in the design worksheet as a practice step; this will help you to think about the functional, structural, and decorative design aspect of the garment. STOP! WHAT DO I DO IF... I don't know what I'm doing? I feel overwhelmed when I sit at the machine. Is it best to just give up? Relax-get help-go to the learning center in your school for extra help. Ask your teacher for help. Ask questions. Read the section again, over and over if you need to, until you have more understanding-and practice, practice, practice stitching and threading the machine. There are no quick fixes other than to stitch! . . . I can't be bothered to use the SEW, CLIP, PRESS method of stitching, as it takes far too long; is that OK? Using the SEW, CLIP, PRESS method ensures that your final garment will reflect quality workmanship. . . . my stitches are skipping? Change the needle, as it could be blunt, or try a different needle size. Rethread the machine; the machine won't stitch if it's threaded incorrectly. Check to be sure the thread has been pulled up around and into the tension disc; if it's not pulled up well in the tension disc, the machine won't stitch. SELF-CRITIQUE Do I see the importance of using the stitching method of SEW, CLIP, PRESS? Do I understand how to press my seams, darts, and other garments parts? Do I understand the necessity of pressing as I sew? REVIEW CHECKLIST: Do I have all the supplies and equipment needed to begin to sew a garment? Do I know how to thread the sewing machine and insert the bobbin? Having prepared for your project by gathering all your equipment, did you see a difference in the way the garment came together? We're sure it will continue to make a difference if you stick with it! It takes practice and time to plan each garment by way of sampling; however, this preparation is an integral part of the design development of any garment. The samples made and stitched in this way will become a wonderful resource for future reference for the design student or designer. So keep sampling, and don't give up on this process! Start a folder, and keep adding your samples to it. |
| PREV. | NEXT: | Article index | Home |
Thursday, 2016-06-23 1:44