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169 Cards in this Set
- Front
- Back
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Tension dial
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dial at top of machine
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take up lever
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lever that can be taken up by the hand wheel
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presser foot lifter
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lever that lifts the presser foot
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throat plate
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plate that covers the top
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feed dog
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teeth that feed the fabric through
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cover plate
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piece that covers the bobbin case
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need positgion selector
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arrows that look like this < >
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spool pin
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pin that holds thread
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bobbin winder
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thing that winds bobbin
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stitch width
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buttons that look like this < > but are farther to the right than needle position
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Stitch length
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button with arrows that go up and down
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hand wheel
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controls the needle
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Drop feed
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: button on the side that drops the feed
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The three methods of fabrication are
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woven, knit and non woven
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Ends of seams can be secure by ____ or by ___ if they are visible
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back stitching, tying a know
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TF Zig zag is a good seam finish choices for medium to heavy weight fabrics
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T
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clean finish also called
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stitched and turned, turned under1/4
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TF the body measurements in the charts on the back of the pattern envelope are good guides for the finished size of the garment
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False
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TF if the person you are sewing for is a b cup you need to take a high bust measurement
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false
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Lengthwise grain on pattern
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<---->
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Fold line on lengthwise graing
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arrows going down pointing to fold
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Precision matching
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triangles circles and square
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Notches
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diamonds
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Cut 2
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the number to cut
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Button hole
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[--]
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Dart
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a v looking shape
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Circle with cross in
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finished garment measurements
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============
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lengthen or shorten line, length alteration line
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---->---
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cut lines
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What is a dart
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A wedge of fabric removed to create shape and make a 3d garment
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What is the best way to prepare an edge to be gathered
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3 rows of basting stitches at ¼, ½ and ¾
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Staystitching is done where and when
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__1/2__ away from the raw edge when the seam allowance is 5/8
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Stitch length for staystitching
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Stitch length for staystitching is regulation or 10-14 spi
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TF When you staystitch an edge you should stitch from where the piece is narrower toward where it is wider
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F- When you staystitch an edge you should stitch from where the piece is narrower toward where it is wider
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TF When you staystitch an edge you should stitch from where the piece is narrower toward where it is wider
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True
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Which edges, generally, need to be staystitched
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Curves and angels
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Backstitch
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To machine stitch back on the same line of stitches two or three stitches
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Dart
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a fold in the gabric to be stitched at a specified width and tapering to nothing
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Top stitching
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to stitch ¼ to 3/8 or more from a finished edge for decoration
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Clip
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slashes cut into the seam allowances to relax fabric on inward curves
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Ease stitch
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a slightly lengthened stitch used to match a slightly longer edge to a shorter edge, often in sleeve capse
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Layout
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diagram on the pattern instruction sheet to show how to place the pattern pieces on the fabric
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Fabric
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cloth; material of which a garment is made
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Press
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up and down motion of iron
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Interfacing
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fabric used to give support and body in certain garment areas only
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Edge stitch
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to stich 1/8’ or less from the finished edge to hold a pocket in place
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Woven
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interlacing yarns at right angles to each other
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Knits
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interloping of yarns
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Non wovens
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bonding, felting of fibers through adhesive and heat
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Lengthwise
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parallel to the selvage: warp
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Crosswise
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perpendicular to the selvage, weft
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Bias:
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runs diagonally, tru bias is 45 degree angle
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which fabric is more stable
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Crosswise has more give, lengthwise is the most stable:
Bias has the softest drape and will conform to the shape of the body. |
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Steps for preparing fabric for cutting:
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1. Preshring 2. Find cross grain (ripping sides to get one thread
3. remove wrinkles 4. Fold selvages together and observe position of cross grain edges, if they match yay, if they don’t lightly pull on short ends. 5. Grains must be perpendicular to each other before cutting. |
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finished garment measuremen
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circle with cross throu it, compare finished garment measurement plus the east to the finished garment measurement, Finished garment are project all the way sewn up. Back of envelope: measurements are the ones on the outside, those are considered the pattern makers suggestions, more accurate to compare to finished garment measurement. Measurements on outside are more of a suggestion.
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know how to measure and the ease needed for common body locations
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Ease 2-3 on bust, if you have two of something 2-3 inches. One wais 1-1 ½, hips 2-3, know how to find size, what notions you need to buy,
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Tips for measuring the body:
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1. Measure the body smoothly, don’t pull tape so tight that it bites into the flesh nor let it hang loosely.
2. Breath normally. Don’t hold your breath or suck in stomach muscles. 3. Stand still, look straight ahead, with shoulders lowered to normal position. 4. Keep tape level, parallel to floor when taking circumference measurements. 5. Measure to ¼th of inches. 6. Measuring is both an art and a science. Measurements are a snapshot so retake them from time to time for verification. |
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Measuring full bust:
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place tape measure under arms, across wides part of back and fullerst part of bust: if there is difference of 2” or more between high and full bust, select pattern size by high bust measurement
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Measuring high bust
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: place tape measure under arms,across widest part of back and above full bustline.
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Waist
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bending at sides to find line then measure all the way around
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Hips
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around the fullest part. This is usually 7” to 9” below the waistline
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Back waist
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measure from middle of most prominent bone at base of neck down to waistline
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Sleeve width
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measure the widest part of the stronger upper arm
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Sleeve length
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from the shoulder cap to the outer edge of the wrist of a slightly angled arm.
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Tracing paper and wheel
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Use on dart, dots, pleat lines: cons: its permant so its often not used much because you don’ want to see it. (always use on wrong side of fabric)
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Tailors chalk, chalk pencil, chalk wheel
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can use on dart, dots and plear lines: The pencil is harder to get out. The wheel is accurate and removable however you must always get it out before ironing)
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Air erase and water erase pens
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can be used on everything: sometimes it does not always come out
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Tailors tacks
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can be used on everything. Nice and removeable, very accurate, sometimes the thread can dye the fabric
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Clips
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along seam allowance to mark the base of darts. These are permanent, not good to mark all lines, not as accurate, is a problem if you want to let yoru garment out
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Pins
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can be used on darts, dots and pleat lines however it leaves holes, its tough to sew around and they may also fall out.
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Regulation
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: most common 10-14 spi or 2.5 mm, joining pieces of fabric together
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Directional stitching:
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10-14 spi or 2.5 mm, stitching with grain, support the grain and preveng the fabric from changing shape or stretching
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Staystitching
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: a row of directional stitching to keep the seamline from stretching out of shape sewn at ½ in, used on curves and agles, using regulation stitch length (stitch from outward to center on both sides)
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Basting
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temporary stitching, for gathers or for fitting 6-8 spi or 3-4 mm
Ease stitching: used on edge that is slightly longer than its match, used on one layer of fabric 8-10 spi or 2.4-3 mm |
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Reinforcement
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1. To strengthen seam where you clip it (20-24 spi or 1mm) 2. Two rows of stiching in area of high stress and seam that stands up
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stay stitching
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done 1/8 of an inch away from the seamline, inch seam done at 7/8, done regulation, is permanent, not backstitched.done on curves and angels, done so fabric doesn’t stretch out
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Interfacing
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sew in gets basted in at ¼, fusible gets trimmed before being fused
the two interfacings: sew in gets basted in at ¼, used in collars cuffs waistbands ppocket flaps, jacket hems, collarless necklines and button closures. Sew in interfacing should be prepared by preshrinking it in wash, fusible should be soake din warm hour. |
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4 elements of fusing
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heat, moisture, pressure, time
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Facing
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A piece of fabric joined to a raw edge to finish it. Turned to
garment side, lies flat, used from your own fabric |
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Dart
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used to buld shape into a flat piece of fabric to allow the fabric to conform to a body contour or curve. Darts occur at the bust waist shoulders hips back and elbows, a wedge shaped portion of fabric sewn intot he ferment. backstitch at the top, last three stitches should be handwheeled, tie surgical knot at end, press dart to one side.
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gather
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Gathers: three rows of basting ¼ 2/4 and ¾
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centered zipper
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Centered:
1. Machine baste the opening – be sure to edge finish first 2. Sew zipper tape to seam allowances only by placing the zipper face down on the basted seam, do one side then the other. 3. On right side topstitch both side of zipper starting at the bottom for both sides. Stitch ¼ “ on each side. Tie threads off. 4. Take out basted seam. |
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Lapped zipper
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Lapped: Lap is 3/8, lap on left as you look at it,
1. Stitch permanent seam up to zipper opening and stop, do not stitch opening, backstitch. 2. Press under 5/8” seam allowance on left side, and ½” on right side. 3. Place underlap (1/2” side) fold against zipper teeth, edgestitch. 4. Place overlap over stitching 1/8” and topstitch 3/8” from fold. Start at bottom, do not backstitch, go across zipper with handwheel, pivot and stitch to top, backstitch at top. Tie off threads. |
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cenetered zipper
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1/4
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edge finishes
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surging,light to heavy (all)
clean finish, (light to medium), turn and stitch stitched and pinked zig zag (heavy fabric) blind hem: light to heavy (straight then zig zag) |
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measurements for trimming and grading
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Widest 2 the world= 3/8, other layer ¼, interfacing 1/8
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Clipping and notching
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clipping: inward curve (has an i), notching is outward (has an o)
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Pattern alteration rules
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1. Pattern must be flat when alterations are completed.
2. Matching edges must still match after altering. 3. Generally, divide circumference alterations by 4. 4. Alter only the area in question. 5. Keep CF, CB and grainlines straight. 6. Redraw seamlines, darts, or other construction detail interrupted by alterations. 7. Reshape cut ends of adjusted darts. |
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Ease:
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Ease is the extra fabric allowed in a garment, an increase over body measurements, which allows the wearer to move in the garment.
Amounts vary with the fabric type (ex. Knits), fashion, and individual preference. |
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Basic Ease amounts
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Bust 2-3”
Waist 1-1½” Full hip 2-3” Back waist length ¼ - 3/8” Bicep 2-3” Abdomen 1-2” Upper back width ¼ - 3/8” *men’s shirts can have much more ease; chest in coats and jackets @ 4-5” |
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Bust Alterations
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High bust measurement used instead of full bust measurement to choose size if not a B cup for a frame measurement – then adjust for bust cup size. Bodice back stays the same.
Bodice side seam stays the same but dart gets bigger. To increase bust cup size: 1. Add length 2. Add width 3. Make dart bigger |
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Trimming
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Cutting part of the seam allowance away
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Grading
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Trimming seam allowance to different widths 2/8 (facing) and 3/8 “wides to the world”, 1/8 interfacing
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Clipping
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inward curves
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Nothing
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Outward curves
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Understitching
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Sewing the facing to the seam allowance to keep the facing from flipping out. Stich from the right side of the facing, sew as close as possible to the neckline seam, this reinforces the seam that has been clipped, keeps the facing from flipping out, keeps the seam rolled in.
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Facings
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Facings are a separate piece of fabric, with a matching curved edge, sewn onto a curved edge of your garment to finish the edge, its used at the neck, armholes, and front and back openings.
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Facing Techniques
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1. Staystitch neck edge and shoulder of garment and facings. 2. Interface garment, sew in interfacing-place interfacing on garment and sew with basting stitch ¼’ from the edge along seamlines. Fusible interfacing-trim off seam allowances, fuse onto facing pieces. 3. Sew shoulder seams on garment, (front to back) press and edge finish. Sew shoulder seams on facing, press and trim. Edge finish outer edge.
4. Stitch facing to neck edge 5. Refine enclosed seams with trimming, grading and clipping or notching. 6. Press seam open and then to facing side. 7. Understitch – sew facing to seam allowances 8. Tack facings down. |
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Interfacing
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It is the underlying fabric used for support, body, stability, and reinforcement.
It is used in collars, cuffs, waistbands, pocket flaps, jacket hems, collarless necklines, and button closures. To enhance both durability and appearance. |
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1. How to choose interfacing
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Fabrication - characteristics
2. Weight – always lighter 3. Care required must match fabric 4. Color – match value 5. Method of attachment – fusible or sew-in based on garment type, style, and fabric |
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Using interfacing
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Preshrink it !
Apply to upper collars and cuffs, blouse and jacket fronts – not to the facing (unless using fusible). Fuse to a single layer, not over seam allowances. If fusing trim seam allowances off before applying to fabric. If sew-in, machine baste ¼” from edge of fabric piece following grain. Do not substitute the fabric itself in place of interfacing. |
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How to fuse
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Fusing requires four elements
1. Heat 2. Moisture 3. Pressure 4. Time Purpose is to get the resin into the fibers – some slick, flat fabrics don’t fuse well, some very textured fabrics don’t fuse well. Always test on a scrap. Press fabric alone to be sure it’s flat. Trim seam allowances from fusible interfacing. Place interfacing resin side against wrong side of fabric. Use a press cloth. Steam baste first to keep it from slipping later. Permanently fuse with two handed pressure for 10 – 15 seconds per area. DO NOT SLIDE IRON. USE YOUR WATCH’S SECOND HAND. Let piece cool so resin can set. |
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Length of Buttonhole
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Should equal the diameter of the button plus its height. 1/8 is added for the finishing at each end for bartacks, test the length by stitching a test buttonhole and putting the button through, For a sphere button, measure the circumference of the button for the length.
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Position of buttonhole
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When a garment is butted the center lines must match each other. Vertical buttonhoesl belong directly on the center line. Horizontal buttonholes begin 1/8” past the center line toward the garment edge and run back into the body of the garment. –Buttonholes should be placed so they fall in the areas of greatest stress( at the full best level) so the garment will not gap. –The top buttonhole at the necklines is as far down from the edge as the button diameter, or button radius +1/4”
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Buttonhole standards
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1. Width is appropriate to weight of fabric and size of buttonhole. 2. Ends are bar tacked to prevent buttonhole from tearing under stress. 3. Stitches are evenly spaced along each bead. 4. Length is sufficient for button diameter plus thickness. 5. Beads are far enough apart that cutting the hole open does not cut the zig zag stitches. 6. Ends have not been cut open accidentally. 7. Buttonhole areas are interfaced appropriatlely-weight,color,etc. 8 Buttonhole is on grain; vertical buttonholes are perfectly parallel to garment edge; horizontal buttonholes are perfectly perpendicular to edge.
9.Choose horizontal or vertical based on expected stress, dominant design details, fabric design. 10. Buttonholes in knit fabric must be reinforced with a woven patch of fabric between the layers to prevent stretching. |
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Attaching Buttons
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Patterns are made for the button size specified. Don’t buy much smaller or much bigger buttons than suggested.
Mark button placement by lapping the buttonhole side of garment over the button side matching center lines. Insert pin straight through buttonhole and into bottom layer of fabric. Button is placed 1/8” down from top of vertical buttonhole and 1/8” in from horizontal buttonhole. Carefully lift buttonholes over pin. Insert threaded needle at point of pin to sew on button. Mark and sew on buttons one at a time, buttoning previous buttons for accurate marking. There are two types of buttons; shank buttons and sew-through buttons. A shank allows a button to sit on top of the buttonhole instead of crowding to the inside and distorting the buttonhole. A sew-through button needs a thread shank. Carefully lift buttonholes over pin. Insert threaded needle at point of pin to sew on button. Mark and sew on buttons one at a time, buttoning previous buttons for accurate marking. There are two types of buttons; shank buttons and sew-through buttons. A shank allows a button to sit on top of the buttonhole instead of crowding to the inside and distorting the buttonhole. A sew-through button needs a thread shank. |
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Attaching a shank Button
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1. Cut length of thread, thread needle and fold in half, tie knot.
2. Secure thread on right side with a small stitch under button. Bring needle through shank hole. Insert needle down into fabric and pull through. Repeat, taking 4 – 6 stitches through the shank. 3. Secure thread in fabric under button by making a knot. Hide thread by stitching back through fabric away from button. Cut thread close to fabric. |
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Attaching a sew-through button
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1. Thread needle as for shank button and position button at pin mark. Place holes in button so they line up parallel to buttonhole.
2. Secure thread on right side with a small stitch under button. Insert needle into hole, back through the second hole and down through the fabric layers. Stitch and form a thread shank. Repeat. 3. Fasten stitches between garment and facing. Hide end of thread. |
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To make a thread shank
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1. Secure thread at button mark, then bring needle up through one hole in button.
2. Lay a pin, matchstick, or toothpick across the top of the button. Take needle down through second hole (going over the pin) and repeat making about six stitches. 3. Remove pin or stick, lift button away from fabric so stitches are taut, and wind stitches firmly around the stitches to make the shank. Tie a knot at bottom of shank and hide thread. 4. Length of shank should be appropriate for weight of fabric. |
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Pressing Guidlines
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1. After stitching any detail press it flat, just as it was sewn. Exceptions – for eased areas, gathers, etc. Press just the stitches to integrate the thread into the fabric.
2. Most seams are pressed open. This is symmetrical and a sign of higher quality. Exceptions: armholes, crotch seams, topstitched seams, enclosed seams on edges. 3. Press along straight grain directions. Don’t slide the iron in any bias direction – it will stretch the fabric. 4. If the fabric can tolerate steam, use it. It makes pressing more effective. Set heat levels according to fiber being pressed. 5. For enclosed edges (faced, necklines, edges of collars and cuffs) press seam flat, then open, then turn and press edge to get a crisp edge and avoid seam wells. The point presser is an effective tool for this unless the seam is completely straight. Slightly favor the edge so the seam doesn’t show. 6. Use a press cloth for any pressing on the surface. If you need more steam it can be dampened. Press cloths can be cheesecloth (see through) folded to several thicknesses, or muslin (washed), or scraps of the garment fabric. 7. Press curved details over a tailor’s ham. 8. 8. Press napped or pile fabrics (corduroy, velvet, velveteen, velour) on a needleboard so as not to crush the pile. |
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Collar
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A decorative piece of fabric sewn to a neckline
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Collar interfacing rules:
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Collars must be interfaced to enhance appearance, roll, and durability.
For blouses and dresses the interfacing is attached to the upper collar, or the one visible when the garment is worn. For jackets and coats the under collar is interfaced and the upper collar may be underlined. The outer edge of a collar is usuallly an enclosed seam and is called the “style edge”. The shape of the style edge is what the collar is named for. |
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1. Collar Preparation
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Apply interfacing to collar – fuse (trim off 5/8” first) or machine baste at ¼” from raw edge.
2. Place collar and collar facing, or upper collar and under collar, right sides together. 3. Stitch 5/8” seam, reducing stitch length when nearing and leaving sharp points Trim and grade style edge seam. Trim corners diagonally to reduce bulk a much as possible based on fiber content and tightness of weave. Interfacing 1/8, under collar ¼, upper collar 3/8 4. rolled collar – pointed collar trim, grade, clip, notch set-in sleeve techniques and seam treatments for them 5. press seam open as much as possible. Point pressers usually are the best tool for this. 6. Turn collar right side out. 7. Press edge from the under collar, or collar facing, side, slightly favoring the seam edge. 8. If fabric does not take a crisp press very well, understitch as much as possible of the style edge. 9. Baste raw edges together. Pull under collar out 1/16th to 1/8th “ for roll. 10. If topstitching is desired do that before attaching collar to garment |
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Collar attachment and facings: Is your collar flat?
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Does your collar roll?
Does your collar stand? Flat collars need complete neck facings. Standing collars do not need facings. Rolled collars need neck facings at least partially around neck. |
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Set in sleeve
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a sleeve attached at the natural armsyce (armhole) of the body; eased into the bodic.
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Pattern Characteristics of set in sleeve
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Tall cap with right angles at underarm
Single notch in front underarm Double notch in back underarm Dot at top of cap to match to shoulder seam Balancing dots on some |
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Sleeve Characteristics
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Closest match to natural arm
Hangs vertically, close to body Has ease in cap to fit over ball and socket joint Inserted into bodice “in the round” May be one or two pieces Wears best if inserted “in the round” Crosswise grain should be parallel to floor |
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TEchniques for putting sleeve in
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11. Techniques: 1. Place ease stitching on the seamline around the top of the cap between notches. Leave thread tails and do not backstitch. 2. Join underarm seam of sleeve so it is tubular. 3. Join shoulder and side seams of bodice. 4. Finish edges of seams. 5. Turn bodice inside out; leave sleeve right side out. 6. Match side seam of bodice to underarm seam of sleeve, notches to notches, and dot to shoulder seam. Pin these locations. 7. Adjust raw edges to match and pin below notches, through underarm. 8. Draw easing thread up carefully from each notche untnil sleeve cap length matches armsyce length. Distribut ease more along the diagonal portions of the cap. Do not place ease across shoulder seam area. Use fabric weight to determine length of easing stitches. 9. Adjust so ease appears even and pin. 10. Stitch seam (in a circle) beside ease stitching so ease stitching is in seam allowance when finished. Stitch again under notches, through underarm, ¼” away from seam. Trim close to second row of stitching. This is for strength.
12. Finish edges together, trimming 1/8” from raw edges above notches. Finishing together reduces bulk, especially in gathered styles or layered sleeves. 13. Remove ease stitching if it shows. |
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Pressing the sleeve
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Cap seam will naturally roll out when arm is inserted because of inward curves at underarm.
Press cap seam non – directionally, do not bend either the bodice or the sleeve. Do not press on the surface, flattening the cap seam. Women’s set-in sleeves should look rounded, not flat. Seam allowance left in sleeve cap should be no more than ½” at the most; may be 3/8” in smaller sizes. |
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Hem
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A hem is the finish on a raw edge along the bottom of your garment.
A hem will finish the raw edge and add weight. Stitches should be ¼ - 3/8 “ apart, any further weakens the hem. Stitches should be vertical or diagonal. Use a single strand of thread. Catch only a few threads of fabric. You do not want a lot of thread exposed. |
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Flat or slant hemming
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easy to do, fast to do, but very thread, don’t use it, poor choice, threads easy to catch, weakens the hem, doesn’t look professional.
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Slipstitch: Required on a folded edge.
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1. Use with light, some medium weight fabric.
2. Very visible, bulky, somewhat slow to do. 3. Very durable. 4. Keep tension relaxed, keep stitches properly spaced. |
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Felling Stitch or vertical hemming
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Any finish on edge except a thread covered one.
Suitable for all weights of fabric. Quicker than a slipstitch, very versatile. Less durable than slipstitch. Keep spacing correct. |
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Hand Bling hem:
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Edge can be anything except a fold.
Any fabric suitable, but better on medium and heavy. More invisible than others. Can be made to stretch. Keep tension relaxed. Stitch ¼ “ below top of hem. |
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Machine Blind Hem
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Any edge will work.
Any fabric is suitable, but better on medium and heavy, not good on solid colors or shiny surfaces. Can show too much, may not even catch hem, not suitable to all fabrics, requires special presser foot. Keep it ¼”-3/8” below top of hem. Don’t apply it universally. |
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Shirtail Hem
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This hem is also the edge finish.
Good on light to medium fabrics. Limited use. Sporty appearance when used. Must be parallel to edge. Stitch along upper fold on inside. Keep it at ¼”. |
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1. The lap of a lapped zipper is how wide?
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3/8
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2. TorF You should back stitch whe bastig or staystitching
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F
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3. What does it mea to grade a seam
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To trim the interfacing to 1/8, ad the layer that’s facing the garment to 3/8 so that there’s o ridge
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4. What shapes require clipping to relax seam allowances?
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Inward curves
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5. What shaped edges need to be notched to reduce bulk in seam allowaces
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Outward curves
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6. What is uderstitching
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Wtitching the facing to the garment to keep it from flipping out, it also strengthes the garment.
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7. Why are facings uderstitched
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To flatten ad strengthen the facing to the garment.
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8. TorF When cutting interfacing for waistbands cut it the same width as the waistband
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F
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9. What are enclosed seams
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? Seam that cannot be seen on the garment but are inclosed in fabric
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TorF The selvage is the tightly woved, finished edge of fabric
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T
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TorFSerging, zigzag, and the blid hem stitch can all be used to finish seams:
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T
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Grading is making short cuts perpendicular to the seam line
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f
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Interfacing should be heaver than the fashion fabric
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f
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Gathering basting should be done 3/8” and 1/8” from the raw edge:
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f
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An elastic casing should be ¼ wider than the elastic itself:
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t
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Ease stitching is done ½” from the raw edge on a 5/8” seam allowance
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f
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Notches are used to match cut pieces to assure correct garment assembly
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t
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The width of the lap on the lapped zipper should be less than ½” but wider tha ¼:
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t
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The yarns running parallel to the selvage are the filling or weft yarns
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F
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When preparing a sleeve cap for insertion into the garment what type of stitching should you use?
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Ease stitching
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In ease stitching The stitching line should be ------ fromt eh cut edge of the sleeve
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5/8”
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TorF for ease stitchin the stitching should be backstitched
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f
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4. The---notche is found on the front of the sleeve
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single
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5. The ---notch is found on the back of the sleeve
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double
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1. What are the two main types of buttons
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Sew through and shank
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2. What is the “shanke” of a sewed button
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Either a column of threads on a sew through button or a plastic or metal end of a button that protrudes to life off of the surface.
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3. Why do buttons have to have shanks
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They rise the button up above the garment so that the layer of garment can get through.
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4. What determines the length of a thread shank
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The thickness and wight of the fabric you use
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5. TorF Sew buttons on with a double strand of thread
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True
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6. How do you determine the length of a buttonhole for a particular button?
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The diameter of the button plus its thickness.
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7. For women’s clothing the buttonholes belong on the -----front
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Right
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8. For men’s clothing the buttonholes belong on the ----frong
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Left
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9. The two most common thread patterns for sewing buttons on (the direction of the stitches on the button itself are
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parallel and cross
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1. A row of directional stitching to keep the seamline from stretching out of shape during handling of fabric is called
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Staystitching
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2. How far from the seam should this row of stitching be stitched
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1/8 fromt the seam
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3. What type of stitching is used to strengthen a seam where you clip to the seamline
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reinforcement
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What is the stitch length for reinforcement when you use one line
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20-24 spi
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5. Two rows of stitching in an area of high stress is called
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reinforcement
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What is the stitch length for reinforcment when you use two lines
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Regulation 10-14 spi
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7. When you sew the facing to the seam allowance to reinforce a seam that has been clipped to keep the facing from flipping out and the seam rolled under you are doing what
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Understitching
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8. If you have a 5/8” seam allowance to and you need to trim it to 3/8” how much would you cut off
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¼
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9. If you have a 5/8 seam and you need to grade the seam allowances what would you trim them to
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1/8, ¼, 3/8
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10. Name a pattern alteration rule
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Make sure the pattern is lying flat
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