MANN TT 515 .E88 1922 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924105503068 ^ornans Jnmiiuie oerant0n,i/u. WM TO THE STUDENT: Beginnings are often tedious, but always essential. For some, this Instruction Book represents a tiew step in sewing achievement, for it tells how to begin and gives definite stepping-stones by way of sewing principles for future progress in sewing. For some, much of this work is familiar and a review is all that is required, but a thorough under- standing is vitally necessary. So we urge you to enjoy the book and its instruction and to realize that a good fotmdation makes for greater advancement. Work for skill in creation as well as execu- tion, for neatness as well as speed, and strive to master each step as you proceed, for prin- ciples thoroughly understood will brighten many pages in future lessons. The Author CORNELL UNIVERSITY LIBRARY 3 1924 105 503 068 ESSENTIAL STITCHES AND SEAMS ACQUIRING SEWING SKILL 1. To dress well is an art that is acquired chiefly by study. The ability to recognize the small, important things in dress, the patience to exercise care in details, with an appreciative eye for effect, and the ambition to forge ahead by constant thought and application are qualities worthy of cultivation. So long as figures, fashions, fabrics, and individual needs change, just so long will it be necessary to study the art and essentials of dress. Any woman who is dressed inappropriately or in ill-fitting, badly made clothes loses a great part of her charm ; and this fact alone is S'.ifficient reason why no woman . should ever allow herself to appear at a disadvantage. Well-fitting, well-made garrhents of the cheaper materials appropriate for the occasion or the need look far better than ill-fitting, poorly made garments of expensive fabrics. 2. The study of the art of dress — the construction of clothes, the personality of clothes, the universal factor of clothe's — may be likened to a journey into new lands, where one meets with new experiences and forms new appreciations and realizations. On every hand romance is to be found, rich experiences are to be had, and opportunity for the development of taste and discrimination in dress and of appreciation of beauty, all so essential to the happiness and culture of all women, is to be met. To know how to use the needle and the sewing machine, to cut out and to sew pieces of cloth together, besides being essential to the development of sewing skill, are extremely interesting; and to be able to create exquisitely beautiful articles or garments is a most gratifying and worthy accomplishment, proving not only of definite economic value but of cultural value as well. To create a beautiful gown is indeed as much a work of art as to paint a beautiful picture, COPYRIOHTEP BY INTERNATIONAL EDUCATIONAL PUBLISHING COMPANY. ALL RIGHTS RESERVED 2 ESSENTIAL STITCHES AND SEAMS § 1 for it embraces all the skill and all the knowledge of color and line that the true artist has at his command. In fact, the doors of achievement stand open to the fashion artist or to any one who riiakes a specialty of needlecraft. 3. Before you take up the study of dressmaking, you must con- sider many points that have to do with ultimate success. First of all, you should bear in mind that poor work is absolutely valueless; there is no place in sewing for carelessness of any kind. Set a high ideal and make an untiring effort to reach it. Take an active interest in clothes, so that you may obtain a knowl- edge of what others are wearing — the material, the style, the work- manship — and thus appreciate the good and avoid the bad. Encourage self-criticism ; do not consider any work as satisfactory unless it is the best that you can possibly do, regardless of whether it is to be seen by others or not. Application and industry, as well as concentration and effort, are of utmost importance. Pay close attention to the valuable points brought out in the text and apply them diligently, so that you will become thoroughly familiar with every detail; and in this connection remember all the while that perseverance, judgment, accuracy, and imagination, as well as skill in construction are absolutely necessary. Some persons sew for pleasure, some for duty, some for profit ; but whether you sew for any of these things or all of them, the element of time must be considered. To sew successfully does not mean that you must accomplish a certain amount of work within a given time ; your aim, rather, should be to strive for a high standard of excellence and technical skill. Sewing is work that cannot be done well in a haphazard way ; the person who does such work must be careful and painstaking. Self-confidence is a valuable asset in sewing; you should ever remember that if you have confidence in yourself others will have confidence in you. Therefore, never take up any lesson in a half- hearted manner; rather, be determined that you are going to master it. It will always prove ready to help you in becoming proficient and will also create in you a desire for beautiful things. Success will surely come if you study the lessons carefully, apply the instructions faithfully, and think and reason out the problems thoroughly. 1 ESSENTIAL STITCHES AND SEAMS MAKING ESSENTIAL STITCHES AND SsSks METHOD OF STUDY 4. The purpose of this book is to teach you how to make the essential, or foundation, stitches and seams used in sewing; how to train your hand to use the needle, the scissors, and the thimble ; and how to train your eye to discern the correctness of every stitch, to measure distance, and to keep a precise or even line. After you learn the principles of the essential stitches, you take up more advanced work, and gradually you acquire sufficient skill and confidence to cut out and make dresses, coats, and other wear- ing apparel of the more costly materials. You will also be able to make use of the suggestions relating to styles and trimmings that are taken up later and to adapt them to current fashions. 5. Advantages of Making Samplers. — As you take up this book you may feel that you are so familiar with the foundation stitches and seams that you do not need the work here outlined. But no matter how much experience you may have had in this con- nection, it will be to your advantage to read the instruction matter carefully and to make the samplers and submit those required for inspection. The work to be done will take very little time if you are accustomed to using the needle, and you will be rewarded by the fact that you know just the correct way in which to make each of these foundation stitches and seams. An additional advantage is that you will become familiar with their correct names, and in this way will not be confused when they are mentioned. If you are not familiar with the essential stitches and seams, you should practice them diligently until you can make all of them per- fectly. Follow the text carefully and study each illustration closely, observing just how the needle is placed in each instance and the way in which the material is held. If you take time to make perfect stitches, you will acquire speed and accuracy with continued practice. 6. Value of Tidiness. — It is absolutely necessary that you be tidy, clean, and careful in carrying on your sewing. Have a definitely arranged place, even if it is only one corner of a room, for your sewing basket or work box, your tools, and your acces- sories, and keep all these things there. 4 ESSENTIAL STITCHES AND SEAMS § 1 Keep your hands and finger nails clean, and if your fingers are rough irom other work, wash them with a scouring soap or rub them with pumice. Pumice, or pumice stone as it is commonly called, is inexpensive and may be bought in any drug store. Mag- nesia to rub on the hands while working on white or dainty articles is a good thing to have handy, as it absorbs perspiration and helps to keep the work clean. In the form of small cakes costing only a few cents, magnesia may be bought in drug stores as well as in stores that sell sewing supplies. SEWING MATERIALS AND TOOLS 7. For making stitches and seams of various kinds, as well as for performing other operations in sewing, needles and thread and other tools and accessories are needed. These are described at this time so that you may become thoroughly familiar with them before you begin the actual making of the essential stitches and seams. 8. Seviring needles range in number from 1 to 12, No. 1 being the coarsest and No. 12 the finest. For general use, a paper of Nos. 5 to 10 is best because of the good assortment of sizes. Needles having round eyes include sharps, which are long and slender ; hetweens, which are rather short and thick ; blunts, which are short and strong and do not taper much except at the point ; and milliners' needles, which are very long and used for basting in dress- making. Those having long eyes and pointed ends are called embroidery, crewel, and darning needles, and those with long eyes and blunt ends, tapestry and bodkin, or tape, needles. Cheap needles are never satisfactory ; they break and become blunt easily, and they do not pass through material so well as good steel needles do. The average package of sewing needles contains twenty-five. 9. Machine needles are designated as to size by letters and by numbers, depending on the , manufacturer, each sewing-machine manufacturer usually making needles to suit his make of machine. The needles for both hand and machine sewing must be in propor- tion to the thread, and both needle and thread must be in keeping with the material. You can form a good idea of the needle size and thread numbers for different materials by referring to Table I. For TABLE I nuihbeirs of thread and needles suitable fok different materials Hand Sewing Kind of Material Very coarse denim, drillings. Heavy woolens Heavy clothing, generally. . . Shirting, sheetings, and heavy mus- lins Silk and general domestic goods . . . Soft silks, muslins, and linens Sheer muslins, linens, and lawns . . . Very sheer linens, organdies, and chiifons Thread Number 8 to 24 cotton 40 to 60 linen D sewing silk 36 to 40 cotton D sewing silk 40 to 60 cotton C sewing silk 60 to 80 cotton A and B sewing silk 70 to 90 cotton A and B sewing silk 80 to 100 cotton o sewing silk 100 to 1 50 cotton 00 to 000 sewing silk Machine Sewing Very heavy material. Heavy woolen, drilling, and over- coating Ticking, denim, and woolen goods. Heavy calico, percale, heavy silks, light-weight woolens Shirtings, sheetings, calicoes, per- cales, muslin, all general work. . Sheer linen, muslin, fine silk goods . Very sheer muslins, linens, cambric, etc Coarsest Coarse J Medium I coarse Medium f Third 1 finest {Second finest Finest 40 .to 60 linen 24 to 36 cotton 24 to 30 cotton E sewing silk 60 to 80 linen 30 to 40 cotton D sewing silk 40 to 60 cotton C sewing silk 60 to 80 cotton A and B sewing silk 80 to 100 cotton silk twist 100 to 1 50 cotton 00 and 000 silk twist 6 ESSENTIAL STITCHES AND SEAMS § 1 example, if you wish to sew sheer muslin or linen by hand, you will see from the table that you should use a No. 9 needle and No. 80 to 100 cotton thread; or if you wish to sew such materials by machine, you need the second finest needle and from 80 to 100 cotton thread. 10. Sewing thread comes in cotton, linen, and silk. White cotton thread ranges in number from 8 to 200 and black, from 8 to 100 ; colored cotton thread, in 50 and 60 ; linen thread, from 25 to 100; and sewing silk, from E to 000. In each instance, the number or letter given first indicates the coarsest thread and that mentioned last, the finest; that is, the higher the number and the lower the letter, the finer is the thread. Though not strictly a sewing thread, it might be well to mention that buttonhole twist is made of silk and that black and white come in sizes A to F, while the colored comes usually in D. 11. Basting thread, or basting cotton, is made especially for basting purposes. That with a hard, glazed finish breaks readily, does not become embedded in the material in which it is used, and may be easily removed from the mate- rial. Such thread comes in large spools and is usually white. 13. Pins are absolutely necessary in dressmaking. You should use them freely in pinning patterns on F'°- 1 material and in holding seams together, both in basting and in fitting. Buy only pins with good, sharp points. Cheap pins are not an economy. They injure the material by making ugly holes in it, and, in sheer materials, their blunt points will pull the threads. 13. The thimble, Fig. 1, is really a wonderful aid in hand sewing. It not only protects your finger from needle bruises, but it enables you to accomplish more work than if you wear none. Thimbles of silver, gold, aluminum, or celluloid are best. Thimble sizes are designated by number. These range from No. 6 to No. 11, the size increasing with the number. Nos. 8, 9, and 10 are the sizes in common use. The thimble should fit the middle finger of the right hand snugly and should have the end of the finger inserted well into it. It should not be tight enough to stop the circulation of the blood in the finger, and yet not loose enough to drop off when you are sewing. ESSENTIAL STITCHES AND SEAMS 14. Scissors, Fig. 2, are distinguished from shears, Fig. 3, by the fact that they are smaller and usually have handles of the same shape and size. Scissors range from 3 to 6 inches in length. They are needed at the sewing machine for all kinds of small work and for mending, while shears, which are 6 inches or longer, are required for cutting out materials. For general use, 4- or 5-inch scissors and 7- or 8-inch shears are best. You can accomplish the work of cutting more quickly with shears than with scissors, and, besides, shears insure a more even edge on long seams. Shears do not tire the hand so quickly as Fig. 2 Fig. 3 scissors, because of the large handle, which permits several fingers to be inserted. If you are left-handed, you will find it to your advantage to use left-handed shears. As a rule, these can be purchased in any store that sells scissors. 15. Buttonliole scissors. Fig. 4, are very convenient for cutting buttonholes. Such scissors range from 3 to 5 inches in length, and each pair is equipped with a small screw, as shov/n, with which to regulate the length of the buttonhole. 16. Your work basket or work box should be provided with an emery bag-. Fig. 5, through which to push a needle when it becomes rough, squeaks, or sticks in the material. An emery bag is usually shaped like a strawberry, as shown. It consists of a red- denim bag filled with emery, a very hard material used in polishing 8 ESSENTIAL STITCHES AND SEAMS §1 metals. Such bags can be purchased for a small sum in any store that sells sewing materials. 17. You will do well to keep on hand a small cake or piece of beeswax. This will prove useful as a means of waxing threads so as to give them added strength and prevent them from knotting. A waxed thread is not needed for general sewing, but thread used for buttonhole making, espe- ally buttonhole twist, is improved by drawing it over the wax a few times. 18. The tracing wheel, or tracer, Fig. 6, is a reat help as an accurate marker for seam lines, con- truction points, etc., and saves a great deal of time in basting. Tracing wheels vary in price. It is advis- able to use a tracer having a wheel of hard steel, with very sharp, even points; those with stubby points are liable to ruin material on which they are used and should therefore be avoided. 19. Tailor's chalk, Fig. 7, is very essential as a marker for use on materials ■^"'' ^ that will not show the marks with a tracer, or on which the use of the tracer is not advisable. This chalk is inexpensive and is made in several colors. No work box should be without three or four colors of such chalk. Fig. 5 A "f^^Mm^R ^^s^^^ ^^mn^ Fig. 7 20. A ripping knife, one style of which is shown in Fig. 8, is still another handy tool for your work box. It is used for ripping seams apart, and should therefore be of the best hard steel, Fig. 8 so that it will keep a good cutting edge. A sharp penknife will serve also as a ripping knife. If neither of these is at hand, a used safety-razor blade having only one cutting edge will answer the purpose very well. Safety-razor blades are really excellent for §1 ESSENTIAL STITCHES AND SEAMS 9 such work, but they become rough and nick easily and have to* be replaced frequently. 21. A tape line, or tape measure, too, is indispensable. It is usually 60 inches in length and f to J inch wide. The best grade of Fig. 9 tape line is the one to use, because it is usually firm enough not to stretch and its graduations are accurate. 22. The Picken dressmaker's gauge, a device accompany- ing this lesson, is a sewing convenience, but not a sewing-machine attachment. Its chief purpose is to save time and to encourage accuracy. The face side of this gauge is shown in Fig. 9 and the reverse side in Fig. 10. It may be used in marking both the width of tucks and the space between them ; for marking hems, plaits, and the width and spacing of ruffles; in spacing buttons and buttonholes, as well as hooks and AjIAjIAiIAILA Fig. 10 eyes and snap fasteners on waist and skirt openings ; in marking a pattern for arrowheads and crowfeet; and in marking scallops of various sizes. This gauge and marker is 6 inches long and is divided into |-inch spaces. One edge is laid off into six scallops of different sizes, each of which is numbered and has its center indicated by a small mark, and the opposite edge is notched at every inch mark. In 10 ESSENTIAL STITCHES AND SEAMS § 1 the center is a notched slot, and in scallop No. 6 is a small triangle. The way in which to use each feature of this gauge is taken up in its proper place. CARE AND USE OF THE SEWING MACHINE LOCK-STITCH MACHINE 33. About seven types of sewing machine, that indispensable aid to all who sew, are recognized and accepted today, each with some special feature recommending it for standard use. Two kinds of stitches are made by sewing machines, namely, the lock-stitch and the chain-stitch. Sewing machines are run by motor, hand power, and foot-power, but those run by foot-power are most extensively used in the home. Although the sewing-machine idea originated in England in the 18th century, it was not until 1846 that Elias Howe, of Spencer, Massachusetts, made the sewing machine an invention of practical utility. Many experiments were conducted and many crude machines developed, but it is now possible to purchase an excellent sewing machine for a remarkably small sum, considering its delicate mechanism and its efficiency and long period of usefulness. There is absolutely no economy in buying a cheap sewing machine ; the small expenditure will be quickly increased by frequent repairs and increasing dissatisfaction will result. Accompanying each machine is a book that tells how to operate it and take care of it and also explains how to use the attachments. If no instruction book is at hand, by all means get one from the dealer or the agency from which you bought your machine so that you may learn all about the kind of sewing machine you intend to use. If it is necessary to order by mail, enclose 10 cents in postage stamps with your order. 24. Relation of Parts. — Before you use a sewing machine, especially for the first time, carefully examine and study all of its parts, above and below the table portion, so that you may thoroughly understand them. The leather belt, which passes over the hand and balance wheels and thus sets the machine in motion, should always be tight enough iior to slip, but not so tight as to prevent easy motion. If you find § 1 ESSENTIAL STITCHES AND SEAMS 11 that the belt is too loose, cut enough of it squarely from one end to remove the old hole, make a new hole, and recouple the belt. On ordinary fabrics, little exertion is required to operate a machine with a loose belt, but for passing over heavy seams the belt may need tightening occasionally. Look well into the relation of the treadle to the connecting-rod and to the wheel, under the table, as well as the relation and location of the spool holder, the shuttle, the needle bar, the presser foot, the needle, the needle plate, and the feed, above the table. The double- thread, or lock-stitch, machine has a shuttle, or bobbin, that fits in a carrier under the needle plate, "and it is by the aid of this device that the lock-stitch is made. 25. Formation of the Lock-Stitcli. — On a lock-stitch machine, two threads are used to form the stitch. One thread. Fig. U called the upper, or needle, thread, passes from the spool, which is supported by the spool holder on the arm of the machine, through the tension and then through the eye of the needle. The other thread, called the under thread, comes from the shuttle, or bobbin. When the machine is in operation, the needle is forced down and the upper thread loops around the under thread, forming a lock- stitch, which is illustrated in Fig. 11. 26. Adjusting the Tension. — When a stitch has been com- pleted and before each succeeding stitch is commenced, the fabric that is being stitched is carried ahead by the feed mechanism, and on the length of its forward movement depends the length of the stitch. The presser foot holds down the fabric and prevents it 12 ESSENTIAL STITCHES AND SEAMS § 1 from rising with the needle. The tension on the machine controls the upper thread. Before you begin the stitching on a garment, you will often find it advisable to adjust this tension and try the stitch on a small piece of material. If the tension is tight, the stitch will draw and the material will look puckered; if it is too loose, the stitch will form little loops. The shuttle also has a tension, but you rarely have to change it when it has been properly adjusted, because a correct stitch can usually be obtained by varying the upper tension. 27. Oiling and Caring for a Machine. — In oiling a sewing machine, use just enough oil, and no more, and for cleaning its various parts use an old silk or linen cloth if possible, because a woolen or a cotton one leaves loose threads or lint on the machine. Drop oil into all places designated on the machine for oil, and place a little oil on parts that rub together. Insufficient oil makes the machine run hard, while if too much oil is used some is liable to drip on the material and form ugly spots. Take extreme care, therefore, to use the right amount of oil each time and to oil the machine frequently. If your sewing machine is in constant use, oil it sparingly every day and clean it every week. After each oiling, run the machine rapidly for a few moments, with the presser foot up, in order to work the oil into the bearings ; then wipe off the surplus oil carefully. If a sewing machine runs hard after it has stood idle for some time, place a little kerosene or benzine on the parts that rub together, run the machine rapidly for a minute or so, and wipe all parts clean ; then oil the machine in the manner just directed. After such treat- ment, it will again run well. 28. Cleaning a Machine. — No machine will run well if it is dirty with dust or oil ; neither will it run well if it is exposed to the air and allowed to rust. A sewing machine that works very hard and squeaks is dirty and needs a thorough overhauling and cleaning. In such a case, take the head of the machine off the table, put it into a large can, or bucket, of kerosene, and soak it for at least 24 hours; then wipe it thor- oughly, put it back on its stand, and oil it with sewing-machine oil. A thorough cleaning such as this is sometimes all that is required to put in good condition a machine that is considered to be in need § 1 ESSENTIAL STITCHES AND SEAMS 13 of repairs. If, however, the cleaning does not help, and if all methods of adjustment suggested in the sewing-machine instruction book fail to make the machine operate correctly, consult a sewing- machine repair man. 29. Correct Use of Needles and Thread. — No sewing machine will work properly if it is not correctly threaded. There- fore, always follow carefully the directions given in the instruction book accompanying the machine. If you experience any trouble with the stitching or with the running of the machine, first observe whether or not it is properly threaded. Needles manufactured by the maker of the particular machine in use are always the best to use, and you should pay strict attention to the way in which the needle is set. If the needle is improperly placed, the stitching will be poor. Very often the machine is blamed when the fault lies in the needle or in improper threading. Never use cheap thread in machine sewing; a perfect stitch demands a firm-twisted, smooth-finished thread. Poor thread does not carry so well as good thread; it breaks frequently and thus causes much annoyance. You will save time and energy by using good thread, good needles, and good oil. 30. Length of Stitch and Tension Adjustment. — ^You can gain much sewing-machine knowledge by noticing how the length of the stitch is controlled and by reading carefully the instructions for adjusting the tension. Tension adjustment is of great importance where the needle and thread are changed fre- quently to accommodate different materials. If the tension of the upper thread is too tight, or if that of the under thread is too loose, the thread will lie straight along the upper surface of the material. If the tension of the under thread is too tight, or if that of the upper thread is too loose, the thread will lie straight on the under side of the material. For ordinary stitching, the upper and under threads should be locked in the center of the material, as is clearly shown in Fig. 11. 31. Preparation for Sewing. — A straight-backed chair of comfortable height that will enable you to sit reasonably erect at the sewing machine is the most desirable, and it is best for you to bend forward from the hips, keeping the shoulders straight. 14 ESSENTIAL STITCHES AND SEAMS § 1 When beginning to sew with a lock-stitch machine, make sure that the slide covering the bobbin, or shuttle, is closed, so that there will be no danger of tearing the material that is to be sewed. Also, pull the top and bottom threads back behind the presser foot so that they will not be caught with the stitching. Practice winding the bobbin, or shuttle, as well as turning the balance wheel, always starting and stopping the machine with the right hand on the balance wheel, for in this way the machine can be controlled readily and made to stop at a given point. 32. Stitching. — Before attempting to sew, provided you are inexperienced, practice stitching on a piece of ticking or some other striped material ; the stripes will aid you in keeping straight lines. Next, practice on plain cloth, striving always to keep a perfect line and the rows of stitching an equal distance apart. Also, practice the turning of corners, which should always be square. Corners are very important and are best turned as follows : When the needle is exactly in the corner desired, raise the presser foot; turn the material, using the needle as a pivot; lower the presser foot ; and begin to sew again. Never take a stitch unless the presser foot is down, because in such an event the stitching will be loose and uneven. A good point for you to remember is that when bias and straight edges are to be stitched together, the bias side should be placed down toward the feed, as it stretches more easily and the feed tends to move it forward; the presser foot holds the straight-edge goods tight. In sewing, let the bulk of the work rest on the table at the left- hand side of the machine ; do not crowd it to the right of the presser foot, because then you cannot see the work so well, nor can you guide it evenly. Also, do not pull the cloth along when stitching, as this is liable to bend or break the needle or roughen the needle plate. The feed of the machine is intended to advance the work without assistance. 33. Operating- Directions. — In the operating of a machine, you must use your eyes and hands faster than your feet. Never employ eyes, hands, and feet in unison if you desire good machine work. The proper motion for the feet is somewhat difficult to acquire and should therefore receive considerable attention. If you are not experienced in operating a sewing machine, you § 1 ESSENTIAL STITCHES AND SEAMS 15 cannot expect to turn out as good work as a woman who has had much experience. Many a woman condemns a machine when she fails to get excellent results with the first attempt ; yet you may rest assured that if the work is not good, the fault is yours and not the machine's, provided, of course, it is of a recognized make and is in good running condition. As a new operator you must be careful, attentive, and pains- taking, if you would learn to run your sewing machine with as much skill as persons who have done such work for a long time. Every sewing machine has a speed limit, and no effort on the part of the operator will increase it. Poor work is always the result of hasty stitching. A regular, even movement of the feet gives the best results, does not injure the machine, and is much less laborious. Starting with great rapidity and then decreasing the speed until compelled to stop abruptly because of lack of endurance is a great fault on the part of some operators and besides is injurious to the machine, the work, and the operator. 34. Machine Attachments. — All standard sewing machines are provided with a good assortment of attachments that are won- derful time savers and help to accomplish unthought-of results. To use them successfully, you must be able to stitch straight and even and understand the proper adjustment of each attachment. Some practice and thought are required before you will be pro- ficient in the use of such attachments, but much time and labor are saved by their use, and for this reason an intimate knowledge of thrse labor-saving devices is valuable. CHAIN-STITCH MACHINES 35. Chain-stitch sewing machines, also known as clastic and single-thread machines, are simpler in form than lock-stitch machines and are preferred by many women because they operate easily and are very light running. The preceding directions for cleaning and oiling lock-stitch machines apply also in the case of chain-stitch machines, as do also some of the directions for operation and practice. On chain-stitch machines, smooth, hard-finished, glazed cotton thread should be used instead of thread with a soft finish. 16 ESSENTIAL STITCHES AND SEAMS § 1 36. Operating a Chain-Stitcli Machine. — To begin sewing with a chain-stitch machine, raise the needle bar to its highest position. Then place the work under the presser foot and draw at least a finger length of thread through the eye of the needle. Next, pass the thread under the presser foot toward the back of the machine, let the presser foot down, and turn the balance wheel from you by hand, so that the needle will enter the goods, ready to make the first stitch. 37. All the stitching on a chain-stitch machine must be done on the right side of the goods, as the stitch is formed from a single thread interwoven into a chain on the under side of the fabric. It is thus seen how the name chain-stitch is derived. The thread from the needle is formed into a series of interlinking loops by a looper that rotates under the needle plate. When a new stitch is commenced, the one preceding is finished. When the needle is raised, the fabric that is being stitched is carried forward by the feeding mechanism of the machine. It is on the length of this forward movement that the length of the stitch depends ; therefore, as with the lock-stitch machine, you will do well, if you are a novice, to learn how to regulate the length of stitch to accommodate materials of diflferent weight. The tension on the chain-stitch machine is automatic, so it does not need adjusting when materials, thread, and needle are changed. 38. Fastening the Last Stitcli. — When you are sewing with a chain-stitch machine, always bear in mind that the last stitch must be fastened. Otherwise the stitching will unravel and cause much annoyance. To finish a row of stitching that terminates at the edge of the material, proceed as follows : Sew two stitches past the edge and stop the needle bar at its highest point, which is the only point at which the thread is not held by the automatic tension. With the left hand, catch the thread in front of the face plate and pull a finger length of slack thread through the tension. With the right hand, draw the slack thread through the eye of the needle ; then pull the thread upwards from the work, the presser foot being down, until the thread breaks in the goods. Lift the presser foot, pull the work from you, and thus draw the end of the thread through the loop. Finally, pull the end of the thread ; this operation will tighten the knot and fasten off the stitching. § 1 ESSENTIAL STITCHES AND SEAMS 17 When it is necessary to fasten off the last stitch in the work, stop the needle in the work, place the fingers on the work close to the presser foot to prevent the work from moving, raise the presser foot, and take one more stitch in the last hole made ; then break off the thread close to the fabric, and fasten off as at the end of a row of stitching. PRECAUTIONS IN USING THE SEWING MACHINE 39. Following is a summary of the precautions that should be observed in the operation of a sewing machine and the difficulties that sometimes occur in its use. Because of the brief manner in which this summary is given, you may refer to it as a quick guide to the regulation of any faults in the adjustment or the operation of your machine. Each of these points is considered in detail in the preceding instruction; so, after you have scanned this summary to determine the cause of the trouble, refer to that part of the instruc- tion that suggests the manner of adjusting the difficulty. Avoid breaking needles by : 1. Using a good quality needle that is right for the machine. 2. Seeing that the presser foot or attachments are securely fastened. 3. Using a heavy needle when sewing with heavy thread on thick seams or heavy material. 4. Letting the feed carry the work along without assistance. Avoid injuring the machine by : Not running the machine with the presser foot down when there is no cloth under the presser foot. If the machine works heavily, the trouble may be caused by: 1. Dust or lint clogging the working parts. 2. Insufficient oil. 3. Thread ends caught in the shuttle or bobbin case. If the needle thread breaks, the trouble may be caused by : 1. Improper threading. 2. Tight tension. 3. Thread too coarse for needle. 4? Needle blunt or set incorrectly. 5. Presser foot not properly adjusted. 6. Glazed or poor quality thread. DAS Vol. 3—3 18 ESSENTIAL STITCHES AND SEAMS § 1 If the bobbin or shuttle thread breaks, the trouble may be caused by : 1. Incorrect threading of bobbin case. 2. Tight bobbin tension. 3. Bobbin wound too tight. 4. Bobbin wound too full. If the machine skips stitches, the trouble may be caused by: 1. Needle improperly set into needle bar. 2. Needle blunt or bent. 3. Needle too fine for thread. 4. Dust or lint clogging the working parts. If the stitching puckers the material, the trouble may be caused by : 1. Tight tensions. 2. Too much or too little pressure on presser foot. HAND AND MACHINE SEWING PROCEDURE IN STUDYING 40. In passing on to the real work of making essential stitches and seams, you are again urged to study the text and illustrations in combination. In addition, you are advised to make the various stitches and seams as you proceed with the studies so that you may quickly acquire deftness with the needle. For this purpose, you should have on hand neatly pressed pieces of materials with which to make the samplers, as these samples of work are called. The samplers, for reasons of economy and convenience in handling, should correspond in size as nearly as possible with the actual illustrations. New materials can be used for this purpose if you desire, but as a rule small pieces taken from the scrap bag are satisfactory. In many of the illustrations of sample stitches and seams, as you will observe, white thread is used on dark materials and dark thread on light materials. The sole reason for doing this is to bring out clearly the stitches and seams to the best advantage for Study. Of course, in the actual work of sewing or in making samplers, you should use thread of the proper weight and quality for the material at hand and also pay due regard to colors, which may harmonize in some cases and contrast in others. § 1 ESSENTIAL STITCHES AND SEAMS IS THREADING A NBBDIiE 41. The way in which to thread a needle is clearly illustrated in Fig. 12. Hold the needle between the thumb and the forefinger of the left hand and the thread between the thumb and the forefinger of the right hand. To avoid tan- .. gling, insert into the eye of the needle the end of the thread that first comes from the spool. Pull a little less than half the length through, and then tie a knot in the longer end by placing this end of the thread over the cushion of the forefinger of the left hand, holding it down with the thumb while bringing the thread around and crossing it over the end of the thread, as shown in Fig. 13, then pushing the thumb down over the forefinger, twisting the thread, and finally pulling the knot down with the second finger. With a little practice, you can make a small, neat knot with ease. When a larger knot is desired, tie two knots in the end as close to- gether as possible. If Fig. 13 ^ 4. VU you must sew with a double thread, bring the two ends together evenly and tie a knot in the same way as directed for tying a knot in a single thread. In hand sewing, do not use a thread that is too long, as it tends to roughen the work and to pull the stitches out of shape. From i to f yard of thread is plenty, except for basting, when you may use a longer thread. BASTING AND MARK-STITCHING 42. Bastingr, which is not permanent sewing, but is used to hold the edges of material together until they are secured with finer stitches, or to mark stitching lines, is the first of all sewing opera- 20 ESSENTIAL STITCHES AND SEAMS tions and is really a very important step in the making of wearing apparel. Careful, generous basting is of utmost importance, as it avoids any possibility of seams or pieces becoming stretched or puckered in the process of sewing. You will save time and get good results if you baste carefully, especially when materials are difficult to handle. The three recognized methods of basting are even, uneven, and diagonal. 43. Even basting, shown at a. Fig. 14, is used to hold two edges of material together securely. A No. 8 needle is good to use for such basting, as with it you can take up two or more stitches at the same time. Begin at the right-hand end by bringing the needle out \ inch from the starting point, so that the knot on the end of the thread Fig. 14 will be on top, as shown ; then, working from right to left, push it in and bring it out every i inch until the basting is completed. Finally, secure the thread by making a short stitch in the reverse direction from which the basting is done. 44. Uneven Tbasting, shown at b. Fig. 14, is used to mark lines or to hold two pieces of material together at a place where there is no strain. Basting, or milliners', needles are suitable for this work. Begin as in even basting ; take a short stitch ; then put the needle in at from f to f inch from the first stitch. Continue with a short and a long stitch, as illustrated, until the basting is completed. Then secure the thread in the same manner as in even basting. §1 ESSENTIAL STITCHES AND SEAMS 21 45. Dlasronal basting, shown at c, Fig, 14, is also referred to as padding or slanting basting. It is used to hold two pieces of cloth together where more than one row of basting is needed, as it practi- cally suffices for two rows of uneven basting. This stitch varies in length from J inch to 2 inches, depending on the purpose for which it is used. To do diagonal basting, take a short vertical stitch in the material, as the illustration clearly shows, and continue taking stitches in this manner, leaving as much space between them as you consider neces- sary to hold the pieces of material together as you desire them. On Fig. 15 the wrong .side, diagonal basting appears as a series of short, straight, up-and-down rather than slanting, or diagonal, stitches, as they appear on the right side. 4G. Mark-stitdies, or tailor's tacks, as they are sometimes called, are illustrated in Fig. 15. Such stitches are used not to form a seam, but to mark pattern perforations and seam lines in materials in which tracing would be objectionable or would not show. In tailoring work, especially, mark-stitching is indispensable. To mark-stitch a seam line, proceed as follows, using two pieces of cloth, the uppermost piece having first been outlined with chalk : Use a double thread of basting; take two short basting-stitches; then skip i to I inch and take two more stitches, leaving between each two a loop of thread, as shown at a, under which a finger may be passed. After you have basted in this manner the entire length of the seam, separate the two pieces of material and cut the thread 22 ESSENTIAL STITCHES AND SEAMS § 1 between them, as shown at b and c. In this way there will be enough short threads left in each piece to mark the pattern line accurately, and the sides of a gore or a section will be exactly alike. 47. In marking perforations in a pattern which are not close together, instead of leaving the thread in loops between the stitches, cut it off, leaving the ends about 1^ inches long. This length will supply the necessary thread to permit the pieces of material to be drawn apart about 1 inch, so that the clipping of the stitches may be accomplished in practically the same manner as it is done when the stitches are made continuous. If you are marking perforations of different sizes, you will find it advantageous to use thread of contrasting colors, so that in making the garment you will not be confused as to the purpose' of each group of stitches. FOUNDATION NEBDLE: STITCHES AND PLAIN SEAM 48. The running-stltcli. Fig. 16, is used for seams that require but little strength, for gathering or tucking, and in the construction of any gar- ment in which hand work _ = ====s===-.j _ _ Z'^TTLn . is employed. I // To make this stitch, pro- \ Jf ceed as for even basting, V y/ ^^* make the stitches as ^^-..,,,,,^ f short as possible. In most ' materials, the stitches may ^ -^ , ^ ,. '^ ^ ^^ made ^ inch or less „ , " " in length. Work with the pomt of the needle and take up several stitches before pulling the needle through. Finish the running-stitches by taking two or three stitches back over the last stitch made. 49. Back-stitching, Fig. J7, is necessary where strength is needed and where machine stitching cannot be used. To back-stitch, take first a very short stitch ; then bring the needle back, insert it at the point where you first placed it in the material, and bring it out the length of a very short running-stitch beyond the stitch just made, as at a. Make each stitch by putting the needle back into the end of the preceding stitch and bringing it out § 1 ESSENTIAL STITCHES AND SEAMS 28 one stitch beyond, always advancing from the under side of the material. Back-stitching resembles machine stitching when care- fully done. On the wrong side, the stitches overlap, as at b. 50. The half-back-stitcli, Fig. 18, is sometimes used in join- ing seams or at points where less strength than that provided by back-stitching is necessary. To make the half-back- | stitch, take a stitch on the ! --^. =-««^^^~^™-. ^^^-^i under side of the material \ ^i\ \ twice as long as an ordinary V r I | running-stitch and proceed \ // I in much the same manner ' \ // ' I as in back-stitching ; but in- ^' -^ ^' | stead of bringing the needle j back each time to the end of the preceding stitch, ■^'°' '' cover only half this distance, as at a. This stitch resembles the running-stitch, but it has a slightly raised appearance and is considerably stronger. 51. The combination-stitcli, Fig. 19, can be made more quickly than back- or half-back-stitching, and is often used where a little more strength than that given by a running- -~ .^5,_s^,^-^-^ - stitch is needed. [ "X\ ^° make the combinat-ion- l \ ] stitch, first take three run- \ J j ning-stitches ; then take one ^•«-. y\/ back-stitch and three more / running-stitches, and con- tinue in this way until the i sewing line is complete. Fio. 18 52. The plain seam, Fig. 20, is the simplest of all seams and is generally employed when a flat, inconspicuous finish is desired or in the joining of selvage edges. To make a plain seam, place the right sides of the material together with the lines marked for the seam meeting and baste on the seam line with even basting. Then stitch just outside the bast- ing, as at a, remove the basting, turn the seam edges back from the stitched line, as at b, and press them open. 24 ESSENTIAL STITCHES AND SEAMS ^ -iti^ ^-¥^ ^ ':vn vBV^£^X* ^ Fig. 19 .6 The edges of a seam such as this may be finished by notching, overcasting, or binding, according to the kind of material employed. A plain seam pressed r " open and having its edges overcasted is shown in Fig. 21. 53. Overcasting, Fig. 21, is used to pre- : vent the raw edge of a seam from raveling. To do overcasting, hold the material over the fin- j ger, insert the needle in the seam edge deep enough to prevent ravel- ing, and take loose, slant- ing stitches over the edge, making these i to f inch apart and all of the same depth. Finish the work by overcasting back over the last two or three stitches or by taking a few back-stitches to secure the thread end. After you have become thoroughly familiar with the overcasting-stitch, you may accomplish the work more quickly by taking several stitches on the needle at a time, as shown in Fig. 22. When a pressed-open seam is not essential, overcasting is frequently done over the two seam edges together, as this illustration shows and a considerable saving of time effected in the finishing of a seam. Fig. 20 \ X A ji^:^^-X.:s-j^N..„X,X.\.™vX Fig. 21 §1 ESSENTIAL STITCHES AND SEAMS 25 -«»^«.;»-»--| Fig. 22 54. Overlianding, Fig. 23, is used in joining two of material, usually selvages, where a flat seam is desired. To do overhanding, r proceed as follows: Baste the two edges to- T gether with the right I sides of the material fac- ing; then hold the mate- rial in the left hand with ; the edges between the thumb and the forefin- ger; place the needle in from the back and point [ it toward the left shoulder, picking up only a thread or two of each , selvage or of each turned edge, as in Fig. 24; take , :— ^^ ,- the stitches close to- l" gether, over and over the ' edge, until the seam is completed. Be careful to make the stitches equal in length, not too tight, and just deep enough to catch the edges of the material so that when the overhanded seam is opened out it will lie perfectly flat and not mmmim^* form a cord, or ridge. Finish the work the same | as in overcasting. edges X Fig. 23 55. The catch- stltch, Fig. 25, is used to finish seams flat or «.,-™™»«™™,~™.-.~-™;-^--^^ J Fig. 24 to hold an edge down securely, as when making up flannel for infants. The illustration shows catch-stitching applied to a plain pressed-open seam. 26 ESSENTIAL STITCHES AND SEAMS §1 To do this work, proceed as follows : Hold the seam so that the raw edge you wish to catch-stitch first is uppermost ; starting at the left, bring the needle out in y"" ,\ :■ this seam edge and take a I tiny stitch just outside the \ selvage, as at a. Then bring the needle down and to the right i to i inch, and take another tiny stitch in the seam edge, but not through to the right side, for, on the right side of the material, only one row of stitches should show on each side of the seam line, as at h. Work from you, with the needle pointing toward the left ^'°-^5 shoulder each time, and con- tinue the row of stitches, as shown. Take the last stitch in the seam edge and secure the work by taking two or three small stitches over this last stitch. ,-J- HEDIIHING AND HE9ISTITCHING 56. A hem, which serves to prevent fabrics from raveling and is a necessary finish to a garment, although it is frequently employed for ornamental purposes, is made as follows : First fold the raw edge of the material under, making a narrow turn ; then fold again to conceal the raw edge, and fasten the folded goods down with machine stitching or by hand with a hemmlng- stitch, or wlilppingr-stltcli, like that shown in Fig. 26. To make this stitch, slip the knot of the thread under the folded-in edge, bringing the needle through in position for taking the first stitch; insert the needle just underneath the hem, catching one or two threads of the material, and in this same stitch catch the very edge of the hem. Continue working from the wrong side, taking very small, almost invisible stitches through to the right side and slanting stitches of even length on the wrong side. Be careful not to draw the thread tight, nor yet to leave it loose ; also, use a fine needle and fine thread. In materials that are wiry or do not crease well, baste the hem in position before securing the edge. §1 ESSENTIAL STITCHES AND SEAMS 27 Fig. 26 57. Vertical hemming, Fig. 27, is sometimes used in place of regular whipping-stitches when an especially dainty and incon- spicuous finish is desired. This kind of hemming takes its name from the direction of the stitches that show on the wrong side. To do vertical hemming, conceal the knot in the fold of the hem, bringing the needle out in the crease, and make each stitch, as at a, by inserting the needle just outside the hem directly opposite the point where it comes out of the hem, taking up one or two threads of the material, and then bringing the needle out a short distance beyond in the hem, as close to the turned edge as possible, so as to take the next stitch. Hemming of this kind is very inconspicuous, for the vertical stitches on the wrong side, as at b, blend with the lengthwise threads of the fabric and the horizontal stitches taken through to the right side, as at c, blend with the crosswise threads. 58. The napery, or French, hem, Fig. 28, is used in hemming table linens and handkerchiefs, because the stitch em- ployed blends with the threads of the material, and the hem has practi- cally the same appear- ance on both the right and the wrong side when the articles on which it is used are laundered. To make the napery hem, proceed as for a hem, and then crease on a line that meets the fold of the hem, as at a. Hold the wrong side toward you and secure the hem in position by means of the '•■?^'ifii^::^JaS^i ' ---'■-'■•-">' ■■"'-■ •• -^-^ - "■ Fig. 27 28 ESSENTIAL STITCHES AND SEAMS §1 overhand stitch shown at b. Take care that the stitch is not too long on the right side. The stitch should appear as at c. 59. The rolled liem makes a dainty finish on very sheer mate- rials, especially where insertion or lace is joined, as in Fig« 29. If you wish fulness in the lace, as illustrated, draw up the firmest thread of the edge, as at a, taking care not to break it, and adjust the gathers evenly before starting to roll the edge of the material. To make a rolled hem, first hold the wrong side of the material toward you and trim off all ravelings ; then, beginning at the upper end, roll the edge tightly between the thumb and the forefinger of the left hand, taking care to keep an even edge and to make the roll as tight and tiny as possible, as at b. After rolling 2 or 3 inches of the edge, secure the hem by taking whipping- stitches over the roll, but not so that they will Z be conspicu- x^ ous on the right side, and, as at c, catching the edge of the lace, pro- ____„„__». vided you Fi°-28 wish to join it, with each of these stitches. Follow this procedure in making the entire hem, rolling only a small portion at a time and whipping the lace to the hem as you advance. 60. A rolled, gathered hem. Fig. 30, makes a very desirable finish in sheer materials when insertion or beading is to be applied to a gathered edge, as, for instance, in finishing the lower edge of a sleeve or the neck or in joining a sleeve in an infant's dress. To make a rolled, gathered hem, proceed in practically the same manner as in making a plain rolled hem, but instead of securing the insertion as you roll the hem, take the whipping-stitches only over the roll, as at a, and draw them up, after you complete every few §1 ESSENTIAL STITCHES AND SEAMS 29 inches. After completing the gathering, adjust the fulness and then whip the insertion to the gathered edge, taking the whipping- stitches over those used in gathering the rolled edge, as at b. 61. The slip-stitcli, or blind-stitch., is chiefly used to fasten down turned edges in places where the stitches are to be as incpn- ? spicuous as possible. , To make this stitch, first j baste the hem to be slip- ~ ■ stitched, as shown in Fig. 31. ^l Then begin by taking up t<. only a thread or two of the material to which the tumed- in edge is to be attached; then slip the needle along the in- side of the folded edge, bringing it out about ^ inch from where it entered. Continue by taking tiny stitches into the material, as at a, alternating them with longer stitches along the folded edge, as at b. After you have com- pleted the slip-stitching, remove the basting, thus leaving the hem firmly secured but with no stitches showing on the wrong side. When slip-stitching is used in joining two edges or in securing a fold or a hem turned to the right side, the under stitches may be made as long as those taken in the upper fold, for they will be either concealed or evident on Fig. 30 30 ESSENTIAL STITCHES AND SEAMS §1 only the wrong side of the material and therefore not objection- able. 62. Hand, liemstltcliing', Fig. 32, is used as a substitute for hemming-stitches and as a simple trimming on straight edges for dainty articles made of cotton, silk, and linen. The work consists in drawing, or pulling out, two or more parallel threads of the material and fastening the cross- threads in successive clusters, the procedure being as follows : Measure in from the outside edge twice the width of the hem de- sired, plus the first hem turn, which is generally from ^ to i inch wide; draw as many threads of the material as desired, usually two to eight, depending on the material ; and then turn and crease the hem, basting it exactly along the line where the threads are drawn. Next, with the hem- FiG. 31 Fig. 32 turned side next to you, hold the work over the forefinger of the left hand, conceal the knot under the hem, and take up from three to six threads, the number, as in the drawing of the threads, depend- ing on the material and whether you wish the hemstitching coarse or fine. §1 ESSENTIAL STITCHES AND SEAMS 31 In taking each stitch, put the needle from the right around the threads, as at a, and draw it through ; then take a very short stitch in the fold of the hem only, as at b, being careful not to take the stitches through the material to the right side; take up another cluster of threads, and repeat the operation until the work is com- pleted, when the stitches on the right side should appear as at c. FBLLING AND FREIVCH SEJAMING 63. The band fell, Fig. 33, is used in flannels or in dainty materials where a small, neat flat seam is desired or where there is no right or wrong side. To do hand felling, lap one edge of the material over the other, with the seam lines meeting exactly; baste through the seam lines, as at a; trim the edges neatly and turn them under so that they Fig. 33 meet at the center, as at &; then secure the edge on each side with the hemming-stitch, as at c. 64. The macliine, or flat, fell, Fig. 34, makes a substantial flat seam that is excellent for finishing wash garments, such as work aprons, tailored waists, tennis flannels, and muslin underwear. To do machine felling, place the edges of the material together as for a plain seam and stitch as at a ; trim one edge away as at 5 ; and then turn the other edge under and stitch as at c. In making this seam, take the precaution to press the seam edges together back from the first stitching before applying the second row of stitching. This will insure a flat finish and prevent a puffed appearance between the stitchings. 32 ESSENTIAL STITCHES AND SEAMS §1 65. The French, seam, makes a neat, substantial finish where a flat fell is not desirable. It is used extensively for undergarments and children's clothes, as well as for lingerie blouses and dresses. Allow f inch for the seam and make it in the following manner : Pin together the two seam edges that are to be sewed, having the seam edges to the right side; baste on the seam line; stitch a scant Fig. 34 i inch from the basted line ; remove the basting ; trim off the frayed edge to within a scant i inch of the first stitching, and press the seam edges together to one side. Next, reverse the fold so that the seam edges come within the fold, as at a. Fig. 35, and the turn is made exactly on the stitched line; crease the 1 edge flat and baste it ; ■^— - then stitch on the seam line, as at b. This row of stitching must fully cover the edges of the previous seam, thus ex- plaining why it is neces- sary to trim all frayed edges from the first seam. For materials that fray or stretch easily, it may be necessary to allow i to f inch for the seam, and make the first row of stitching a little farther from the seam line. In very sheer materials, where the seaming is done by hand with the combination-stitch, a dainty seam i inch or even less in width X, Fig. 35 ESSENTIAL STITCHES AND SEAMS 33 may be made ; in such cases, however, do not overlook the importance of having the second seam large enough to cover the first entirely, nor of having the last stitching come exactly in the seam line. BLANKET- AND BUTTONHOLB-STITCHEIS 66. The blanket-stltcli, or loop-stitch. Fig. 36, is used as a finish for the edges of fleeced cotton fabrics and some woolens, especially flannels. This finish proves so satisfactory and can be made so quickly that it may well be included among the essential stitches. However, its use is ornamental also, for the blanket-stitch, if carefully made, is very attractive. In firmly woven materials, blanket-stitches are made over the raw edge without a hem being turned, or if the selvage edge is not of contrast- ing color, it may be made over this. When the material is light in weight or has a ten- dency to fray readily, the edge should be turned under to insure a neat, substantial finish. Instead of securing the end of the thread with a knot in starting to do blanket-stitching, take two or three tiny running-stitches as close to the edge as possible, so that they will be covered by the blanket-stitches. To make the blanket-stitch, work from left to right. Bring the thread around to form a loop, as shown, insert the needle as deep as you wish to make the stitch ; bring it underneath the edge and then over the loop formed by the thread, as at o; then draw up the thread to form at the edge what is known as a single purl. A series of these single-purl stitches provides a substantial finish at the edge, as at b. ■ If you are finishing a turned edge, be sure to take the stitches over the hem and not through it. Make the stitches from i to i inch apart and all of the same length or of two or three different lengths with all corresponding stitches uniform in length, as shown. The finishing of a corner may be made according to personal taste. An attractive method is illustrated at c. DAS Vol. 3— « Fig. 36 :t4 ESSENTIAL STITCHES AND SEAMS §1 Fig. 37 BUTTONHOLES IN COTTON MATERIALS G7. A 'buttonliole is a slit made in a garment to receive a button, and since it affords the most satisfactory method of fastening, it should by all means be made correctly, for the appearance of a well-made garment that is otherwise perfect may be greatly impaired by badly made buttonholes. The foundation for a buttonhole should consist of two or more thicknesses of material, depending on the nature of the fabric. Sometimes buttonholes are desired in a single thick- ness, but in such a case a scrap of the material should be basted under the line marked for the buttonhole, the buttonhole worked through two thicknesses, and the underneath material then trimmed away close to the button- hole-stitches. In marking for button- holes, measure from top to bottom the length of the space in which the buttonholes are to be placed, so as to deter- mine how many buttons and buttonholes will be needed; also, decide whether or not a vertical or a horizontal button- hole should be used. ^^^^^^^^ 68. A horizontal but- ^"=- ^* tonhole, that is, one that runs crosswise, as in Fig. 37, should be used, as a rule, for a garment that opens in the back; such a gar- ment, especially if it fits closely, requires more buttons than one § 1 ESSENTIAL STITCHES AND SEAMS :{5 that opens in front because of the greater strain and the more danger of its opening between buttons. If a garment of this kind is a waist, the buttons should not be placed farther than 2 inches apart. For a close-fitting waist that opens in front, the button- holes should be horizontal and placed as directed for a close-fitting waist that opens in back. For a loose-fitting shirtwaist or blouse that opens in front, from three to six vertical buttonholes, that is, buttonholes that run up and down, as shown in Fig. 38, are required, the number depending on the size and kind of button that is to be used. 69. After determining how many buttonholes are to be used, place a pin at both the top and the bottom of the space in which the buttonholes are to be made. Then divide this space into as many equal parts as there are to be buttons and buttonholes, and place g pin at each point, exactly in the center of the plait or the hem in which the btittonhole is to be worked. 70. Cutting Buttonlioles. — One of the most noticeable faults in buttonholes results from uneven or ragged cutting, which is often caused by dull scissors or the slipping of the fabric. There- fore, give due consideration to this seemingly trivial matter, espe- ciaiUy when you are handling sheer materials. With such material as voile, for instance, baste a small piece of paper under the place where the buttonhole is to be cut to prevent it from slipping. If possible, cut horizontal buttonholes on a crosswise thread of any fabric and vertical buttonholes on a lengthwise thread, and in each instance cut the buttonhole from tV to ^ inch larger than the button itself, a thick button requiring a larger buttonhole than a thin one of the same diameter. The working of a buttonhole should immediately follow its cutting in order to prevent its fraying out in the handling of the garment ; therefore, cut each buttonhole as you are ready to work it, instead of cutting all the buttonholes at one time. 71. Before using buttonhole scissors in cutting buttonholes, first adjust them and try them on a scrap of material ; then slip one of the buttons that is to be used through the slit to determine the correct size, always remembering that the buttonhole should be a little loose when cut, as it will tighten considerably in the working. If you use regular scissors in cutting the buttonholes, first mark the length of the buttonhole with a pencil and place a pin at one 36 ESSENTIAL STITCHES AND SEAMS §1 end of the mark. Then fold the material through the center so that the pin will come out at the other end of the mark. Crease the fold next and cut the mate- rial from the fold to the pin, thus overcoming the danger of making the buttonhole too big, as the pin permits the scissors to cut only the distance desired. In materials that fray readily, you will find it advantageous, before cutting the buttonholes, to stitch, by hand or machine, -^ inch or a trifle less on each side of the lines on which the buttonholes are to be cut. The stitching will hold the edge very firm ; besides, it will facilitate the making of buttonhole stitches of equal depth. 72. In Fig. 39 are illustrated the steps required to make a very substantial horizontal but- tonhole. Proceed as follows in making such a buttonhole, using a medium-coarse single thread about I yard long. 73. Stranding Button- holes. — First, to prevent the edges from stretching and also to make the buttonhole firm, supply what is known as a stranding thread by bringing the needle out just below the inner end of the buttonhole, taking a small back-stitch to make the thread secure, and then taking a short stitch under the opposite. § 1 ESSENTIAL STITCHES AND SEAMS 37 or outside, end, as at a, bringing the needle back, and taking a small stitch under the inner end, or at the point from which you started, as at b. By doing this, you will form two stitches that lie close to the buttonhole opening and are equal in length to this opening. Draw these stranding stitches . close, but not so tight as to cause the buttonhole to pucker. 74. Overcasting Buttonlioles. — Next, to hold the stranding^ threads in position and also to prevent the edges of the buttonhole from fraying, take a few overcasting-stitches over them, as at c, continuing with the same thread that you used in stranding. Strand- ing and overcasting are very often omitted in the making of button- holes, but as these details are of so much value in insuring neat and substantial results, they should receive consideration, especially until skill has been attained in the work. 75. Working Buttonlioles. — ^After completing the overcast- ing, bring this same thread out about ^ inch below the inner end of the opening in preparation for working the buttonhole-stitch. To make this stitch, with the outer edge of the garment at the left, place the buttonhole opening over the forefinger of the left hand and hold it in position with the thumb ; insert the needle through the slit and then in the edge of the buttonhole, as at d, to make a short stitch, usually about tV inch deep ; bring the threads that come from the eye of the needle around under the point of the needle to the left forming a loop, as at e, and then draw up the thread firm and close, but not tight enough to draw the edges apart. A stitch made in this manner forms a double .purl at the edge of the buttonhole; this makes a firmer and more durable finish than the single purl of the blanket-stitch. Continue working the buttonhole-stitches across the lower edge of the buttonhole, making them close together and all of the same length, as the illustration shows. When you reach the outer end, take several buttonhole-stitches around it, spacing them evenly, as at /, and making these stitches somewhat deeper than those along the edge, thus forming what is known as a round end or fan finish. Such a finish is especially desirable for a buttonhole in which there is a decided strain at the end, for besides being very firm it affords a resting place for the button. Next, turn the work so that the upper edge of the buttonhole is next to you and continue making buttonhole stitches of equal depth. 38 ESSENTIAL STITCHES AND SEAMS § 1 76. Piecing the Thread. — If the thread you are using for the buttonhole breaks or you find that the thread is not long enough to complete the work, you may dispose of the end of this thread by taking a few very fine running-stitches along the under side of the buttonhole-stitches that have been worked, taking care, however, not to let these running-stitches show on the right side. Do not cut off the end of the thread until after you complete the buttonhole, however. To start the new thread, take a few running-stitches from the opposite direction along the unfinished cJge, leaving the end of the thread free so that it may afterwards be drawn tight, if necessary, and bring the needle out in the purl of the last buttonhole-stitch that was worked. Then proceed with the making of the buttonhole- stitches, working over, and thus concealing the running-stitches that started the new thread. A piecing made in this manner will not be at all noticeable. 77. Making Buttonhole Bar.— When you reach the inner end of the buttonhole, finish this with a bar, as at g, by taking sev- eral stranding stitches across this end and then working over them with single-purl stitches by bringing the needle out over the thread, the same as in making the blanket-stitch. Place these stitches close together, so that they will entirely conceal the stitches underneath, and catch several of them through the material so as to make the bar firm. Finish the buttonhole by taking a couple of tiny back-stitches on the wrong side, and if you have made a piecing in the thread, draw the ends a trifle so as to tighten the stitches and then clip them close to the material. ,78. "Working Vertical Buttonholes. — To make a vertical buttonhole, follow practically the same method as in making a horizontal buttonhole, but as the round end, or fan finish, is not required as a resting place for the button, finish both ends of the buttonhole with bars, thus giving a uniform appearance. 79. Sewing on Buttons. — Although the sewing on of but- tons is a simple matter, you cannot afford to disregard it, for the way in which buttons are placed and secured has much to do with the appearance of any article of wear. 80. To sew on a two-hole button, first mark the position for each button by lapping the garment properly and then bringing a pin up §1 ESSENTIAL STITCHES AND SEAMS 39 from underneath to the side on which the buttons are to be sewed, directly through the center of each buttonhole. Take care that both sides of the garment are perfectly smooth, so that the space between the buttons will correspond with that between the buttonholes. Using a strong thread, push the needle through the goods at the point marked by the pin, so that the knot on the thread will be on the same side of the garment as the button and directly underneath it, bring the thread up through one hole of the button, and put it down through the other hole and through the goods; but before drawing the thread down, put a pin across the button, as shown in Fig. 40 (a), so as to prevent the button from being sewed too close to the garment. ("J C) Sew back and forth until a sufficient number of threads have been placed. Then, remove the pin, draw the button away from the material as far as possible, and wind the thread tightly several times around the threads between the button and the material. This treat- ment forms a thread shank for the button, holding the button away from the material and allowing room for the buttonhole. Fasten the thread by small back-stitches on the under side. 81. To sew on a shank button, proceed as shown in Fig. 40 (b). Determine the position for such buttons in the manner just explained ; in fact, you may apply these directions in all cases. Sew on a shank button so that the stitches run parallel to the edge of the garment, as the strain will then fall on the shank rather than on the' thread. 83. To sew on a four-hole button, follow the method described for a two-hole button, but place two pins over the button, as in Fig. 40 (c). White bone and pearl buttons, with coarse thread, as illustrated, are used on children's undergarments, where there is considerable strain. For four-hole buttons on coats, the threads should not cross, but should be parallel so as to give a neater finish. ESSENTIAL STITCHES AND SEAMS EXAMINATION QUESTIONS (1) What tools are required for dressmaking? (2) In purchasing a tracing wheel, of what must one be careful? (3) Why is it advisable to try out sewing machine stitching before start- ing to stitch a garment? (4) (o) What parts of a sewing machine should be oiled? (&) How often should a sewing machine be oiled? (5) How may the raw edges of a plain seam be finished? (6) How may a ridge be avoided in an overhanded seam? (7) What is the purpose of the: (a) hand fell? (6) machine fell? (f) French seam? (8) Why should the frayed edges of a French seam be trimmed away before the last stitching is done? (9) How much larger should a buttonhole be than the button that is to be used with it? (10) How do blanket- and buttonhole-stitches differ? (11) Send to us for inspection a sampler of overcasting, as shown in Fig. 21. (12) Submit for inspection a sampler of the napery hem, Fig. 28. (13) Send us a sampler of the slip-stitch, as in Fig. 31. (14) Submit a sampler of hand hemstitching, as shown in Fig. 32. (15) Send for inspection a sampler of the French seam shown in Fig. 35. §1 CONTENTS Page Acquiring Sewing Skill 1 Advantages of Making Samplers 3 Value of Tidiness 3 Sewing Materials and Tools 4 Lock-Stitch Machine - 10 Chain-Stitch Machine IS Precautions in Using the Sewing Machine. 17 Procedure in Studying 18 Threading a Needle 19 Basting 19 Mark-Stitches 21 Running-Stitch 22 Back-Stitching 22 Half-Back-Stitch 23 Combination-Stitch 23 Plain Seam 23 Overcasting 24 Overhanding 25 Catch-Stitch 25 Hemming- or Whipping-Stitch 26 Vertical Hemming 27 Napery, or French, Hem 27 Rolled Hem 28 Rolled, Gathered Hem 28 Slip-Stitch, or Blind-Stitch 29 Hand Hemstitching 30 Hand Fell 31 . Machine or Flat Fell 31 French Seam - 32 Blanket-Stitch, or Loop-Stitch 33 Buttonholes in Cotton Materials 34 Horizontal Buttonholes 34 Vertical Buttonholes 35 Buttonhole Bar 38 Sewing on Buttons , 39