Sewing machines
Singer's Sewing Skills Reference Book — Reference guide
Reference guide for Singer's Sewing Skills Reference Book. 60 pages in English. Read the original PDF, download or print a copy without registration.
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- Singer
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- Singer's Sewing Skills Reference Book
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- Reference guide
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- English
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- 60
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- Sewing machines
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Page 3 · Read text
Sewing Milehine Prineiples
Sewing Maehine Care General Bule* tor Oiling
rrE KNowLEDGE AND cenu with which the sewing machine is
handled determines to some extent the pleasure and satis-
faction in its use as well as the service that it renders. Many fab-
rics, when sewed, drop lint and particles of filler. These, with
dust and moisture from the air, all work together on the sewing
machine to create a film that is best removed from time to time.
A good craftsman is meticulous in the care of his tools.
When the sewing machine is used all day and every day, it
should be oi.led eoery day. When used less continuously, a weekly
oiling is usually adequate. Oil is never placed on the machine
before the dust and iint are removed. The sewing machine in- /T\HERE anr several general rules for oiling all SINGER Sew-
struction book carries diagrams and procedures for oiling the I ing Machines. Always use SINGER* oil on SINGER Sewing
machine being used. It is best to devote some study to these Machines. The lubricating qualities are right for your machine
diagrams while the machine is new to avoid overlooking any of and there is no harmful residue formed when the machine is
the points indicated. Oil keeps the sewing machine running freely, idle. Remove dust and lint before oiling. Oil the sewing machine
preventing friction and wear. thoroughly following the diagrams in the Instruction Book,
point by point, until every oiling point is completely familiar.
Do not d.rench the machine with oil. One drop at each oiiing %
point is usually sufficient. However, where there is a wick to
hold and dispense the oii several drops are used. Oil holes in theBemooal of lDast and Lint enclosure of the machine are provided for bearings which can-
not be reached directly. Arrows indicate oiling points where
metal works against metal and where oiling is so important to
reduce friction. Oil is placed sparingiy on the threads of all ad-
justable thumb screws to keep them working freely.
Several machines have gears that are lubricated instead of
oiled. Such gears are clearly indicated in the Instruction Book
diagrams. SINGER* lubricant is furnished with new SINGER
ilN Sewing Machines and is available separately at any of the more
than 1600 sTNGER sEwrNG cENTERS in the United States and
Canada. Here, specially trained men are available to render ser-
sl!1 vice. It is often an economy to call for periodic service by a
Singer Representative.
Bernooe Dxeess Oil
rHE MovrNG panrs of the sewing machine by removing r r THEN rsn lracnrNn, hasf,xrosa
r--i the throat plate, the face plate and the slide plate. The lint W 1..r, thoroughly, but
and dust particles are best removed with a small brush reserved sparingly oiled, run it slowly
for cleaning purposes. The SINGER* hand vacuum cleaner is for several minutes to allow
invaluable for taking away the dust and lint that eludes the the oil to work into the moving
brush or that is merely dislodged by it. The rotmd cover plate parts. Then remove the excess
at the back of many machines, when turned upward, reveals oil with a clean cheese cloth,
working parts at the top of the upright arm that require dusting or a soft Iintless fabric. Learn to
and oiling. Several other machines have cover plates underneath pass the folds of cloth between
to protect the moving mechanism. To reach these oiling points the tension discs to polish them
at the base of the machine, remove this cover plate as well. and to remove any dust, lint orView original page 3Page 4 · Read text
-l
oil that might have found its way there. Learn to avoid catching sit in sewing position. Several models are equipped with a
the fine wire take-up spring in the cloth when polishing the ten- SINGER light on which the lens encloses the bulb. The separate
sion discs. Each thread guide and the face plate must be polished instruction book for each model machine clearly indicates the
with clean cheese cloth to remove any accumulated dust, Iint or removal of the lens prior to removing the bulb. The new bulb is
oil. The area around the presser foot and needle where both the replaced by pressing it into the socket and then turning it a
presser bar and needle bar leave the heavy enclosure of the arm quarter turn toward the operator,
of the machine are often flowing with excess oil unless care was
exercised when oiling. Remove both presser foot and needle and
with a clean cheese cloth wipe all the excess oil from this area.
Polish the presser foot and needle before replacing. Thread the Speed, Control and, Postare
machine and stitch until the thread is clear of oil.
ouR PosruRE, when seated at the
machine, has a direct influence
on your comfort as well as on the re-Lahrieating Dlotor
sults in sewing. Sit squarely in front
of the machine with both feet flat on IrE MoroR on the SINGER Sewing Machine is never oiled.
SINGER motor lubricant is placed in the tubes or cups that the floor.
carry the Lubricant to the revolving shaft and gears. Motor When controlling the machine with
the knee lever, sit so the knee com-
fortably engages the lever. Most
cabinet model sewing machines are
equipped with an adjustment that
permits moving the lever to the right
or left to suit the operator. Some
prefer to use the foot control and all
current machines having a knee lever also permit the alternative
of a foot control, as well. The speed control is built to produce
steady even stitching that is accelerated or retarded as the pres-
sure on the controller is increased or decreased. In using the
foot control, steadiness and evenness of speed is gained through
balancing the right side of the shoe on the foot rest and gently
tilting the foot inwardly to depress the controller.
lubriiating tubes are to be filled with fresh lubricant twice yearly
A full range of gradual speeds is at the operator's command.
when the machine is used moderately. Motors equipped with
The skill of the operator in home sewing is more often judgedIubricant cups require attention only once yearly. The old
by her ability to control the machine at even rhythmic slozo
lubricant is removed before filling with fresh lubricant. SINGER*
speed than by her ability to stitch rapidly. High speeds are at-motors are especially built for the machines they power and
tained by merely depressing the controller and are importaut
give long trouble-free service with a minimum of attention.
only for stitching long straight seams. The fine careful detail of
beautiful clothes is most often done at slow rhythmic speeds.
Retnoo al and Beplaeernenl
ol Balb in SfNGDtr. LIGET
fr,emooal and, B,eplaeetnent
.f"" slNGBn* light will focus a of Need,le
r soft clear light on the needle MoNG the simple sewing ma- A
point and presser foot, prevent- I \ chine facts that everyone
ing eyestrain and making skillful, should.know is that of setting a
careful work easier to produce. needle correctly. AIl sewing ma-
While the bulb is of long burning chine needles are not the same.
filament, occasionally it must be They difier mainly in length, size
replaced. The bulb is of a bayonet of the blade and eye as well as in
and socket type and does not un- workmanship and quality. Al-
screw. To remove lamp, press the bulb into the SINGER.light ways purchase SINGER* needles
socket and, at the same time, turn it a quarter turn away as you for use in a SINGER SewingView original page 4Page 5 · Read text
Machine. SINGER needles are manufactured with the greatest Preparation for Stitehtn$
care under strictest manufacturing limits and are superior in
quality, durability and performance.
Sewing machine needles characteristically have a shank one Soleetion of lVeed,le and, Thread,
side of which is rounded, the other, flat. The blade of the needle
carries a long groove on one side and is rounded on the other.
t-nrrE sELECrroN of both needle and thread is based on the
The long groove down the blade of the needle, on the opposite I t"b.i. to be stitched. The Fabric, Thread, and Needle Chart
side from the flat shank, protects the thread as the needle car-
given below will be a helpful guide for this selection. The thread
ries it downward. Therefore, the long groove always faces the
must blend with the fabric in color, fiber, and size. Silk is stitched
side from which the needle is threaded.
with silk. Wool, an animal fiber, is also stitched with silk, an
If, when setting the needle, the groove is not placed in this
animal fiber. Cottons are stitched with cotton or mercerized
position, the machine will not form the stitch. When threading
thread. Rayon fabrics with a sheen are most often stitched with
an unfamiliar machine, the direction for threading can be
silk, while those with a dull surface, or of the spun yarn type are
quickly determined by locating the long groove with the finger
often stitched with mercerized thread.
nail and threading from that direction, and in addition a thread
The synthetic threads now appearing for use in home sewing
guide is always located above the needle on the side from which
vary somewhat in properties. Their greatest advantages are
the machine is threaded.
found in their fine sizes yet great strength and in their uniformity Some machines thread from front to back, others from left to
of diameter. While selections are somewhat limited, colors are
right and still others from right to left.
becoming more numerous and uses broader.
The needle clamp is so designed to hold the needle securely
and to control the height to which the needle can be set. It is The size of the thread must blend with the fabric when
important to set the needle into the clamp as high as possible stitched. A "too-heavy" thread will remain on the surface of the
and then tighten the thumb screw securely. If set to improper fabric and will give shorter service and less strength than a
height the machine will skip stitches. A bent needle will cause finer thread that imbeds itself into the texture of the fabric. The
the fabric to draw to one side feeding in a curve rather than a thread that is "too-heavy" and remains on the surface, is weak-
straight line. A needle too fine for the thread will cause the ened by the friction and abrasion to which it is subjected when
thread to fray. A blunt needle will cause pulls in the fabric. It is worn.
a good practice, when a stitching problem occurs, to check the The needle is selected with consideration for both the thread
threading, and then replace the needle, if necessary. It is most and the fabric. The eye of the needle must be large enough
convenient, therefore, to have a full supply of all sizes of needles for the thread to pass through it freely. The blade of the needle
on hand to meet all needs. must be fine enough not to mar the fabric with a large puncture,
FABNIC9 THBEAI} ANID NDRIDLE CIIABT
Seuing Maebine Nachine Stitchu Per Inch Hand
Typu of Fabrks Tbread Sizes Needle Sizes Intide Seams I Top Stitchhg Ncedlet
Filmy ,ilol.riol3 100 Cotton
Comparable to Net-Marquisette-Silk Organdy oo & 000 silk 9 t5-20 20-)o 10
Sheets-Silk Velvet OOO & OO0O Mercerized
-Chiffon-Ninon-Nylon
Shrrr Molcriqlr 8G-lO0 Cotron
Comparable to Lawn-Dimiry-Synthetic Sheers- 0 silk ll t2-r5 tt-20 9
Paper Taffeta-Pure Silk-Silk or Synthetic Tricots fl) and 0 Mercerized
Velvets and Satins-Nylon Crepes. Nylon
-Synthetic
Lightwcight Motcriclr 60-80 Cotton
Comparable to Gingham-Chambray-Percale- A and B Silk r4 t2 1 r-18 I
Broadcloth-Sheer Dress Crepc Linen-Synthetic A or 50 Mercerized
Surah. \D7ool Crepe-Taffeta-Silk
-Sheer
Modium !,ightwcight llctrriolr 6O-70 Cotton
Comparable to Pique--Poplin-Faille-Bengeline A or B Silk t4 L2 1r-18 7or8
A or J0 Mercerized ings-CottonTweed-Fashion-Wool Jersey-Dress Linen-FeatherweightDenim Suit-
tlodium Hoovy trlclcriclr 4o-ro Corton
Comparable to Gash-Tertured Drapcry Frbrics B or C Silk ,16 t0 72 6
Velveteeo-Heavy Cordutoy-Coeting HeavyDuty Mercerized -Cotton and Sheedng. Muslin -Suiting-Unbleached
H.ovy Motcriol3
18 or 19 8 t0 4orj Comparable to Sailcloth-Sturdy Denim-Ticking Heavy3O-40DutyCottonMercerized
Drillcloth.
-Coatings-
Ve:y Hcovy Motcriclt 4O-60 Linen
Comparable to Canvas-Duck-Overcoating. 20-24 Cotton 19 or 2l 6 8 )
D or E Silk
?lorlic Malcrioh 50 Mercerized 11 t0 12View original page 5Page 6 · Read text
t
yet heavy enough to pierce the fabric without being bent or surface. Satin, tafieta, velvet and most of the luxury silks
deflected. The Fabric, Thread and Needle Chart is a practical require gentle handling and pinning with needles, or pinning
guide to needle selection. within a seam or dart allowance.
Seleetion of lland, Sewing Need,les Wind,ing the Bobhin
/-I-\HERE ARE GENERAL RULES that apply to the threading of
I a[ SINGER Sewing Machines. The bobbin is filled with a
thread identical to that used for the upper threading. It must
fill in level layers and must not "spill" over the sides of the
AND sEwrNG NEEDLES are selected for size according to the bobbin. Always empty the bobbin of other thread before filling
weight and character of the iabric. The type of needle is so that the thread can be started on the bobbin by passing the
governed by the stitching to be produced. Where multiple thread end through the eyelet on its side. This method provides
stitches arewoven onto the needle as done in basting,hand shirr- even handling of the bobbin thread to the very end, and is
ing, overcasting and similar stitching, the Straw or Milliner's important because the quality and regularity of the stitch is
needle is used. This long, slender, round-eyed needle produces influenced by the free flow of the thread from the bobbin. Careful
better results because of its length, slender shaping and flexibility. storage of the supply of bobbins prevents them from being bent
Where fine, short, "invisibie" stitches are required a very short out of shape. A bobbin with bent sides will unreel with alternate
needle is used. The "Between" is the very short round-eyed heavy and light tension causing an irregular stitch.
needle of the type used by Tailors to produce the short, sturdy, The Sewing Machine Instruction Book outlines specific thread-
invisible stitches that are a mark of good tailoring. ing points for threading the bobbin case of each sewing machine.
The all-purpose, or "Sharp" needle is of medium length, round
eyed and is made for general usage.
Gaining is in popularity is the Crewel similar Needle that
to Threud,ing the Dlaehine the needle but is designed with a long oval in length, "Sharp"
eye for easy threading and for carrying multiple strands, as used
in hand embroidery.
The "Darners" are long needles with long oval eyes and.are
designed to carry multiple strands and permit many stitches to
be woven on to the needle with a single stroke.
Upholstery needles are curved and are made to use when
stitching into a cushioned surface. The curved needle rises out
of the cushion with each stitch, thus accomplishing stitching that
would be diftcult, if attempted with a straight needle.
A sewing box supplied with all types of hand sewing needles
as well as a full size range of both hand and sewing machine
needles is a convenience and a step toward better sewing results.
HE rrppER THREADTNG of the SINGER Sewing Machine
discs on Seleetion of Pins is simple and follows a natural sequence. The felt
the spool pins (sometimes found in the box of attachments) con-
as well as needles deserve attention in their selection. tribute to the free and even flow of thread from the spool and DINS
I Pins used for sewing always should be kept separate from always should be used under the spool. The threading of the
household pins, since they become burred and blunt from their machine is the first point to check, when stitching problems
variety of uses. Pins used for dressmaking should be the fine, arise. Some threads, especially silk and nylon, in dry weather
slender "silk pins" with needleJike points and smooth blades. tend to create static electricity and twist. If a second loop is
Some fabrics are best pinned with needles to avoid marring their thrown over a threading point, the usual good performance ofView original page 6Page 7 · Read text
the sewing machine is impaired. Careless threading of tensions ISegalating the Length of Stiteh
leads to non-performance.
The final step in threading is to draw the thread from the
bobbin case to the surface. Holding the needle threacl loosely
with the left hand, turn the balance rvheel with the right hand
drawing up the lorver thread ri'ith the loop of the needle thread.
Lay these threads back diagonalll'beneath the presser foot and
bring the balance wheel forward
sufficiently to place the take-up
lever at its highest point. This is
the correct starting and stopping
position in all sewing machine
rvork and should be practiced
until it becomes habit.
sEwrNG MACHTNE in the home is called upon to stitchIlotc to Start and Bnd a Searn ,T,r"
I innumerable weights and textures of fabrics and a SINGER
is designed and constructed to accommodate this variety
through a few simpie, understandable adaptations, one of
which is stitch length.
Delicate fabrics require a short, fine stitch. Heavy coarse
fabrics require a long, heavy stitch to blend with the character
of the fabric. Outside stitching is shorter than inside stitching.
A short stitch is a mark of quality and beauty. Comparison of
economy clothing with high quality clothing reveals that quality
garments are stitched with shorter stitches and appropriate
weights and types of thread, while economy clothing is often
stitched with long stitches and less durable thread. In sewing at
home, the greatest saving is experienced when the standards
set by the high quality manufacturers, or custom-made estab-
Iishments, are employed. The Fabric, Thread and Needle Chart
quccESSruL srrrcHrNG is closely related to the simple principles
tabulates the recommended length of stitch for each weight andt-J employed rvhen starting and ending a seam. There are seven
texture of fabric for both inside seams and top stitching.
steps to observe in this sequence:
The length of stitch is changed to accomplish many sewing1-The take-up lever should be at its highest point, the threads
constructions. Basting, stitching curved seams, stitching scallops,
brought under the presser foot and drari-n back diagonally.
stitching to control ease, stitching to produce gathering and
2-Position the needle into the fabric rvhere the first stitch is
shirring, and stitching bound buttonholes and pockets are only
to fall.
a few of the steps in dress construction where the stitch length
3-Holding the thread ends, lower the presser foot.
must be changed from that suitable for straight stitching.4-Stitch, controlling the speed to a slon' rhtthniic tempo.
Basting with the sewing machine requires a long stitch. The
S-When the end of the seam is reached. br:ng the take-up lever
stitch regulator is set at No. 6 or No. 8, depending on the weight
to its highest point b1' turning the balance rvheel forrvard.
of the fabric. Heavier fabrics tolerate longer stitches.
6-Raise the presser foot and rvithdrari' the fabric to the back
Curved seams require a stitch shorter than used for straight and left.
stitching. Where a No. 12 stitch is used for straight stitching,
7-Sever ihe threads b1- drat'ing them across the thread cutter.
a No. 15 stitch is suitable for curves to produce greater elasticity
This procedure should become so "automatic" that it is done and strength over the bias or semi-bias cut areas that must be
without a thought. Although the establishment of such good more elastic than seams following the lengthwise or crosswise
practice requires deiiberate attention in the beginning, it results threads of the fabric.
in a more evenly controlled acceleration of the machine and in Scallops require an even shorter stitch than curves in order
a perfectiy formed and positioned first stitch. The evidence of to maintain a smooth, rounded contour and permit close blending
such good handling of ihe sewing machine is revealed in the more of the seams. A No. 20 stitch is usually used for this stitching.
exact assembling of seams, coliars, facings, pockets and all Stitching to control ease, as around a patch pocket or a
intricate details of sewing. curved lapped seam, at the sleeve cap, at the elbow of a longView original page 7Page 8 · Read text
sleeve, at the top of a hem, or wherever one seam edge is eased notched collar with the lapel is a typical example' Corded button-
to another, requires a longer stitch than required for straight holes and pockets require back stitching at several steps of their
stitching. For example, No. 8, No. 10 or No. 12 length stitch construction, as do many other steps in assembling a well-
might be used, as required by the fabric. made garment.
Stitching to produce gathering requires a longer-than-average
stilch, the length of which varies with the texture of the fabric' Pre*sure Changes to Aeeottottlo-
Bound Buttonholes and Pockets are made with a shorter
stitch, to increase strength and durability of construction' A
No. 20 length stitch is frequently used on medium light-weight
fabrics for stitching buttonholes and pockets'
A stitch regulator that is easy to set, and one that is positively
marked, is convenient and contributes to better sewing, as well
as to the pleasure and ease with which sewing is accomplished'
The Instruction Book that accompanies each sewing machine
illustrates clearly the simple procedures for setting the stitch-
length control.
Staging a Sea,lnr at Beginning
and Dnd
TIRESsTIRE is the force the presser foot exerts on the fabric
is regulated by the thumb screw -t'*n"n it is being stitched. It
at the top of the Presser Bar. Turning the thumb screw to the
right, increases the pressure. Turning it to the left, decreases
the pressure. Reference to the Sewing Machine fnstruction Book
is helpful in locating this thumb screw.
The {abric determines the amount of pressure needed for
smooth, even feeding of the several thicknesses that form a seam'
Heavy.materials require a heavy pressure and light materials
a light pressure. Medium weights of fabric require a pressure
midway betWeen the light and heavy extremes' Smooth, even f.r\rEDlRECrloNinwhichthefabricmovesunderthepresser
I foot can be reversed by raising the stitch regulator lever handling results when the pressure is regulated to the correct
to its highest point. While some SINGER Sewing Machines degree. Too heavy pressure causes the machine to run "heavy"
provide only for back-tacking, others provide for a reverse stitch and seam edges to be joined unevenly in soft spongy fabrics,
of the same length as the forward stitch' Several of the economy or, the mark of the feed to appear on smooth-surfaced fabrics'
models have no facilities for reverse stitching' The greatest Too light pressure results in an irregular stitch length and irregu-
convenience lies with the machine having the controlled reverse lar joining of seam edges'
It is advisable to test for pressure adjustment on a lengthwise stitch, since almost every seam is finished at both ends by reverse
stitching, to produce added strength and non-ravelling qualities scrap of fabric by stitching without thread. When all seam edges
so helpful while assembling the garment' are handled evenly the correct pressure adjustment has been
5f' seam allowance reached. The staying of a seam occurs within the
on both the beginning and end. The procedure is to drop the Pile fabrics, such as velvet, velveteen and corduroy, require
so that the a pressure adjustment somewhat lighter than for a flat woven needle into the fabric about rf" from the edge and
fitll'ft'seam allowance falls to the operator's right of the needle' fabric of the same thickness. The rule for stitching pile fabrics
Lift the stitch regulator lever to its highest point and make four is to use a light pressure and stitch in the direction of the pile'
or five stitches in reverse and without necessarily stopping the A garment is usually cut with the pile standing up, resulting
machine, press the lever down to produce forward stitching to in seams being stitched from the lower edge upward'
the end of the seamrwhere again the stitch regulator lever is Pressure is often regulated heavier when stitching seams that
raised to its highest point to produce four or five stitches in cross, since they create Sreater thickness' When SINGER*
Fashion Aids and Attachments are used, the regulation of pres- reverse.
In addition to staying the ends of seams, reverse stitching is sure is an important factor in producing good results'
A clear understanding of pressure and its application to used to make bar reinforcements, for darning and mending, and
easier to produce in many delicate steps of assembling garment sectjons where weights and textures of fabrics makes it
one seam stitching must end at a given point so that it might smoothly constructed Sarments from the many fabrics available
join smoothly and securely to another' The joining of the tailored to the woman sewing at home.View original page 8Page 9 · Read text
When the upper teneion ia heavier than the lower The Funetion and, Ad,jastrnent
teneion the needle thread will Iie straight along the
of Tension upper surface of the material, ae illustrated below.
When the upper teneion ia lighter than the lower
teneion the bobbin tlread will lie straight along the
under eide of the material, aa illuetrated below.
The perfectly locked stitch is usef, for all construction seams
in garments and fabric furnishings. Unbalanced tensions, used
only for decorative effects and SINGER* Fashion Stitches, are
presented as a separate subject. The durability of a garment
or a slip cover is closely related to the strength of its seams.
A seam stitched with a perfectly locked stitch is doubly strong
in comparison with a line of stitching made with an unbalanced
stitch. This point is easy to verify by stitching diagonally across
-IIENSToNS control the threads that interlock to form the a square of material. Holding the stitching tightly at each end
I sewing machine stitch. The lower thread tension is found between the thumb and finger, pull with an even and gradual
on the bobbin case where control is exerted by the spring under force until the thread breaks. The broken thread is always the
which the thread passes. The point of adjustment for this tension one with the heavier tension which under strain must carry the
spring is the small screw nearest the center of the tension spring. whole weight. Where a line of stitching is made with a perfectly
By turning the screw right the tension is increased, and by turn- locked stitch both threads break together and require more
ing it left the tension is decreased. A one-eighth or one-quarter force to break indicating the strength of a balanced stitch.
turn of this tension screw changes the weight of the tension Inspection of the line of stitching is the only proof of correct
adjustment considerably. Therefore this adjustment is always tension adjustment. Tensions must be set at a point where the
made discreetly. thread is handled lightly enough that the stitching does not
The upper thread tension is familiar to everyone and can be draw the fabric, yet heavily enough that the stitch is drawn into
located by referring to the Instruction Book for the machine. the fabric and is regular arid constant.
Tension is exerted by the closely fitted discs between which the The flexibility of the sewing machine is materially broadened
upper thread passes. The point of adjustment for this tension is when a practical understanding of tension regulation has been
the thumb screw on the ex- acquired.
treme end of this tension unit. It must be remembered that none of the factors that influence
A graduated dial further sim- the stitch, actually stands alone. All work together to produce
plifies the control of the upper an appropriate line of stitching. Based on the fabric, the kind
tension. Turning the thumb and size of thread is chosen, then the needle size, stitch length,
pressure adjustment, and finally the stitch is inspected for itsnut right dials a higher num- T
ber and increases the tension. appearance and accuracy of tension.
Turning the thumb nut left It is a good practice to test the stitch on a scrap of the fabric
dials a lower number, decreas- to be used, and with the needle and thread with which the gar-
ing the tension. ment is to be made.
It is seldom necessary to change the bobbin tension when
changing from one kind or size of thread to another. By varying
A perfectly locked stitch results when the relationship
the upper tension slightly a wide variety of weights and types
between the upper and lower tension ie euch that the
of threads and fabrics are accommodated.
threads are drawn into the fabric equally, ae illuetrated
Record the upper tension reading that produces a perfectbelow.
stitch with 50 Mercerized thread and then return to this number
if a change in bobbin tension has been made to accommodate a
different thread or fabric, or for SINGER Fashion Stitches. Then
readjust the bobbin tension to regain the same perfect stitch.View original page 9Page 10 · Read text
Stitchins for Line
The Struight Seam
I INE IN DRESS CoNSTRUCTION is expressed through seams,
I-r some of which must be emphasized by special treatment,
while others are meant to be almost invisible.
The established steps for forming seams are to first pin seam
edges at each end, at notches and at center,. finally working
toward the edges. The second step is to hand baste, the third,
to stitch, the fourth, to pink and the fifth to press. Hand
basting is often eliminated on easy-to-handle fabrics and when The Seam Guide is attached to the sewing machine with the
sufficient skill in stitching has been developed. The Seam Guide thumb screw in either of the two threaded holes provided and is
aids in guiding the seam stitching straight and parallel to the adjustable for spacing stitching at any distance between an
|f" and l)\" fuom an edge.edge. The Hinged Presser Foot rides freely over the pin points. approximate
In addition to its use in guiding the stitching of seams, thePins are placed with the points toward the seam edge and nip
into the fabric at the stitching line. Seam Guide is used when stitching the edges of facings, lapels
and the like with either single or multiple rows, placing stay Many cottons, woolens, and spun rayons lend themselves to
stitching where edges might stretch, and in many other stitchingthis handling. However, smooth textured fabrics, pile fabrics,
steps where exactness is required.delicate fabrics and fabrics with a surface finish like satin re-
quire more careful handling and do not lend themselves to pin-
ning and stitching without hand basting. Neither should they Sea,tn* that Cro*sbe machine-basted.
j-r
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tlt,
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FINE HAND sEwrNG NEEDLE placed at the junction of cross- A
I \ ing seams ensures accurately crossed seams, that are so
indicative of well-made clothing. Perhaps seams that cross are
most noticed when they occur on the shoulder line-as in the
princess line jacket or dress. When these four seams form a
perfect cross, the effect is pleasing; otherwise, the poor work-
manship destroys the beauty of the garment.
A fine needie is used exactly at the junction of the seams and
only its point nips into the fabric at the stitching line. The fine
"*: I needle does not mar the most delicate fabric and prevents one
rl seam from stipping beyond the other while hoiding the seam
i\
lines exactly as pinned. Where the fabric is heavy, the pressure
,.,
is increased for stitching over the area where the seams cross.
Further smoothness of fit is accomplished by blending away
ll
the excess seam allowance at the point where the seams cross.View original page 10Page 11 · Read text
rl" in length. seam and texture of the fabric, but is usually t4" toSlip-Bosting for Stripes'
The Material Gripper serves as a third hand in holding the seam
Plaid,s, Prints firmly while basting.
The sewing machine stitching is placed from the inside of the
garment just as is done for a plain seam. Slip-basting is especially
easy to follow since the exact stitching line is established by the
small crosswise stitches that result from basting through the
MATcHED sr.srs for stripes, plaids or prints are folded seam edge.1)ERFECTLv
I simple to achieve if the seam is slipbasted before being
stitched. The procedure is to fold under one seam allowance
exactly on the seam line. Working from the right side of the
fabric, overlap the seam edges, pin, then slip-baste. This method Slip-Basting for lDeeoratiae
permits careful matching of the details of the fabric and is a
Seannsmark of expensive.clothing. Perfectll'matched piaids and stripes
are not found among economy garments since they require
individual cutting and assembling, which are costly manufac-
turing processes.
,l
The formation of the stitch in slip-basting is simpie and rapid. ECoRATIVE cuRvED sraus that carry no top stitching and
Using a "Strarv" needle, bring the point up through the fold of that are so often found on custom-made dresses and suits
the seam. The stitch begins from this position. Direct the needle are formed in much tEe same way. The seam allowance is con-
down through the single thickness at the side of the point where trolied by a line of stitching placed just outside the stitching
the thread nolv emerges and carry it up through the fold of the line and is then folded under and pressed. This section is slip-
seam some distance alray to complete the stitch with a single basted in place to hold the shaping of the seam while it is being
stroke. The length of the stitch may vary with the shape of the stitched on the inside.View original page 11Page 12 · Read text
Seam,s In*id,e CuroesPlain Sea,rns with In*id,e Caroe Faeing -
/-f\rrE TNSTDE crrRvE occurs when applying facings at the neck-T)vERy cARMENT has curved seams as well as straight seams
lirre, collars, shaped yokes and pockets, and often in decora- F' and these require additional treatment in handling and I
shaping. The stitch is shortened when stitching curves. A fabric tive details so important in smart clothes. This curve is treated
where a No. 12 stitch is used for straight seams requires a No' 15 somewhat differently than the fitted curve in that both seam
stitch length for curved seams to provide the added elasticity edges are blended to uneven widths, the facing to rA" and the
rl" so that when they are folded to their insideand strength needed. The Seam Guide is positioned advan- garment to
tageously at an angle for guiding a uniform seam allowance' position the edges are almost indiscernible.
Seam edges support the seam line but must not restrict or These blended seams are slashed at evenly spaced intervals
rf" of. the stitching to release the edges and prevent restrain its shaping. Seams that curve inwardly have a tendency to within
to draw if the edges are not released by blending. pulling. The seam edges of a heavy fabric or one that frays might
rf" and rf" . be blended to r7(" and fi" instead ol
5,:,
Plain Scatn with Out*ide Curoe
&ffi\-:e
. ,/ ,l*t .'. \ 't1
'li )''r.
,-,"*i
il
r )-. LENDTNG THE TNSIDE cuRvE on a fitting seam requires slash-
lJ lrg into the seam allowance far enough to release the strain
imposed by the edges, but never within less than fu" of' the
stitching. If the fabric tends to fray these slashes are reinforced
by stitching or overcasting. Such seams are usually pressed open,
edges are usually pinked or finished as required by the fabric. /T,*E ourstDE cunvp that occurs in fitting seams over the
seams, requires the same The inside curve is found as a fitting seam at the shoulder line I bustline, hipline and in yoke
where the neckline is built up, at the waistline side seams and shorter stitch length as the inside curve and the same handling
at styling seams in overblouses, suit jackets, and princess line of the Seam Guide, but the blending of the edges is different'
bodices as well as in creating all concave effects' The seam edges of the outside curve are in excess and unless cut
10View original page 12Page 13 · Read text
away, the bulk forms folds that press through, marking the out-
side of the seam area.
The degree to which an outside curved seam requires blending
depends upon the amount of curve and the firmness of the Si,
Lit.?
fabric. Where the curve is slight and the fabric flexible, quite .,fi1,1
often blending is unnecessary. However, on frrmly woven fabrics,
or where the curve is pronounced, blending is essential.
Blending the outside curve requires cutting narrow wedges
from the seam allowance at evenly spaced intervals sufficient
only to remove the portion that might overlap when the seam
presses open. Avoid cutting out large wedges that might produce
a saw-tooth effect since these irregular edges press through to
the right side in an unsightly way. The aim is to provide a
smooth and even seam edge. foot after the needle has been brought to its upward stroke and
just before the needle point leaves the fabric. Turn the fabric,
Faeing Searns-Oat*idc Carae pivoting on the needle. Take one stitch in reverse and then continue stitching in a forward direction. Blend the seam edges
and cut the of the facing to \" and the garment section to rr1"
corner diagonally very close to the cross stitch at the corner.
The square is now ready to press and turn.
,T,"t oursrDE cr.rRvE occurs often on collars, lapels, pockets
I and decorative seams. The stitching of the seam and blend-
ing of tlle seam edges are the same for the outside curve as for Narrow collar points require a diagonal stitching across the
the inside curve, except instead of slashing, wedges are cut at point to allow space to smoothly enclose the seam edges that
even intervals to remove the bulk that would otherwise fall on turn to the inside. The number of diagonal stitches varies with
the inside when the facing is turned. It is important that only the weight of the fabric. Heavy fabrics require morestitches
enough is cut away to permit the seam edges to lie evenly and diagonally than light-weight fabrics.
smoothly and that a saw-tooth effect is avoided in the seam edge. Back stitching is also used at both ends of the diagonal stitch-
ing for reinforcement and to permit very close blending of the
seam edges. The procedure is to stitch to within about 2 or 3
stitches of the intersection of the seam allowance. Pivot with
Stitehing Square Corners the needle in the fabric but on its upward stroke and turn the
work so that the stitching is directed diagonally across the corner.
coRNERS occur often in the facing of a neckline, Then reverse the stitch and make one stitch backward, thenQouenr
U collar, lapel, or pocket and are effectively accomplished in three, four, or five stitches forward and another backward.
the following way, which reinforces, yet eliminates unattractive Pivot again on the upward stroke of the needle and continue
bulk at the corner. stitching along the seam line. Blend the seam edges of the facing
Stitch along the seam line to a point one stitch beyond the to Lf' and the garment tof" and cut away the seam allowance
intersecting seam line at the corner. Then reverse the direction at the point close to the diagonal stitching. The work is now
of the stitch and make one stitch backward. Lift the presser ready for pressing and turning.
l1View original page 13Page 15 · Read text
Stitchins for Oontour
{sf -.d
r \--r':
I\, ,
\,. ./ | ^'
'' ',, ),,ll1 \ l-.l,
G-{R}rENrs are given fit and contour through carefully tour of the figure because it creates a curve in the garment that ALL
I \ positioned darts, tucks, or gathers. Were it not for the provides ease and fit over a body curve. Fit the pattern and
shaping that these constructions afford, our garments would be adjust it so the darts are placed to suit the body contour.
uncomfortable and bulky. Darts are preferred for shaping smooth An important point to remember in fitting darts is this -
firm fabrics, tucks are adapted to smooth drapable fabrics, and darts must point toward the fullest curve of the figure, but
gathers to soft sheer fabrics. never reach quite as far as the curve or extend beyond it. Very
These constructions must be carefully formed and positioned often darts extending from waistline to bustline are moved
since they have a close relationship to the curves of the figure either closer to the center front or are separated more to bring
as well as to the beauty of the design. Often a dart is meant to them directly under the fullest part of the bustline. The dart
providq shape and fit and yet be nearly invisible, since it, in itself, extending toward the bustline from the under arm seam is often
does not contribute to the beauty of the garment. At other times adjusted lower than is indicated on the pattern if the figure re-
the dart is intended to be emphasized as a style detail while quires positioning for a lower bustline
providing contour and fit. The single thread dart with the fold The length of darts in the skirt and blouse back are sometimes
to the outside is often the means of achieving this emphasis. shortened to accommodate figure proportions. A dress might
The handling of the fabric when forming and stitching a dart appear to be too small when the problem lies only in better
has a direct influence on its efiect. A dart intended to be invisible fitting and positioning of the contour forming darts.
must be stitched so that the point tapers so gradually there is Positioning tucks and gathers is based on exactly the same
no bulge or fold where it terminates. Its position when the principles as positioning darts, but because of their softness,
garment is worn must be in the proper relationship to the con- fitting is simplified.
l3View original page 15Page 16 · Read text
I
How to Stiteh a lDart very edge of the fold at the point of the dart. Take the slack out
of the upper threading of the machine by turning the spool, but
do not draw the thread so taut as to raise the take-up spri.ng.
A DARr is usually stitched from the seam edge to the point, Then, drop the presser foot and stitch carefully shaping the
I \ and is reinforced with back stitching at the seam edge. tapered point of the dart. Back stitch the dart at the seam edge
The point of the dart is skillfully handled when it tapers gradu- for reinforcement.
ally and when the final three or four stitches parallel the fold
of the dartiust a thread's w'ilth from the fold and, then, con-
tinues off the fabric to form a thread chain lto }{ inches in
length. This thread chain is tied into a simple single knot that The Single Thread, Taels
is set close to the end of the dart.
TA(E.UP LEYER
AT TOP POSITION
Single Thread, I)art TAKE.UP SPRINC
FoRMING ruCKS are used as frequently with the l^oNrouR
\-,t fold to the outside as they are with the fold concealed.
Where the fold of the tuck is to the outside of the garment, the
stitching must be perfectly regulated and show no backstitching.
Threads can be drawn to the inside and tied, but the single
thread method of stitching is much more durable and attractive.
The stitching begins from within and is finished at the seam
,T,m sTNGLE THREAD oanr is always used where the fold of edge with backstitching. Position the tuck under the needle and
I the dart is on the outside of the garment and for inside lower the presser foot. With the right hand turning the balance
darts where the fabric is sheer, since there are no thread ends to wheel, form a single stitch while holding the needle thread.
tie. The stitching begins at the point rather than at the seam Draw the bobbin thread up through the fabric and then re-
edge as in the conventional dart, and the sewing machine is thread the needle in the reverse direction with the bobbin thread.
rethreaded for each dart. The thread from the bobbin is threaded Tie the upper and lower threads together and rewind the spool
through the needle, in the opposite direction from usual until the knot has passed the last thread guide nearest the spool
threading. far enough to provide sufficient thread for stitching the tuck.
Tie the bobbin and upper threads together and rewind the With the needl,e up and the take-up lever at its highest point,
spool until the knot has passed the last thread guide nearest draw the upper thread taul enough to raise the take-up spring.
the spool a sufficient distance to afford thread for stitching the Then begin stitching slowly and continue to the seam edge, where
full length of the dart. Position the tip of the needle into the backstitching is used for reinforcement.
l4View original page 16Page 17 · Read text
Prossing and, Blending lrart* edge. Neither of these rows of stitching will be visible in the
finished garment. Then place as many rows, rf or /4 inch apart,
as are desired.
q:?
x
further shapes darts and tucks when stitching is DRESSTNG
I completed. The curved surface of the press mit is ideal for
shaping darts. Press darts first flatly as stitched, carrying the Draw the threads through to the inside at only one end. Tie
crease only as far as the stitching. Protect the fabric with a press by forming a single loop of the two strands of thread and set
cloth. Steam as required by the fiber content of the fabric. Then the knot tightly against the fabric. Holding these thread ends,
press the dart over the press mit, protecting the garment from form a fold at the end of the rows of stitching. Then stitch a pin
being marked by placing a paper strip under the dart. tuck using a No. 20 stitch, starting at the seam edge and ex-
tending to the last row of stitching. Reverse the stitch to rein-
force. Cut off ends of gathering threads to )linch. Anchor the
threads at the second end of the stitching on the right side of
the garment by forming a figure 8 around a pin.
Darts face center in the skirt back, blouse back and front, .,
:-
and on the shoulder and downward at the underarm. Frequently
darts are slashed and pressed open to better distribute thickness.
A dart that fits the waistline and tapers at both ends is released
There remains one thread for each row of stitching on theby slashing from the fold to within r,1 inch of the stitching at its
inside of the garment. Lightly twist these threads together anddeepest point.
pull, working the fabric back on the stitches (at the same time)
forming uniform gathers. Adjust the amount of fullness to the
Gathering to Control Fallnes* requirementsing all .threadsofthrgughthe patternto theandinsidefinishandthistying.secondThenendcrossby draw-with
a pin tuck.
ANy pArrERNs for soft or sheer fabrics indicate gathering The gathering should now fall into uniform channels, stitch
to control fullness at the shoulder, waistline-at yoke by stitch, especially if care were exercised in placing the rows
joinings in skirts and at styling points. The styling of the gar- one under the other at the first stitch. When joining this type
ment and personal preference influence how many rows of construction to its corresponding seam, the first two rows of
stitching are used. A No. 8 or No. 10 length stitch is used for stitching are concealed.
medium rveight fabrics, but a No. 12 or No. 15 stitch is often Often one or two rows of stitching are used to control eased
more suitable for a fine or filmy fabric. fullness in the cap of a sleeve, at the top of a hem in a flared or
Place the first row of stitching just outside the seam line, circular skirt, in the sleeve seam for elbow fullness, around a
usually slightly less than fu irch from the seam edge. Place a patch pocket, curved applied bands, lapped decorative seams and
second row of stitching slightly less than /2 inch from seam elsewhere. The pin tuck is eliminated in these applications.
l5View original page 17Page 18 · Read text
Fashion l)etails
Measuring from a selvage or straight edge, at several points, is IDeeoratioe Tueking
another method sometimes used.
Press the fold before stitching. Test the stitch and the setting orHER EASHToN DETATL has better sustained fashion
NTo of the Edgestitcher or Tucker on a scrap of the same material I \ interest than tucking. Whiie interest in tucking for dress
before proceeding. A pin tuck is very narrow and is only "as detail fluctuates, tucks are always fashion right and lovely for
wide as a pin." If the Tucker is used, a mark will appear for the blouses, lingerie and children's clothes.
fold of the second tuck. When the Edgestitcher is used, threads The opportunity for self-expression is unlimited since tucks
are usually drawn to position each tuck. may be made as narrow as the stitching itself or bold and heavy.
Pin tucks are often used for crossed tucking and in combina- Spacing between tucks allows for a variety of effects. Tucks lend
tion with lace insertion. When making crossed pin tucks, stitch themselves to cross tucking, to smocked effects, pineapple tuck-
first on the lengthwise grain, then on the crosswise grain. The ing, shirred tucking and many other interesting and original
pin tucking is then cut into bias strips for bands or insertion, or applications in combination with insertions.
it may form a whole yoke or collar sections. Further details re- There are two aids for tucking, one the SINGER Tucker, and
garding the Edgestitcher are given on pages 22 and 23, and in the other, the SINGER Edgestitcher. The Tucker guides both
the Instruction Book accompanying your sewing machine. the spacing and width for tucks up to 1 inch, while the Edge-
stitcher guides only the width for tucks up to I inch.
When perfect stitching tucks tension adjustment is essential, Straight Tueks of Varving Width as well as as designated a short stitch for top stitching. Refer to
the Fabric, Thread and Needle Chart on page 3. The thread and, Spaeing
should blend perfectly with the fabric in color and texture, or
should be in decided contrast.
Tucks are usually made along the lengthwise thread of the
fabric, but occasionally a design calls for crosswise tucking to =,\
emphasize style lines. The lengthwise grain of the fabric is
Y-\i\ always more firm and for that reason lends itself to tucking.
*l
%
Pin Tueks
n UARTER-rNCH rucKs with quarter-inch spacing are tlpical
V of good proportion in tucking. The Edgestitcher guides a
quarter-inch tuck best through Slot No. 5. When the iug of the
attachment is drawn to the left, and the fabric is in S-er \o. 5
the attachment is set for its deepest tuck, approrimtel-r ri'-
-:he Slots Nos. 1 and 5 are used most frequently for tu&=g:. t::
others can be used as well. Select a pattern desigaec 11;':;rring
detail, or use a plain pattern, cutting the section afte: 1,-i:ng =e
detail has been completed.
r\l Where tucks and spaces are equal, fabric oi !E:G ---= -=5ed
width is required. Where the fold of the tuck:.:,'jir- -: =rch-,T,rru SINGER Tucker or Edgestitcher may be used in ing of the previous tuck, as in blind tucl,-S. --:-: -_* '.-he
I making pin tucks. A single thread is drawn from the fabric finished width is required. Tucks are alrrar-= =-:,-: s: -:,:: ie
to locate the first tuck straight with the grain of the fabric. stitching uppermost under the needle is ri.ible r-. -5e gert
l6View original page 18Page 19 · Read text
is worn. Since the beauty of tucking lies in its being done exactly
on the woven thread of the fabric and in its explicit accuracy,
the Edgestitcher and Tucker contribute greatly to the attractive-
ness of the work.
The SINGER Tucker is a'time-saver for making half-inch
tucks as well as tucks of other widths. It carries two scales, the
smaller, nearest the needle, is numbered from 1 to 8, expressing
in eighths of an inch the width of the tuck. The larger scale ex-
presses in quarters of an inch the spacing between tucks. The
tucking scale is set by loosening the tuck guide adjusting screw,
which releases the guide for setting to any width tuck up to one
inch. The setting for a half-inch tuck is at No. 4.
the attachment is equal. Rows of stitching are made across the
tucks from alternate directions and the exact width apart as
indicated by the distance from the needle point to the edge of
the attachment. When the stitching is completed and the work
pressed with steam from the wrong side, the shaped garment
section is then cut according to the plain pattern.
Sealloped, Taeking
. The space scale is set after the width of the tuck has been
established by loosening the space scale adjusting screw and
moving the space scale to align at the same number the tuck
scale is set for with the needle point. This setting makes blind
tucks where the fold of one tuck touches the stitching of the
previous tuck. When space between tucks is desired, add the
space in quarter inches to this number. Thus half-inch tucks
spaced a half inch apart require the tuck scale to be set at 4
and the space scale at 6. The 6 is in line with the needle point.
the rule is to match the tuck scale setting and add the space.
When making the final tuck of a series, release the lever that
contacts the needle clamp by merely bringing it forward out of
contact with the needle clamp. Return the lever to its original NTERESTTNG \,,\RrArroN to plain tucking is achieved by giving I.
position after the final tuck has been made. I design to the erlge of the tuck in the form of points or scal-
lops. Plastic rulers are available for such markings, or interesting
scall<-rped, curve<l, or pointed patterns can be cut from cardboard.
Srnoeked Tueking Traceing a seamthe clesignof notto.theless thanr,lfabric, foldedinch fromrightthesidesfold.together, allow-
Stitch with a very short stitch, No. 20 on medium weight
qMocKED rucKrNG is a simple variation of straight tucking that fabrics. The Quilting Foot facilitates stitching small scallops
LJ is especially suited to yoke treatments for dresses and due to its open construction and its short toes.
blouses of plain fabrics. It provides a texture contrast that, in A lighter than regular pressure adjustment enables the
itself, is rich and smart. Tuck the fabric on the lengthwise grain operator to turn the fabric more freely.
making !(inch tucks spaced 171 inch apart. The SINGER Tucker To prevent pulling at the point between scallops in the fin-
is set with the tuck scale at No. 1 and the space scale at No 2. ished work, when stitching allow one stitch for width between
The crosswise stitching is made with the Edgestitcher ad- each scallop. This spacing provides the width needed when cut-
justed so that the distance from the needle point to each side of ting and produces a smoothly turned seam. Seams are blended
t7View original page 19Page 20 · Read text
to a scant 1l ir,ch on small scallops and a generous ){ inch on Soft sheer fabrics, voile, batiste, silk georgette and others of
larger scailops. One edge is blended shorter tha.n the other on similar texture lend themselves to all-over shirring for the whole
all scallops except the very small. Wedges are cut from the bodice section or for a blouse front.
seam edges at evenly spaced intervals when blending. Then the
scallops are turned and the seam edges are worked between the
thumb and the finger to bring the stitching to the very edge.
A silk thread basting is often used to retain the shaping until
after pressing. If the finished scallop is not smoothly shaped,
inspect the stitching for exactness, and review the blending of
seam edges and the cutting of wedges. Smooth, even scallops
are lovely and expensive looking when used with tucking or as
an edge finish.
I)eeoratioe Shiming
Threads are drawn on the crosswise of the fabric at 1 inch
intervals, or at whatever spacing is selected. Shirring, using the
Gathering Foot, is placed on each of these lines where the
thread has been drawn. The fabric is then pinned closely together
on all edges to a slightly damp sheet and is allowed to dry
thoroughly. This procedure blocks the shirred fabric so that the
soft fullness falls in graceful lines and prepares it for cutting
according to a plain pattern.
q- *F" ... -l*
..:r l
{*',** '
/!
,T,rru SINGER Gathering Foot produces a variety of fashion
I details. The foot is designed to lock fullness into each
stitch. Therefore, a long stitch produces more fullness than a
("short stitch. Balanced tensions are always required, but heavy ,' ' !: {
,, Itensions, both upper and lower, produce more fullness than light, I ,ltt*l l;{balanced tensions. \,',t! Shirring is usually done on the crosswise grain of the fabric. \. l *<=.,/ I
Soft fabrics lend themselves to shirring better than firm fabrics. =ss\L *Crisp sheer fabrics are often steam pressed and stitched while
still damp to soften the finish enough for shirring. Matching
thread is usually used, but if a bold decorative effect is wanted,
contrasting thread or heavy embroidery type threads are used The Gathering Foot is used to produce machine smocking by
in the bobbin. following a design when stitching and b1- using hearv duty
Many lovely effects are accomplished with simple rows of thread for both bobbin and upper threading or bv using pearl
evenly spaced shirring. A yoke section, insert, or trimming band cotton or an equivalent thread on the bobbin and regular sew-
of self fabric affords an interesting contrast of texture when ing thread on top. Ilachine smocking is most a:tracti\-e when
stitched with the Gathering Foot in rows \,y'" apart. The groove made separately and applied as a band to the skirt that has
at the front of the Gathering Foot is a guide for stitching. been gathered very full.
l8View original page 20Page 21 · Read text
*,he Gathering Foot and elastic thread are used Waffle Shiming ing Foot. Often
together to produce more fullness than elastic thread gives with
the regular presser foot.
Elastic thread is a Bobbin Thread and is wound on the bobbin
without stretching, which usually requires the thread to be held
loosely in the hand while being wound. It is not carried between
the discs of the bobbin winder tension.
It is advisable to test the stitching with elastic thread on a
scrap of the same fabric before any tension changes are made.
Quite often no tensiort changes are required. Inspect the stitch.
If the upper thread loops, tighten the upper tension until the
stitch locks tightly into the fabric. If the elastic thread breaks or
frays, the lower tension must be loosened. The length of stitch
regulates the amount of fullness. A long stitch gives more full-
ness than a short stitch.
A whole bodice section, or girdle section of a garment is some-
times elasticized by multiple rows of stitching or by waffie
stitching. Shell Puffing is accomplished by stitching in a scallop
qMoorH sURTACED FABRrcs are given texture interest by design, the point between each scallop overlaps just one stitch
L-, stitching with the Gathering Foot first on the crosswise and into the center of the scallop of the row above.
then on the lengthwise grain of the fabric, with the stitch length
adjusted short enough to give only slight fullness. The edge of
the Gathering Foot serves as a convenient guide for width be-
tween rows of stitching. Waffie shirring has a broad application
on cottons, silks, woolens or rayons and is particularly interest-
ing for details on children's dresses, girls' dresses, blouses, and
lingerie. Appropriate Seams
Dlastie Shiming Flat Felled, Sea,rns
$-" 6&
t ft'.'
I
-'> l-1,r iy, ^ -.i-.
"}ff')
fi 1,,'
EN's wEen usually calls for Flat Felled Seams accurately
formed and stitched to produce the tailored appearance
characteristic of men's clothing. It is a matter of preference
LASrrc THREAD affords a flexible shirring. It is applied in a which side of the seam is made to the right side. The conven-
way similar to the shirring effects produced by the Gather- tional method afiords an inside seam paralleled by stitching. The
t9View original page 21Page 22 · Read text
reverse side reveals a top-stitched seam edge, paralleled by a Braid,ing with Singer Braid,ing
row of stitching.
Feet The full seam allowance is taken with the first stitching. The
seam is pressed flatly as stitched, pressed open and then pressed
with both seam edges together.
The inside seam edge is blended to slightly less than the
width of the finished seam, the upper seam edge is turned evenly
and is top stitched.
Manufacturers differ in their handling of Flat Felled Seams,
but usually the seam edges that are blended are the back seam
BLI\D STITCH edge on side seams, the back seam edge on sleeve seams, the
BRAIDER sleeve seam edge on armhole seams, the garment section on yoke
seams and the front seam edge on shoulder seams.
s?
(1tl-l
/1.
\D"
The Slotted, Seam BRAIDINC
PRESSER FEET
Jta
t.!
UNDER BRAIDER
WITH
QUILTINC FOOT
DRAID is quickly applied with any of the SI\GER Braiding
I-Dpss1. There is a variety of Braiding Feet available to ac-
commodate different kinds and thicknesses of braid. The Braiding
Presser Foot is designed to carry the braid to the needle point
so that the needle stitches directll' through its center. The'
Braiding Presser Foot is available in rvidths Yr6" , rr4", and /16".
,T,"t sLorrED sreu adds quality and smartness to simple The Blind Stitch Braider carries the braid so that the needle
I dresses and suits that rely on the emphasis of good style catches only the underneath threads of the braid, blindstitching
lines for interest. Fashion Magazines prove the point that often it to the fabric.
the expensive dress is simple in line, impeccable in fit, made The LInderbraider is a plate that is attached to the bed of the
of the best quality fabric and carries only such detail as the machine and has a channel through which the braid is fed to
slotted seam for accent. Seldom is this detail used on inexpensive the needle point. The Quilting Foot is used with this plate. The
dresses. The construction is simple. needle stitches entirely through the braid and unlike any of the
The seam is stitched into a plain seam with machine basting. other braiders, the braid appears on the underneath. The right
Pressing is carefully done first as the seam is stitched, then the side of the garment faces downward and the design is traced on
seam is pressed open sharply. All except one thread end are cut the wrong side of the fabric.
away close to the fabric. The opposite thread is then clipped Due to the harshness and denseness of some types of braid in
evet f!ilrr or five stitches apart along the length of the seam. comparison to the fabric, paper or tarlatan must be used while
An underlay of the same or contrasting fabric is carefully po- stitching to prevent puckering. Continuous designs are best for
sitioned under the seam and is basted securely before stitching braiding. Where an end occurs within a design, it is drawn
is done on each side of the seam. The basting is quickly removed through to the under side, carried back against.the braiding
by pulling the single thread end left un-cut. pattern, and caught invisibly by several hand stitches.
20View original page 22Page 23 · Read text
SINGEN SEWTNG Sf,II,IS
Le*son 2 stitehinfr Method,* and Fushion Details -
First Practice Session- Seuing Jor Contour
1. Darts and Tucks. Stitch to illustrate an incorrect dart with
a heavy point, stitch one dart correctly following teacher,s
instruction and stitch one single-thread dart.
Stitch two tucks, one with back- stitching for reenforcement
and one employing the single-thread principle.
2. Gathering to control fullness. Place 5 rows of No. 10 length
stitch and proceed as instructed.
Second. Practice Session- Fashion Details
3. Tucks-Using a 10 inch square of fabric, make pin tuck and
rz{, inch tucks on Iengthwise grain with Edgestitcher. The
Tucker is required for the rlinch tucks with rlinch spacing.
4. Scallops-Mark with ll inch scallop ruler, stitch with No.
20 stitch length using the Quilting Foot. Notch and blend
seams before turning.
5. Multiple shirring with the Gathering Foot on white batiste
will provide practice in stitching and guiding fabric when
shirring.
6. Flat Felled Seam.
7. The Slotted Seam.
8. Braiding with Braiding Presser Foot, the Underbraider
and the Blindstitch Braider.
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