Demystifying How to Read a Sewing Pattern Part 2

1. Introduction Demystifying How to Read a Sewing Pattern Part 2: Welcome to demystifying how to read a sewing patent PO2, where I'll be making the skit from PUD, from the patent and I reviewed in part one. In this class, I'll explain what all the information inside the patent and vote means. How to adjust the patent TO measurements. How to lay out and cross out the fabric with some modifications, clues and tips to following the pattern instructions. A brief overview of fitting a straight scat, selling instructions with tips. Along the way you'll see the classes labeled tips. These are additional lessons on specific subjects or techniques. If you feel you already know the subject, then skip over it. 2. Reviewing the Skirt Design: Before we start, let's look at the design making viewed from the skip pattern we reviewed in part one. From the drawing, it looks like the scarce is slightly past the knee and length. It's not completely straight. You can see it goes out ever so slightly. And it has a vent in the center back as well as a center vaccine. I'm going to make some slight adjustments to my scarce. The drawings on the right has the slight modifications I'm going to make. He can see my sketch is a little shorter. Because of the shorter length, the vented, the back would be quite small. And this is not really a good look. So I'm going to omit the event. Seen as we are not having events, we can omit the center vaccine, which is great because the Fabrikam using as quite a bold print and I won't have to chop the fabric op, it's slightly tapered at the sides. This is tentative because I have to see if my model can walk in it comfortably. So that will be determined at the fit and stage. Last modification is to add an exposed HIPAA. If you've seen my lessons on zipper applications, this is also called a decorative CFA. I think it will look great in the back of this sketch. I will also show you how to add a lining, which isn't included in this patent. 3. Reviewing 1st Page of Pattern Instructions: When you open your patent envelope, you'll find the patents which are usually in tissue paper, and 2 plus pages of instructions which are numbered. The first page of the instructions gives an overview of the patent pieces, general directions on the cotton layouts. This page is full of helpful information with reading go though, before you even start to call ASO. Let's take a closer look. I've divided the page into three sections. Let's look at the first one. Here in the fist box you can see the line drawings of all the styles front and back. Each one is labeled with the same lattice as on the front of the patent envelope. Here on the right you can see all 11 patent pieces that are in the envelope. Each patent pieces labeled with a number. This is helpful because before you even open the tissue paper, you can determine what pieces you're looking for. See, I've circled all the pieces I'm going to need for view d. This quite a bit of information here. This first section is showing you all the different patents symbols that are printed on the tissue. They also become more apparent when we start to lay the patent on the fabric and cosine. Now, I've added a tips lesson on symbols in case you need a little more information on this. Underneath the symbols, it's telling you the amount of seam allowance to use. The five-eighths, 0, 1, 0.5 centimeters is standard on most patents, unless it tells you otherwise in the instructions, I've added a tips video on how to keep your seam allowance consistent if you need help with that. It's also telling you about adjusting your patent and there's additional information on the tissue. Here it shown you how to lead the no-show and the patent. I'll explain how to do this shortly. Underneath Awesome general. So in directions, this is an overview of various techniques that aren't necessarily specific TO patent. This is something that's included on most patent instructions. Cocina marking gives tips and suggestions on what to do before you cut the fabric and after, such as washing your fabric and transferring patent markings. This is worth reading over, but we will be covering some of the suggestions. The special co-sin notes of the old patents, but may not pertain to your particular garment. Note in the top left, it's explaining that if the patent piece is shaded, It's been placed onto the fabric printed side down and not shaded is printed side off. It's also reminding you that if you see either of the two symbols, the star or the little snowflake, you need to review the special cosine notes. What the coasting layout gives to you as a series of examples based on the design you're making, the fabric, width you're using, and the size of the garment you're making. Look over the layouts, eliminating the ones that don't pertain to you. When you find your second, you can see I've circled beauty. My fabric is 45 inches wide and I'm making size 14. My fabric layout will deviate from this though, Jew, to the modifications I'm making, there is additional layouts on the other side of the page, look at the layout and assess what it's telling you to do. See the fabric is folded in half with the salvage is together. Two of the patent pieces are placed on the fold. All of the patent pieces are placed face down except number five. In the general directions, it suggests folding the fabric. So is the right sides are together with the fabric I'm using. I'm not going to do that on I'll explain why when we get to that point. On the other side of the page, it shows two options for laying out the interfacing. 4. How to Adapt the Pattern: Here I have my pattern pieces for view D, and I press them with a warm ion as suggested. Let's look at my models measurements and compare them to the pattern sizes. The largest size for this pattern I have is 14. The models waste is three inches bigger under hips or two inches bigger. First thing I'm going to do, if he remember from the modifications, I don't have a center back seam. This is the center back seam. So I'll fold on the stitch line and the pattern will then get placed on the fold of the fabric. Next is the length, my model, once you've finished length to be 20 and a half inches and go into make it 20, 12. So she's got some wiggle room. If you look at the ham area, It's telling you the Hamiltonians is one and a quarter inches. So I want my finished length 21. Add the one and a quarter inches to the 21. So I'll adapt the length to 22 and a quarter measure down the center front from the waistline. It's measuring 25 inches. So I'll need to show in my pattern by 23 quarter inches. These two lines here are the lengthen and shore lines. That's where I'm gonna take off my 23 quarter inches. I'm measuring down from the top line and marking 23 quarters on the other side. The same, join the two points. Mode on the pencil line. Drawing in the folded paper up to that top line. First matching the grain line and pin line up the rest of the pattern and pin. Do the same on the front. Next step is to mark the hip line on the back Patton. Just so as we know where to adjust the pattern to do that, line up the center front and center back. You can see here on the front, it's indicating where the hip line is placed. The ruler on the hip line. Check the rule is at right angles to the center backline and draw on the hip line just at the side seam. Now, we've already established we need to add three inches at the waist and two inches at the hips. We have four sides in total, two on the back, since half the back and it's placed on the fold. Two sides on the front. This is also placed on the fold. Three inches divided by four is three quarters of an inch. That is what we'll be adding at the waistline. Measure out a mark for the hips, two inches, two inches divided into four, is half an inch. Measure out at the hip line and mark. This is a hip curve ruler. Placed the ruler. So as you're matching of the two points, I'm going to taper it into the original line as I want this to be a little tapered. Join at the waistline. Do the same on the front. Any adjustments we've done here, we need to do on the facing. Here's the front and back facing. Take the facing. This is my buck and layer on top of the scarce at the waist lining got the size 14 lines once it's matched, trace of the adjustments from the sketch onto the facing back. Facing still has the seam allowance on at the center back. I'm leaving that on for now and I'll trim it off later. Do the same with the front. If I have added a straight three-quarters of an inch all the way down, I could have just added the three quarters of an inch onto the side of the facing book because the line is tapered into a half-inch should the hip. I'm doing it this way. Here's my tartan coast house on the new adapted lines. 5. Tips on the Grainline: Boil them. Fabric is made up of yawns that run vertically, which are called the wall, and horizontally which are called the weft That interlace the grain of the fabric is the directions in which the ions that make up the fabric, Kali, the Wolpe ions, are stretched onto a loon and the weft yarns are interlaced through the walk going under and over each wolf threat, depending on the type of wave. He possibly may have done this in school as a kid. At the edge of every woven fabric, the yarn is often woven a little tighter. This is called the salvage. This sketch is an example of a plain weave. The warp and weft threads run at right angles to one another. Both the warp and weft have different characteristics. The wolf, which is also referred to as the lengthwise grain, is the stronger of the two with very little gave or stretch. Generally, it's the lengthwise grain that is used to run the length of garments. The weft, also referred to as the crosswise gray, generally runs horizontally across the body as it has a little molecule. Sometimes the crosswise grain will be used for the length of the garments, but for the most part, it will be the lengthwise grain. There's also something called a bias costs. This is when the fabric is costs on a 45-degree angle to the Strait of grain. The majority of patent pieces need to be placed with the Straits of grains symbol running parallel to the wall. Looking at this example, you can see the patent has the grain line running down the center. That grain line symbol on the patent needs to run parallel to the cell vetch. To do that, you would place your patent piece on the fabric and measure from the top of the grain line symbol to the cell that whatever the measurement is, it needs to be the same measurement at the bottom of the grain line to the salvage. 6. Tips Preparing the Fabric for Cutting: When you buy your fabric from the fabric store and they cuts it, he don't really know if that cut edge is on the Strait of grain or cross grain. Going to show you four different ways how to find the cross grain. The first one, which is most people's favorite, is what I call a SNP and rip. And this is suitable for cotton fabrics to linings Shift Fonz, anything that's not too heavy with a flat consistent. We're looking at this fabric. Here's the salvage, and this is the straight edge the Stowe would have caught. So I have myself edge to salvage, snip into the salvage edge about an inch down and rip off the top. You can see how that edge was quite uneven. The goal is to have a thread that runs continuously from one cell batch to the other. Once you've done that, you have this Straits of grain. When you lay your fabric cout for coating, when you fold the fabric matchup the edge uv just ripped on the cell that juice and you fabric will be prepared for causing. The second technique is to use a prominent line in the fabric, a check or a stripe. Here I have this piece of fabric and you can see it's not straight for this fabric. I'm picking a prominent point, the bottom of this green diamond shape. I'm lining up my ruler and drawing a line with chalk. The chalk line, this is my least favorite technique because in my eyes, I'm not totally sure the fabric is on grain. The third one, which is great for fabrics thought our Lucene, we've hairy have this fabric and here on myself edges, along this top edge where it was caught lots of frayed threats. What you would do is stop pulling the frayed threats off until you have one continuous threat from oneself edge to the other. This comes off quite easily. This is very time-consuming. Unusually, people's least favorite. If you have a piece of fabric, say like this, this is Kashmir and silk. For me it's with invest in the time. So as I know, when I'm coasting out my fabric, it's on grain. If you look here at the fabric that I used for the scarce, I use this technique. I didn't cook the frayed edges off. But you can, if you think that will be easier to see the straight edge. The last one, which is also great for a loose weave fabric. Here I've got a scrap of linen. His myself along the salvage edge, come down an inch from the coast hedge with a pen or needle, pluck one of the yawns, then very gently pull the yawns. Now it's highly likely that the Yom will break and you'll have to find that pull Jiang. You can see it's tight. I can pick it up again and continue this breaking of the dawn depending on the fabric can happen often. So it's a bit of a pain. Ceo, I have a line across which I can now pass along. 7. Pinning the Pattern to the Fabric: Here's my fabric. I've washed and dressed as suggested because of the modifications I made to the patent. I'm doing a different fabric layout then suggested on the patent, I've found the cross grain here at the top. I'm folding my fabric. So as the patent is on the outside, which is also different than suggested, two reasons for doing this. The fabric has this large print and I'd like to see where the printer is going to lie on the sky. But also in part one, I talked about fabric with a nap. Even though this fabric doesn't have enough, it does have a directional print. Fabrics with a directional prints can also fall under the NAACP rule. You need to cut them in the same direction. So as the print is not upside down, now I don't have a lot of fabric here, so I have to be creative when laying out my pattern. I've already tried a couple of options, and this is the one that allows me to get all my pieces on the fabric. The width of the fabric is 54 inches and folding in one side just enough to fit my patent pieces on. My cross grain is lined up at the top. Before I pin my pieces on, I want to measure and check that this piece folded is the same amount all the way down. Then I'll know migraine is straight. Both my front and back pieces are placed on the fold. First thing is to pin the center backline on the fold, which is the grain line. Always measure and pin the patents green line first, pin the rest down. Once you've positioned your fabric, you want to try not to move it around. This as impossible for me as I live in New York and spaces always an issue. Fortunately, this fabric has very little movement in it. If I was using a stretchy fabric or a chiffon, it wouldn't be a good idea to shift the fabric around like this. I'm doing exactly the same with the patent piece, Penny edge to the fold and then pin the rest down. For the facing pieces. Again, I'm folding in, lining up my cross grain. I'll just move that out the way and now I can fit my facings on. This isn't interfering with the skip pattern. Check the folded in peace is the same measurement down the length of the fabric to ensure the grain is straight. Even though I'm right up against the fold, the patent piece is not on the fold. Remember, I'm putting that exposed Sippar in the center back, pin the grain first than the rest. From facing is going on the fault. Penny on the foal first, then pin the rest down. Now we're ready to cut the fabric. 8. Tips How to Pin: When you pinning a lot of people, when they first start sewing, they lift up the fabric and pin like this, holding the fabric up off the table. He don't wanna do that. You want to be able to keep the fabric flat on the table, on the patent flat. Put the pin in. And if you lift the pin, you can see if pin through the fabric as it's lifting. Put your finger about half an inch away from where the pin when tin and push up with the pin. So as the pink comes up and over the top of your finger, here is again, pin down. Lift up the fabric, put your finger down half an inch away from YOU. 110, push up with the pen. Eventually you will get good at this. After a while, you don't really need to put your finger there. But when you're starting out, it's a good way of doing it. Be patient and go slowly. 9. Tips Pattern Symbols: Here's a brief outline of the most common patents symbols. You'll come across. A circle with a cross in the center indicates where the bus line, waistline and hip line. Ah, generally next to this symbol, the patent will list the finished size. This can be a quick way of determining how much ease is in that particular area. So if you're making a size 14 skirt, the hip measurement is 38 inches, and the patent lists the hips finish, size is 40 inches. Then you'll know this guy has two intrusive ease around the hips, depending on the patented brand, the bus line, waistline, and hip line may be indicated by a simple line lengthening and shortening lines, double solid lines running across the patent piece. This is the recommended area to lengthen or shorten your pattern. I cover how to do this in the, how to adapt the patent video. Cutting lines and sized lines are cutting line is often a solid line that sometimes has a scissors icon on it. If the patent comes in multiple sizes, it will have a series of lines all slightly different from each other, representing a different size. Grain line. The green line symbol indicates the orientation of the patent piece on the fabric. Generally, the patent is placed on the lengthwise grain parallel to the salvage. I talk about this more in the tips on the grain line video. The place on the fold symbol is indicating that the edge of the patent piece should be placed along the folded edge of the fabric, as well as being on the green line. Not choose can be 12 or three diamonds, usually half inside the patent and half outside on say, bed a Patton's, they'll just use a single line like the one on the right. Not choose our little points on the patent that are transferred onto the fabric, either by cutting out the little diamond shape or slightly snipping into the fabric. Once the pattern is removed, these little indicators helped to match up seems. Squares and triangles are also marked onto the fabric. And when the pattern is removed, they are used to help much choke points on the garment often appear on Kahlo's sleeve, head's neck lines and shoulder points instead of snipping into the fabric, as with the notches, you would mark these onto the fabric either with chalk, carbon paper or a tailless tack. If you're not familiar with tail attacks, I demonstrate how to do them in my fly from Sippar video, dot symbols, Dots can come in a variety of shapes. Here on the left is a standard dog with straight dot next dot legs can be also calved the dos and the rice is a fisheye dot often used on dresses. Knows how the Tao also has the little circles along the dart legs. You can mark on the fabric of these points, either with chalk or tail attacks to match up the dot, button holes are marked as a horizontal or vertical bar, and the button placement is marked with an X. These markings, again can be transferred onto the fabric either with chalk, carbon paper or tail attacks. 10. Cutting the Fabric: I'm ready to cut my pieces out. The idea is rather than move the fabric, you want to move yourself around the table for me now, that's unavoidable because the cameras on the other side of the table, I tried to keep this part and this pause, if this says is on the table when I'm cutting and take big strides with this business. Any small pieces of fabric I like to cut off to get them out the way. Take your time when coaching. It's crucial you get this right. The monocot, the best yield gap. 11. Transfering the Pattern Symbols onto Fabric: Those patterns have these little notches and they are all little indicators of how to match up your pieces when she take the patent off the fabric. There's a few ways you can do it. You can cut a little triangle outwards or you can snip into the triangle. I usually snip into it about 1 eighth of an inch. Snip into the top of the dot legs, making sure you're on the correct size dots. I like to do all my snipping first. Same with the back and the two facings. Now I'm going to mock the dots. I'm using carbon paper for that as a marking on the wrong side of the fabric. Take the carbon paper and fold it in half. So as the carbon side is facing outwards, this is my tracing wheel. Sandwich the carbon between the fabric. When you using a tracing wheel, it's best to have something underneath, say, a cutting mat or a magazine. So as the wheel has something to dig into, follow the dot like this one isn't as clear, but I can go over that with chalk. I can see where is another mocking I'd like to add is the center backline about 7.52 inches down, where I'm putting the zip measure down and pin along the fold line. Take the patent or open out the fabric and draw on the center back line with chalk 7.5 inches down where the pins are. This is for the ZOPA. Now I have all my markings done. I like to keep all the patent pieces attached to the fabric till I'm ready to so that particular piece or pieces. So even though I've just removed the back pattern piece, I will reattach it until I'm ready to. So that piece. 12. Interfacing: Here I have my facing patent pieces pinned onto the interfacing occasion are familiar with interfacing and how to use it. Here's a brief outline. Interfacing is an additional layer of fabric that's added to the inside of specific areas on a garment to add support, shape, and stability. Here's a few areas on a garment that interfacing would be used. Colors, coughs, waist bands, facings, lapels, hemes, seems, and nullclines. Interfacing comes in three different structural types within non wave and, and net. The one I'm using here is a non-woven and interfacing comes in different weights, light, medium, and heavy ways. They also come in two different categories. So in and usable, also called ion-ion. How do you decide what wait to buy for the garment you making? You want the interfacing to support the fabric, not overwhelming. The interfacing shouldn't be heavier than the fabric. In fact, it should be a little lighter. I'd like to have my fabric with me when I'm buying the interfacing, a place the fabric on top of the interfacing and hold them together. I'll screw the fabric and interfacing up and my hand and just get a general feel of how they would behave when placed together. Keep in mind if the interfacing is feasible, ones fused, it will add additional structure. Hero MAY front and back fabric facings and my interfacing, just to note here, I've cut my interfacing slightly smaller because it's feasible. Any overhanging will stick to the ironing board, place the interfacing onto the wrong side of the fabric, making sure the feasible side is facedown. Set the ion on cotton, place a piece of muslin over the top and press and hold on that area for 45 seconds, given it some steam jackets fused, you can usually see if it's not fused, the interfacing will bubble, continue attaching the other pieces. Hi. 13. Sewing Directions: So in directions inside the patent can be quite baffling for new psoas. Here are a few pointers when you're starting out at the beginning of the directions is this little fabric key diagram. This is in reference to the diagrams that accompany the written directions. Little diagrams that sit alongside the explanations are often key to solving many a dilemma. If the diagram is shaded, it indicating we are looking at the right side of the fabric, clear the wrong side of the fabric. If it has this little crosshatching LB, the interfacing for the poker dots. It's the lining. When you get to the written instructions, read them slowly, then reread them. Eventually the terminology will start to make sense when I was learning to. So I relied heavily on the diagrams, study the drawings, and look for clues. Here you can see we're looking at the scab pieces. It's the right side of the fabric. You can see all the notches. So you can open your fabric hours and match it up to the image the arrows are indicating the direction to. So in. Here's another example, looking at the diagram, you can see we're looking at the wrong side of the fabric. There's two pieces joined together. The and the Nazis are matching also the ankle area. You can see the large dots they are referring to. His my last example. The loose threads on the diagrams usually indicate that that is the stitch line they are currently talking about. If you remember from part 1 I mentioned the ESE patterns often have more instructions and they don't make presumptions that you're familiar with certain techniques. So it's quite a good idea to try out a few patterns labeled basic to get comfortable with the format. 14. Stay Stitching + Darts: I've taken my pattern pieces off, and because they are quite similar, I've labeled the front with an F, as you can see, I've stay stitch that the waste starting from the side seams into the center front and center back as suggested to stop the waist area from stretching out his my phone with the dots marked on the wrong side. I'm going to pin my dog. So you can see here where I snipped into the top of the dots and here's the end of the dot, pinch the end of the dots and folded in half, matching up the two little snippet areas, check the notches are together. Pin the top and check the back to see if the lines are meeting and the not. So I'll just go with it and recheck. Then back to the bottom and pinch and pin, checking the lines match. The rest of the dot checking the lines are matching. If he noticed, I've considered how I'll be sewing this on the machine. Most of my fabric is going to be to the left. And you always start sewing the dot at the widest part. Pins placed in this direction will make it easier to pull out when sewing. I'll pin my remaining three dots then head over to the sewing machine and started at the widest part, taken out the first pin. Hold onto the threads, stitch about three stitches, then reverse, follow the carbon line. And when you get to the end of the runoff, don't reverse. Spread out leaving about three inches of thread. Separate the threads and tying a knot and trim not too close to the knot. Go ahead and stitch the remaining three dots the same. Now I'm going to press my dots. First thing is to just press it flat just on the dot, make sure that ion doesn't extend past the dots. Now I'm going to use this. It's called a tailless ham. It's used for pressing anything calved as one Sita is Willie, and you can use on wool fabrics and the other side, which is cotton. The cotton fabrics place the fabric over that ham Dato. Always press towards the center front or the center back. So position the dot and press it down just to the tip of the dots. Give it some steam. Flip it over and just make sure the door is pressed out properly without the fabric getting folded. Just press to the tip. Go ahead and press the remaining three dots. 15. Fitting: They've pasted the sketch together and left an opening on the left side for now, a stitched piece of black tape down the center front and center back, just so you can see where it is and how it should hang his cane, my module, this will look in at the front view. You can see the center front line is straight. This no rushing around the hip so the waist, the headline is horizontal and not crooked. The front looks good. You can attend to a right so we can see the left side seam. You can see at the top where I've pinned here, the side seam is straight. The Hamline and the waistline both look horizontal with no tilting. So everything looks good. She's turning so we can see the back view, the center back line looks nice and straight. The ham and the waistline look horizontal with no tilting. Now we'll look at the right side seam. Seam looks strays and the Hammond the waste horizontal with no tilting or pulling. I had a sit down in the scared to make sure it's comfortable and not too tight. So all in all the fit is good. Some problems you might encounter if you have rushing around the waist, it generally means there's not enough fabric on the hips. Let the side seams out around the hip area and that should rectify the problem. Drag lines across the hips means you need extra fabric around the hips. Again, let the side seams out at the hips. Here are a few other scenarios I can show you see how the center front is tilting to all left at the hem to rectify that raised the waistline on her left side. And remarkable what the issue is here is a right hip is higher than the left. See how the Hamline is tilted upwards at the front and the site team is tilting towards the front at the ham and is not straight. To rectify this, raise the scarce at the back waistline and remark the waistline. This will straighten out the side seam and Hamline. This would generally happen if someone has a bit of autonomy. Third scenario, this time the haem is racing at the back and the side seam is pointing backwards at the ham. This time we would raise the waistline at the front and remark the waistline. This would happen if someone has a bit of a, but just to note about remark in the waistline. Once you raise the waistline, either front or back or either sides, and you're not sure whether true waistline should be. Remember from part 1 when we tied string around the waist when measuring, well, you can use that technique here to find the waistline. Last one, see how the center backline is tilting towards left at the ham. To rectify this, we would raise the waistline on our rights and remark, this would happen because the left hip is higher than the right. These were just a few very basic overviews, but it's great to observe what can happen when 15 and know how to fix it. 16. Tips Example of Using the Crossgrain: Here I want to show you an example of using the cross grain as your grain line. I'm using the cross screen here because of the fabric design Hera may sell of edges. And you can see I've got this really bold print that is running across the fabric. I want to use this print down the length of the scarce, this part here. To do that. Here I have my front patent that's been modified to someone who would like half-finished length to be 23 inches. So I've marked on the one and a quarter Hamline and I'm folding it up. So you can see here, I want it to finish right at the bottom of the motif. I've marked the ham on the backpack and who? I'm going to fold the fabric. So as the center front and center back runs down the middle of the motif. If I look at the motif, I can see this is the center here. And here. Where the center is pinching up unfolded, this fabric is quite stiff so I can finger press it as I fold it. Check that the cell, the edges are lined up. I have a lot of this fabric, so the little weights come in handy. Make sure it's nice and flat. Now I've got my fabric ready to position my pattern, fold back the ham and make sure it's lined up with the bottom of the motif. That's going to be the first place. I'm going to pin. Then pan along the center front. Then I can pin the rest of it down. I'll do exactly the same with my back. I'm also going to omit the center vaccine. So I can have that lovely large motif on the back. Rather than put the zip in the center back, I'll put one in the side seam. So is it doesn't obstruct the motif. You can see here I have my front and backs get pieces cutouts, and the motif is sitting nicely in the centers. You can also see how the motifs are matching up at the sides. Here's the finished scarce. See how lovely that both motif flux down the center front and center back and how the pattern matches on the side seams. Now because the cross grain has a little giving it. I've lined this get so is it doesn't stretch out when she's wearing it. 17. Zipper: This is my center back line that I've marked on the wrong side of the fabric. I have this interfacing that's a centuries long. I'm 1.5 inches wide that I'm going to place centrally over the line. Put the muslin cloth over and press with steam and hold on the area for 45 seconds. Check gets fused. This is my pocket for the decorative zip. It's four inches and crafts and nine inches long. This is my E zip because all zips are different. I want to measure where I'm going to stitch. I'm going to line up one of these inch lines with the center of the zip. And I can see that I'd want to stitch a quarter of an inch away from the center on either sides. And that will accommodate for the zip to be pulled down and also to show some of the pink, which is why I want this thing. This is the top and measuring down five-eighths of an inch and marking on this center line, that's the seam allowance. Lying the top of the zipper tape up just below that five-eighths mark. And just below the stopper Mach. Now I'm going to line up the OSI inch mark on the ruler with the center line and mock, mock the other side or sugar an inch out from the center line. Use the bathroom of the ruler to get a right-angle on the bottom. I'm extending that line out. So is when I get to here, when I'm sewing, I'll know that's where I'm turning the corner. Now, the plaque is ready. Here's the scale where we put the interfacing. You can see on the right side, I have the same line marked on his my packet. This is the top, folded in half and finger press it, line up the fault with the chalk line, right sides together. Flip it over and pin down the center line. Check your lines on my chin up. Now I'm ready to sew, turn it around so I'll be stitching from here. So I'm placed in my pins this way so they're easier to take out. Now I'm painting on this stitch line. You can take out the pins in the center line. Now, here I am at the sewing machine and I'm starting on the left line. Take out that first pin. Hold onto the threads, reverse at the beginning. This time your eyes on the needle, making sure you're following that pencil line. When you get to here, go slow. If you're not sure you're on that bottom line, keep checking. I think I'm one stitch you weigh some doing that manually. Leave the needle down, spin the fabric around. I like to count how many stitches it takes to get to the center line and then do the same on the other side of the line. Leave the needle down, spin it around, and follow that line. Reverse at the end. Here's my stitched piece. Just press it flat first. Then I'm going to cut down the center line to here. Thanks into these two corners on an angle, stopping a smidge away from the corners. Now I'm going to turn the plaque inside, flip that side out the way, folded forward and press just to the corner, give it some steam. Then folded inwards, make sure the seam is sitting right on that folded edge and then press with steam. Now I'm going to do the same on the other side. When he got to the bottom, it'll automatically go inside. But don't press the button yet. Flip over to the wrong side. Flatten this bottom area so it's nice and flat. If you have any polling here, it will be because you haven't clicked into the corners enough, press it down with steam. Here's the right side. Here's my zip. And placing it and and I want the bottom stopper to sit right up against the bottom here. And the zip to have equal amount of zipper tape showing turning it around so I can eyeball it. Pin the bottom first. Check the same amount of tape is showing either side of the teeth. Also check that opening. It should be half an inch. Penny the side, this is quite thick. It's difficult to pin and also to resist picking it up to Penn CEO, I have the cosine board underneath. So as I'm not digging the pins into the table, continue painting and checking the size. Openness zip to pin the top. Now I'm going to base that in place before I sew it. So is it doesn't move when I'm stitching, use double thread, make sure nothing shifts. Keep eyeballing it as he go. Now it's ready for sewing on the machine. I've changed my foot. I have this zipper on and the needless position to the right. Here's my zip. Open the zip halfway. I'm stitching on the left side of the zip. This part of the foot is lined up with the edge of the fabric. So that's what I'm looking at when I'm sewing. Making sure they stay lined up, hold onto the threads when starting to. So when I get to here, I'm lifting up the force and closing the zip, dropping the fall and continue sewing. Again, this is something you have to gauge when you get to hear stitch across the bottom slowly. I'm about halfway down, lift up the foot, openness IP, drop the floor and continue to the end. I've taken out the base sting and here's my finished step. 18. Tips Keeping a Consistent Seam Allowance: I'm going to show you two ways to keep your seam allowance consistent. Ten to a 100 towards you until the needle goes down. On my machine, I have all these guides which most machines have put mine on labeled. Even if they were. Sometimes it's easy to get off track when you're sewing and end up on a different line. Take your tape measure and line up one of the inch marks or centimeter marks with the needle. For most patterns, the steam allowances 5, 8, 7 inch or 1.5 centimeters. So I can see here which guide the five-eighths is falling gone. Yours might be marked, but I would still use the guide. The first thing he could use is one of these magnetic guides. He combined most sewing supply stores. When you sewing, you would line up the attribute fabric. And that is what you want to be looking at when you sewing that the edge of your fabric is staying up against the guide. The second method you can use as a piece of masking tape, place it on the guide. I like this one the best out of the two. Again, you would line up the attribute fabric with the guide and keep your eye there when you're sewing, not on the needle. 19. Stitching Side Seams + Finishing Seam Allowance: The instructions tell you to stitch the front and back together. I'm going to give you a few additional tips when you pinning the front and back pieces together at the side seams, pin the top together first at the waist, just one pin, then pin the two pieces together at the ham. Once you've pinned at the top and bottom together, go ahead and pin the rest. The reason for this is you can often stop pinning. And when you get to the bottom, one of the pieces may be longer. Use a guide as outlined in the tips video, lineup the attribute fabric with the guide. So if you put your pins in this way, they're easier to get out. Reverse at the beginning. Keep your edge lined up with the guide and keep your eyes. They're not on the needle. Know tau I have the majority of my fabric to the left. Reverses the end, stitched the other side the same. Usually the seam edge is finished so as the fabric doesn't continue to fray after Washington, where the pattern isn't giving any information on this for this particular fabric. I'm going to take the edge. I'm not really a lover of six Act edge. It looks a little messy for me. But the reason I'm using is because this fabric phrase a lot and the seams will be hidden by the lining when zigzagging, the needle is going left to right, left to right. When it goes to the right, it should be just outside the edge of the fabric. 20. Pressing: I've stitched my side seems to gather and zigzag the raw edges of the seam allowance. First thing to do and you've stitched to seem as to press it flat and give it some steam. Then threaded over the ironing board and go ahead and press the seam open just up to the hip area, give it some steam. The hip area on the side seams will need to be pressed over ham. If you don't have a ham, try using a towel that if formed into a ham shape, thread the ham through the scared and press the seam open. Press the other side the same as 21. Attatching the Facing: Here are my facing pieces with the fused interfacing gone with the two back pieces. If you're not sure which edges you should be matching up to the front facing. Remember we snipped into the notches, match up the notches. Go ahead and stitch them together, reversing at the beginning and the end, making sure your edges are lined up with the guide. Press the seams flat first, I'm using a cloth because of the interfacing. I've got the ion on cotton, then press the open and give it some steam. Here's my stitch facing and you can see I've trimmed the seam allowance down to half its widths just to reduce the bulk. See this edge will match up with the waistline and look for the notches. A little tip felt the facing in half, matching up the side seams. Snip a little triangle out, and that will get matched up with the center front. I'm going to do the same on the skirt. Match up the side seams. Right at the center front, snip out a small triangle. This just helps when pinning the Facing. Take the facing and right sides together, unpin the center fronts together first, I'd like to pin from the garment side, not the facing side. Then I'll pin my side seems matching them off. I'll pin vertically here so I can stitch over my pin. Pin near the site team, then match up the remainder of the front, matching the notches also make sure the edges match and the dots are falling in the right direction. For the back, if you remember, there's still seam allowance on the back facing, so that will extend past the zip. I'm going to fold it back five-eighths of an inch and trim off with the seam allowance away. And double pinning because it's quite bulky. Pin the rest of the back facing. Go ahead and stitch that down with a 58 seam allowance. Here's my facing stitch down. Now we need to trim the seam allowance. I'm separating the seam allowance and just trimming the facing seam allowance. This will be quite close to the stitch line, about a quarter of an inch in size on the patent, it suggests putting twill tape around the waist, which I didn't do that because this fabric is quite thick and with the interface and I thought that it was enough to support it. If your fabric is lighter in weight, you may want to go ahead and add the twill tape to stop the waste from stretching out. Now cut down the seam allowance to about 38 seven-inch. See it's longer than the facing seam allowance. This is called layering. Now if you look at the scale waste, this part here is quite straight, but here it's curved the same on the back. So anywhere there's a curve, you'll want to do not change here. I've got my lovely little sharp scissors notch out the curved area. I'm probably about 1 16th away from the stitch line. I'm not going to notch over the dot. So I have notched all the curved areas are my waistline. Now I'm going to press, first thing is to press flat again. I'm pressing from this side because I've got the ion on cotton ready until the ironing board, unfold the facing down and press flat, making sure the seam allowance is facing towards the facing. Do it in small increments as there are lots of areas that can possibly pressed flats that shouldn't be flattened. Right now, I'm just using the tip of the ion and holding the rest of the garments so I don't flatten anything else. Keep going around the rest of the waste. 22. Cutting the Lining Pattern and Fabric: Now I'm going to adapt the patent for the lining patent, the dot would be stitched and the facing is attached at the waist and folded in inwards. So the lining needs to come from this point down, measure the facing. This one is two and five-eighths of an inch. We want to leave five-eighths of an inch seam allowance so we can attach the lining to the facing. So minus the five-eighths of an inch, that leaves two inches measure down from the waistline, two inches, a mock. Close the door. You can either cut this off or just folded down. It won't really lie flat, but you can kind of financial it when you're cutting out the fabric. Do the same with the back. I'm coating my line in from two pieces. I have left over from another project. I folded the edges down and I have it placed on the fold. The lining fabric has a lot more movement in it than the scat fabric. So I can't really afford to move it around. This is the back. Close it out. Again. I'm going to notch and done the two dot legs. How do the front exactly the same as the back? The end. 23. Stitching the Lining: The facing gets folded back like this. And the lining is attached here. So I need to cut the lining down the center back so far to accommodate for the zip. Here's my back lining. Here's the top. If I fold this down, this is going to get attached here. So I'll cut that open to here. It would have been better to put a seam here actually, but I didn't have enough lining fabric. The seam I'm using and the lining is called a French seam because this lining doesn't really have a right or wrong side. It doesn't matter how I'm painting. But if I did, you would be pinning the wrong sides together first, pin the sides together, matching the notches. Before I said the lining, I'm going to set my guide to three-eighths of an inch, line up the edge of the fabric with the guide and keep your either reverse at the beginning, reverse at the end, stitched the other side the same. Here's my stitch seems I'm pressing them flat Fest and I've got the ion set on polyester. The next step is to trim this seam down to 1 eighth of an inch. I'm going to eyeball it, but if you're not sure, you use your measure right day on the board and press the seam to one side. Do the same on the other side, turn inside out. This is the seam I just pressed lay on the board and make sure that seam line is right on the fold and press it flat. You'll probably have to do it in small increments because it can be a bit fiddly. When you've pressed it, pin it in place. Do the same on the other side, I'm ready to sell. And the next amount of seam allowance is a quarter of an inch. So the quarter of an inch and three-eighths of an inch from the first seem makes up the five-eighths of an inch seam allowance on my machine. When I measure the seam allowance, quarter of an inch, it's under the foot. So I can't really put a guide on here. Right here. There is a small guide on the place. That is why I'm lining up my fabric to. It's also helpful to look for other indicators to use. So when I look at the fabric, now it's positioned and I can see it's about halfway between this area on the fault. So that's going to be my focus. That's where I'm keeping my eyes. Reverse at the beginning and do the same on the other side. See here's my seams where I just stitched. You can see inside the area I trimmed. So that raw edge is all encased, making it a nice clean seam. Go ahead and press the seams flat then towards the back. 24. Attatching the Lining to the Facing: Here's my stitch lining and here's where we left off with the scared turn the lining so the wrong side is spacing out. Again. I'm folding decide seems together. Make sure you're on the edge where you've notched the dart legs and snip out where the center frontiers. I'm doing the same on the facing. So we'll put in the right sides together, pin center fronts together. Then the site teams penny the side of where the dart would be. And that access folder as the little talk, making sure that access is pointing towards the center front, just like the dot would. Repeat on the other side. For the pin from the side seam to the dot. Info's out the excess. So it's pointing towards the Senate about, hey, we're a cut here where I could descend tobacco opening. I'm going to fold that back about 3 8, 7 inch. Like I said, it would have worked out better if I were to put a center back seam in the lining. Repeats on the other side. Go ahead and stitch that using five-eighths of an inch seam allowance. Here's my piece stitched and I also zigzag the raw edges together. 25. Understitching: The next step is to undistinguished the facing. This is a stitch line that's close to the facings edge and its purpose is to stop the facing from rolling outwards. So look here. This is the scarce, this is the facing, his the lining. Remember we press the seam allowance towards the facing. Well, what we're going to do is stitch here on the facing, making sure we catch in the seam allowance will stitch all the way around the waistline. So I'm ready to stitch. I'm going to use this area on my foot as my guide. So the seam is slightly under the fourth. That is what I'll be looking at when I'm sewing. Reverse at the beginning, when I'm sewing something like this that has a lot of layers and things that could accidentally get stitched. I'm always checking underneath that. I'm not catching anything in that shouldn't be reverse at the end. I'm going to press this down. You'll notice that under stitching just helps the facing to roll in. This area here is quite bulky. Just make sure that little stopper at the top of this IP is still on the other side. It doesn't fold into the wrong side position the facing. You want to see a sliver of the scared here on this side, press it down, giving it some steam and not touching the lining with the ion as I have the ion on cotton press all around the waistline. I've changed the settings to Pauli on the ion, and I'm going to press the lining down to hold the facing and place right here at the waist and side seam, pin lining up the seams. Do that on both sides teams. I'm going to stitch down about 1.5 inches and backup to hold the facing and place. I'm stitching rice in the seam. It's called stitch in the ditch. Turn the wheel until the needle goes right into the siem, dropped the fourth and stitch following the scene. Leave the needle down, lift up the force and spin the fabric around and stitch on top of the previous stitch line. Then do a small reverse, do the same on the other side, team. 26. Hem: I'm ready to do my hand and it's a one and a quarter inch ham. So I've moved the ham guide to one and a quarter inches. I have this get threaded over the ironing board and I'm just going to turn up the ham and check the size and press and continue measuring the ham and pressing all the way around. I love this little device as she can line up the red arrow with the fold. Because this fabric phrase a lot, I'm going to use a bias tape on the ham to give it a clean finish. This is a quarter-inch bias tape. His the tape it's folded inwards on either side, open out one of the folds and line up with the R4 edge of the ham like this. I generally don't pin it all the way around. I'm just pinning it to show you. I'll be stitching on the crease line where I am pinning. Once it stitched on all the way around, this will fold over and sealing the raw edge and else shoot down by hand. Fold the him out so you can stitch the tape on. Like I said, I don't usually pin it on foot. You have to be careful not to pull the tape because it's bias tape. It will stretch and if you stitch it on stretched, it will distort the ham stitch on the fold line if he just lined up in small increments and flipped the fold down flat just placing the tape, you should be okay. See when I pull on it, how much movement it has. Anytime I'm moving my fabric, I always make sure that the needle is down. Make sure you seem stay open when you go over the sea. When you get back to the beginning, you're going to overlap the tape about half an inch. Here's the haem binding I just stitched. And first off, I'm going to press that area. I just stitch flats, just that edge. Make sure you're not pressing out the Hamline crease we did before. This area where we lapped over can get folded inside. Next step, fold the tape forward and press it flat. Tendons get out the wrong way around, thready over the ironing board and fold the hands up again and pin. The more preparation you do, the easier it is when sewing. Last step, I'm going to hand stitch the ham using a blind hem stitch. I have single thread with a knot. I'm starting here at the site team. I'm holding the hand between my finger and thumb and folding it a little. So I'm looking down into this area as I'll be stitching just underneath the tape. So holding it like this allows me to view that area. I'm starting out stitching with the tape on the inside. I'm bringing the needle up into that fold. Now I'm sticking the fabric and the needle is slightly under the tape. I'm taking more fabric here as I'm on the same area. Bringing the needle off on an angle and into that fold. Keep going again behind the binding into this scared and bring the needle up on an angle and into the fold. Now I'm going to be stitching into the body of the sketch. So I have to be careful not to make a big stitch as it will be visible on the other side. See this is a tiny stitch. When I hold it like this, you can see the needle is hidden behind the tape and you can't see my stitches. Sometimes I'll check before I pull the needle through to see if I can see the needle. And here I can't see anything. See how clean the area looks that I've stitched, continue around the ham. 27. Finishing the Lining: I've got this area to clean up. First thing I'm going to do a snip, the lining at the bottom here on an angle. I've snipped about three-eighths of an inch. Now I'm going to fold to in this Raj about three-eighths of an inch, the line in his quite springy, SciPy full pinning it down. I'm pinning the lining just to hold it in place. When I saw this down, I want to took that and of the zipper tape and it's quite bulky here. It's not going to stay in now. I'll have to do it when I'm sewing pin the lining to the zipper tape. I'm not loving how this looks with the lining, not going up to the edge of the facing. But like I said before, it would have been best to with a center back seam fold the Boston area or in, um, pen. When I stitch this down, I'll took this area or in a lethal I'll use the blind hem stitch here. Harry is stitched down and 19 lining to full three-quarters of an inch to an inch IP of the hem. I'm going to go for an inch. I've pinned it up and I'm measuring the amount I've pinned up. And it's an inch and a half. I'm going to do the same as I did with the sketch. Ham, put the guide on 1.5 inches, photo up the ham 1.5 and press and go around in small increments. And now I'm going to fold in that row rach to the crease line and press with the line and it makes it easier to work with it when it's been pressed flat. And now I can pin it all the way around and then I'll stitch here on the machine. When you saw the ham, you'll be stitching close to the edge here. So I'll be looking at the needle to make sure I'm staying close to the edge. I'm not reversing at the beginning as l overlap my stitches when I get back to the beginning, This is the last step then Medan, I'm going to hand so a swing tack. This is a stitch that attaches the lining and the scat together at the ham. I'll do one on each side seam. I have the sketch turned inside out. His the ham and the side seam. Lift up the lining, move it out the way. I've got a needle threaded with double thread and a not. Bring the needle under the seam allowance an up close to the bias tape and the center of the seam. Stitch, a tiny stitch making sure you're only going through the seam allowance. Pull the thread through not all the way and hold onto the loop. Hold the loop open like this with all your fingers. Use one of your fingers to hook that thread through the loop. Pull the loop till it closes, but you're holding onto a new loop. Repeat the same step. Use your finger to hook the thread through the loop. Pull the loop closed, holding onto a new loop. So you're not bringing all the thread through. You're just grabbing hold of this part and see I'm holding onto the rest with my right hand. So you can't really see right now, but it's creating a chain. It's similar to finger knitting. Keep going until your chain is about an inch 0 so long. Once you have your length to finish off, hold the loop open and take the needle and thread it through the loop. I'm polite, closing the loop. Both the lining back down. I'm going to attach it right to the lining side seam just above the ham. Take a small stitch, see how it's working. Stitch in and outs. If he times and end with a knot. Repeats on the other side, seam. 28. Finished Skirt: We have the finished sketch.