Sew a Toddler Shirt for the Holidays | Leah Boyan | Skillshare

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Sew a Toddler Shirt for the Holidays

teacher avatar Leah Boyan, Chief Sewing Officer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      01 Intro Get your toddler shirt together


    • 2.

      Know your fabric before you sew.


    • 3.

      Prep: Center Front and Separate Buttonhole Placket


    • 4.

      Layout and Cutting


    • 5.

      Shirt Front - Buttonhole Placket and Pocket


    • 6.

      Shirt Back - Pleat and Yoke


    • 7.

      Yoke - Sew to Front


    • 8.

      Working with Prints: Collar, Band and Cuff Layout


    • 9.

      Band Tip: Fit Shirt to Band


    • 10.

      Collar Band Unit - Sew to Shirt


    • 11.

      Sleeve Placket


    • 12.

      Shoulder Seam - Flat Fell


    • 13.

      Side Seams - Flat Fell


    • 14.

      Hem how to start rolled hem at button hole placket


    • 15.

      Cuff- Sew Shirt using Slot Method


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About This Class

You CAN sew a shirt in a weekend! We'll show you step by step how to sew an adorable, classic button down collar shirt. Yes you CAN use that novelty quilting cotton to make a shirt to fit your favorite toddler with a novelty print to fit their fascinations. Dino prints, squirrels, bunnies, blocks, whatever your kid is into, you can find (or make) a fabric to match, and with this Skillshare class, you'll be able to make a shirt with matching center fronts that looks custom - not home made. From collar to hem, we'll show you each step for making a shirt and focus on layout, cutting, and stitching considerations for working with a print. Join me, Leah Boyan, for the Toddler Shirt edition of getting your shirt together - in time for Christmas!

Meet Your Teacher

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Leah Boyan

Chief Sewing Officer


My name is Leah and I'm the Chief Sewing Officer at A Way We Sew, and online resources for learning specific sewing techniques to elevate your sewing. I specialize in developing methods that create success not stress.

I've taught nationally for the American Sewing Guild National Conference, and locally at my favorite fabric Shop, Esthers Fabrics on Bainbridge Island, and online for hundreds of students across the country. 

I started my company, A Way We Sew, to help fellow avid sewists sew more and stress less. I take the ‘fight’ out of learning new techniques so you can spend more time doing what you love: sewing

See full profile

Level: Intermediate

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1. 01 Intro Get your toddler shirt together: Hi, I'm Leah buoyant, cheap sewing officer it away. We so and I'm here to help you get your toddlers shirt together and time for the holidays. Have you ever wanted to make a cute shirt for your cute kid in a cute fabric? Will, I'm going to tell you exactly how to do it. You'll learn how to match those prints accurately all the way across, even when the shirt is buttoned. And how about adding a pocket? How cute is that? You will also learn layout and cutting techniques for working with the print. And of course, our signature methods of getting accurate. Pointy callers, smooth color bands, and good-looking cuffs. We'll pay particular attention to that tricky part right at the front and center where that color band meets the color. You'll learn how to get a nice joined there. You'll also learn how to attach the yolk all in one using our burrito technique. So the top stitching looks as good on the inside as it does on the outside. Will also learn how to flat fell side seems these seams are sturdy and smooth, perfect for a toddler shirt. You'll also learn how to do this, smooth him. You'll understand how to sew along the inside curve as well as along the outside curve for a really nice finished treatment. You'll also learn how to make this cute packet with a nice accurate tower and how to insert the cuff. So many things to show you what the shirt. But before we get started, please check out our other Skillshare classes where you'll learn how to do a nice pointy color, beautiful color, and a really lovely color band. And how to make the cuffs. We have three separate classes just on these techniques. So go ahead and check those out first and then come on back and join us for a way we get our toddlers shirt together. See you here. 2. Know your fabric before you sew.: In this video, we're going to show you how to get to know your fabric, will talk about fabric grain and the repeat of the print and give you a general idea or hopefully a better idea of what kind of fabric to pick for this type of project. And then also what to do if your fabric isn't quite behaving or equate on grain. So just do yourself a favor. Get an extra yard of fabric if you can, or at the minimum, a half yard and then you know that you have enough wiggle room. Now, we want to make sure we get quality fabric to begin with. And what I mean by that is that it is printed on grain. If you're not familiar with how to establish grain, all I've done is I've snipped in to the salvage edge, that's that tidy factory edge and wrecked it. So cut in about a couple inches and go ahead and rip all the way down. And then you'll get this cross grain that is on grain. Then take a look. So here I've ripped it with his little hat. Star is almost ripped off there and then look down here. Okay, it's about in the same position. So you're doing pretty well. You can see a little bit of the star here again, a little bit the star here. So it's pretty good. It does get worse as you go. So take a look down here. So even a little further away, starts to sink a little bit. So you can see as muzzle is showing here and it's starting to dip. Still pretty good. I recommend this fabric. This is a company called Dear Stella, purchased at Bainbridge Island at esters fabrics. The other thing to consider though, even from the same company, it might not be on grain. So what are we talking about here? So this is kind of a compliment to the Bah Humbug. And look at what's happening. My little pugs are starting to go away. So this is not printed on grain. That's okay. We're going to force it to be on grain using our interfacing as template method. And I'm going to use this particular piece for the cuffs and a plaque it and some of the smaller pieces. So it's fine that it's off grain because our interfacing is going to control the grain for us and for small little sections, it's not going to be a problem. However, I would not recommend using this off grain fabric for your bigger pieces. Think about gravity. The longer you have to go, the harder it is going to be to have that shirt fall properly in nice and on grain for instance, on the center front. Let's talk about the repeat. You have a horizontal and a vertical repeat. The bigger the repeat, the more fabric you're going to need. And just as an approximation, I say two times the vertical repeat. So let's say you repeat, happens every 10 inches, get 20 more inches of fabric. So this is a very small repeat. There's a line of pugs looking this way and then a line of pugs looking that way and then they repeat again, but that's just offset. So really this is, you could say it's just these two that are repeated here and here, and here and here as you can see how it goes. So you don't need much additional fabric in order to match this repeat, because if you needed to get to this PAG, you could do so again, very easily, pretty much anywhere you don't have to go far over or far down to get the same pug. So you wouldn't need excess of fabric if the repeat is small like this. And one last thing about the repeats in the path's make it very easy to see this. So we have both a vertical repeat. So a little Red Hat, green star, Red Hat, green star, Red Hat green star. So our vertical repeat is only a couple of hugs. We have it again here. Green had been, he's writing Green Hat than his writings or vertical repeat is really just these two and happens again here he's all tied up and he's got an orange sweater. And then we've got back to the green hat and the Red Hat. So we have three columns and two rows of repeat. So this is a unique column, unique column, unique column, and then it repeats, repeats, repeats, repeats, repeats, repeats. Okay. So keep your wits about you because you can run out of fabric pretty quickly. Because if I need to match up this pug, I'm not gonna be able to find them again till over here in that might not give me enough real estate up here so that I have to go way down here. Hopefully you get the idea that you just want to make sure you buy excess fabric. Particularly the more and the wider and the longer the repeated. 3. Prep: Center Front and Separate Buttonhole Placket: So with matching prints, the key is to prepare your pattern. And key to preparing your pattern is to find the center front for our particular pattern we're working with the jelly to 10, 11. They have marked the center front line for the shirt front. And in that particular pattern, we're using the same pattern for the shirt, right side, the button side as the left side, the buttonhole side. And in the instructions they show us how to do this kinda cool origami fold on packet me, show you actually what that looks like. Finished. It's just a little tuck right there. It's very cool. It's a great technique. It's fast. It's simple. For solid. It's perfect where I do this. All right, We're gonna do a print or a plaid in this case, we're going to show you how to do a print. However, when you're matching a print across the front of the shirt, the fold on Plunkett origami technique won't work because you will break up the print, so to speak. So for our purposes we need a separate cut on Blackett. And what I mean by that is this is an entirely separate unit that we then stitch on top of our fabric we're going to be using are interfacing as template technique that will cut the width of the interfacing, the final width of our packet and then Folder fabric around it. And then we're going to be stitching that right on the fabric. So we'll show you how to do that. But the point is here is that we need that separate front pockets. So we're going to use the right side to find our center front vaginas I mentioned is marked on the pattern and we're not even going to use the left side for matching, print end clades. And I'm going to show you how we do this with a projector as well, which is kinda fun, but don't worry about that. Just cut out this side and draw on the center front line. Yeah. You don't have to do this, but I thought it would be helpful is, it can be helpful to two is to actually draw the fold lines and even the stitching lines that kind of help you understand what's going to happen here. You're going to fold once on this blue line here, and then again on the blue line. So it can be helpful to have these little nips here when you cut this out, to do a real small little nip on the fabric to know just where you're going to fold it and do that down here and up at the top to make sure they're very shallow though you don't want to get into the seam allowance there. Hey, so let's continue to talk about center front and why it's so important. So when we determined center front to that sort of rules, everything else. So this is actually cut out of wrapping paper and I highly recommend you practice first on wrapping paper. Just make a little sample just as I have here. It doesn't even have to be full length. You don't even have to use the arms or anything that you can just do this little front section. To practice, I have determined I want my center front to be in the middle of his little piggy nose. And this isn't long enough to show you, but there would be like another piggy nose down here. So any case, that's what I liked to have as my center front. I also need to figure out what is front and center. I don't want to have a random host sticking out into the fabric are coming down or having something funny looking there. So I like the way this will look once the band is attached up here, it's going to look cute, but not anything startling there. Or maybe you do want some startling there again, I think to think about with placement is around the bust area. And perhaps you don't want anything pointing to that area, or perhaps you do. It can be really cute. Have fun with it. It's your shirt. Again, back to the center front though we do need to mark that because that is what's going to help us match all the way across, of course we want. So right and left sides to match. And then also the separate buttonhole packets so it matches all the way down perfectly, including ones we get obviously the buttons in there, everything will just be seamless. You'll be even hard for you to tell that that's not one piece of fabric. Very cool, very simple. So let's continue to show you how we do that. I wanted to make sure you were aware for finding the center front. This is center front right here where the button hole is gonna go is center front. And over here where the button is gonna go is center front. But this distance between here and here may not be the same as the distance between here and here. And that's actually by design so that things kind of Nestle on top of each other. And also to make sure that the pocket is covering over this line of stitching. Here. 4. Layout and Cutting: Hello and welcome to away we, so the projector addition, I'm going to show you how I use my projector to match the center fronts on prints. Now, don't worry if you don't have a projector lying around. I'll also show you how to do it just with your regular pattern paper or with our freezer paper method, which we've loved to use for pattern paper. And what are the many, many benefits of using a projector for sewing is that the pattern stays still and you move the fabric around to match whatever it is you're trying to do. So we talked about front and center. So that's where the center front of your pattern pieces, where it's going to match your color bands. So all of your sort of face and chin is happening right here. So we start with the right front piece and now that's the buttons side. If you're a buttoning left overwrite the buttons themselves are on the right-hand side. We always start with that because typically that pattern piece is widest because it does a fold on button plaque it. So I start with the right front. We talked a bit about placement. We want to find front and center on our fabric. So I've determined I want this little pug to be front and center. So I want his face to be right in the center of my shirt. So center front is right down the middle of his muzzle there. And then I want to make sure I don't cut off his antlers and that there isn't anything kind of weird, you know, hanging down there. So all I do is move my fabric until he's front-and-center and I like the way it looks. I can maybe bring them up just a touch tiny bit more and that might be even better. And I just kind of scooch things around until it looks good. Just make sure you don't run out of real estate here or over here, because obviously you need to cut your whole shirt out. Now if you don't have a projector, let me turn the lights on and I'll show you our favorite method of doing this with freezer paper, and I'll see you here soon. I trace the pattern onto freezer paper, and then I use that as my pattern piece. Now, we've set this right front pattern piece up already. We've located center front and unfolding the pattern piece back on itself exactly along that center front line. And then I use this to find right in the center of the muzzle. And then also make sure you can kinda peek behind that. You've got your front-and-center place so you're not going to cut off his antlers, then grab your iron. You want to make sure it's pretty hot. Just iron that side. And while you're iron's on their unfold the rest of it and just iron it down. That fabric won't go anywhere. Now I can go and cut around it using scissors or my rotary cutter or ever works for you. I could even use my electric shears. Alright, so that's how we lay out and meet me back here and we'll show you a few more tips and tricks. You've got your pattern piece. The next thing to do is to simply fold that pattern piece along the center front line. There's couple of ways you can do this. If you've used the freezer paper method. So easy because you can just fold it along that line and then peel the paper off. If you haven't done the freezer paper method, you could use a ruler and score that line. Or you could also fold the tissue paper back along that line. And then draw lately with your removable ink pen. But since I did use the freezer paper, I am just going to fold right along that line. And now I can just peel the paper away. And I have pretty good center front line there. If that doesn't work for you, don't panic. You can always just replace it on your pattern piece and fold it there as you need to. Or you can note where you want that center front to be and just make sure that it's folding right along the center of his muzzle on right. Now that you have right side complete, we're going to use this piece of fabric to cut out our left side. So once again, we've got to get to know our fabric and I repeat, you don't need the pattern piece anymore. You just need a piece that you cut out. You might be tempted to just use this and cut all the way around it. And then you realize right after you do that you have to write sides. You need a right and a left side. So keep your wits about you. Fold this over like this. So now this is going to be the left side as worn, then all you need to do is hunt around. Matching pug phase and just align it until it's perfect. Now, lookout, don't run out of space here. Make sure you haven't run out anywhere else. And really align it just perfectly. And if you're finding that it's skew, sometimes your fabric might be a little distorted. So you can also kind of push or pull on the fabric underneath. Now all you need to do is flip this back over and now use that to cut out your second layer. If you feel more comfortable, you could trace it first and then cut it out. Okay, The next step is to create your packet and we'll show you that in a minute. The final step for matching with a separate front, but in whole packet is to cut out the buttonhole packet. The buttonhole packet is going to be attached to the left side of the shirt. So when we realize here we use the right side of the shirt to cut off the left side of the shirt. We're going to use this right side one more time now this is the side where we folded it over on our center fronts, we need to use it one more time to find center front for the packet, the left piece you can put away for now, you won't need that for this, I do use a rotary cutter and a ruler or you can also mark it with a pen. You create the front packet an inch wider than the width of the packet. And I usually do a couple inches longer, so I have some wiggle room. So your first job is to just keep your right front side folded along center front, and then once again go hunting for pugs and all you do is just match it up exactly. And then I put my ruler on that and I need 2 and 3, 8. So let's just say 2.5 to make it easy. So I do one and a quarter from the PAG phase. So that one and a quarter line is on my pug line and you can just draw a strip. I need 15 or so, 16, something like that. So somewhere down to there there'll be as long as the shirt. So I can just go ahead and cut that. It's not this piece that's just scrap. We can use this for the sleep pockets, so keep that. I'm done with my right front now I can put that away. And now 2.5, this is my packet. The center of this is the center front. So the next thing I do is just fold this in half to mark that center front. You can iron it if you want to. So now just check your work. So you have your right front, left front. So if you fold this over, they'll stack up. And then your front pocket, which I messed up. I'd like to say I did this on purpose, but I did not I didn't make it long enough. I didn't give myself enough room. See, you had the wrong pug here. I think. I don't know who knows. I was on camera, got confused. So I need to make sure that that piece is 15 from here, not from the top. That was my mistake. So I'll just recap this piece. Not a big deal. Got glad I checked my work. If you wanted to have it all set, you certainly could. I mean, it's totally up to you. I don't know the puzzle mind, but if you wanted to make sure it matches, then you need to cut it long enough. You can use that pug and you have more poke down here. Alright? So usually at this point I'd fold them in half, make sure that I've got them correct. And the next step is to cut an inch and three-eighths wide strip of interfacing. We fold that in half and we match it up and glue it onto here. And then this piece is ready. We'll be using that interfacing as template concept once more for our front pocket here in a few minutes. So to make your front pocket just use your clear ruler. So just remember what the front was. And for me it was the orange Pogue looking Solon as they all are. And we need to have the width of our packet finished with b, 2.5 inches. The sizing is usually an inch wider than the finished with of your packet are finished with the plaque. It is an inch and three-quarters, but just to keep it easy, I'm gonna say 2.5. So I have flux of room and it's easy for me to just say one and a quarter is the width that I need from the center of my pug face. So I can easily line up one and a quarter right along the middle of my pug. And let me make sure I'm going to make this long enough. Okay. So quarter-inch, quarter-inch, quarter-inch, and just go ahead and cut. And then, depending on how you like to use your ruler, I tend to turn things around and this is going to be 2.5. So make sure that quarter-inch still in the center. And that's it. Now fold this in half and just check your work. Make sure everybody has space, got the right pug. Next step is to cut out an inch and three-quarters width distributed that are facing and iron are down here. And I'll show you just how we do that. See you here in a minute. Our next step to grab a hunk of interfacing, and we're going to cut this to be an inch and three-quarters width. So I'm just folding mine up because it's a little easier to work with that way for your culture, you're familiar with this. I'm just gonna give myself a nice clean edge that around in an inch and three-quarters and we only need 15 or so inches long. So just give yourself a chunk. Then I'll we do here, fold this in half and I'm just scoring it. That should kind of nestle in your other fold lines. Go ahead and iron metal, and we'll show you the next step. 5. Shirt Front - Buttonhole Placket and Pocket: The next step is to prepare our pocket. So we've already used the right side of the shirt to cut out the left side. And we've used the right side of the shirt to cut up the packet. And this packet is going to plop down on the shirt. And we have the right length of pockets so that we have a little bit of wiggle room if we need it and everything is going to turn out fabulous. So to prepare your plaque it apply a strip of interfacing the final width of the packet, which in our case is one and three-eighths inch and then just match up the centers. And I just do this simply that the iron, I just mark a little bit where the center is in, plop it down and then fold over. So you've ironed, you're interfacing onto your strip, that's going to be your front pocket. You've matched the fronts so that when you fold this over, the front of your little guy, wherever you want, center front is equidistant between the fold lines. Now all we need to do is go to the machine. And I like to use a quarter-inch top stitch foot because we're going to sew a quarter inch from here along this edge here. So meet me at the machine and we'll show you the next step. We're back at the machine. Make sure you have your quarter inch foot on that. You have the top stitch length that you want, the thread that you want, et cetera. I've got a little crazy. I'm going to use green on the top it just because it's already in there and I think it'll look cute and, you know, it's kinda crazy shirt anyway, your first job is to just plot this down as if it disappears. So I do a lot of flipping back and forth. And you can actually get started off of here that can help you out. So you have like a third hand kind of thing. And then just adjust this until it's perfect. And this can be really fun. Just do one little step at a time. Getting your next match point. Make sure that it's folded over the interfacing. Just blast on down. Go all the way off. But don't backstitch because we are going to have to back this off of that debate here. Then we're going to do the same thing over here. But first we need to trim away this excess and we'll see you here soon, okay, or next step is to just trim away the excess. And all I do is use a rotary cutter. I trim about a half an inch away from the folded edge of the packet and I just align that all the way down so it's nice and tidy. And that's it. Our next step. It is to fold that excess under. And you can do this at the iron, but I'm just going to show you where it on camera. And you only need to fold it under a little bit. Just like that. So you want about an eighth of an inch or so on the inside of your packet. Go ahead and hit that with the iron and meet me back here for the next step. So we folded under the excess of our shirt. So that's a little bit narrower than our pocket. And now all we need to do is top stitch. The second side. That's it. Doesn't that look great. Our next step is to put in the button holes for the left side. And then we'll use that to make sure we match up to the right side. Will see you here soon. To prepare to put in our button holes and written out here what the pattern calls for, for where the first button hole starts, what they suggest is two inches from the seam here to the start of your button hole. Now I use a five eighths inch button hole. And then I'm using a two and an eighth between the bottom of the buttonhole to the top of the next buttonhole. So what I like to do is just mark both sides of the buttonhole in case I can't remember when I sit down, you know, is at the top of the bottom this way I know that the buttonhole is this. One little dot to mark on my fabric. I use this little drill press, which is really convenient. You can just make a tiny little hole. You could also just poke it all the way through with a sewing machine needle case. All I'm doing is using this as a template. Now on the top here I haven't trimmed anything off yet. So you do want to kind of make sure you're accounting for your eventual seam allowance, which is three-eighths of an inch. And I'm just letting this kind of go straight down. So it's nice. And even along here, if it's not in the center, that's okay. We're going to find center when we apply the buttons, we really just want to know where in space to put them. I've marked my button holes. So now I know I'm going to have a button hole in between each of these marks. So it's so much easier to put the button hole on now rather than once the shirt is constructed, plus we're not too invested. If we mess up, we can still take things out and redo them at this point. Alright, so meet me at the machine. I'm going to put these button holes in and I'll see you back here in a minute. Okay, I've made my button holes and I've also cut the buttonhole. And now I'm ready to determine where the buttons go on the right side. So imagine we just pull up this down and we make it match. Exactly. And then I just grab my marker and I put a hole in the middle. There's different theories about where to put the button. When I'm doing matching, I put it right in the middle because I feel like then you have the most flexibility if you need to sketch it a little bit, just make sure that it made its mark. And we're pretty much right on target to our center front. Now we just need to do some folding and be careful if you're using these markers because they will go away with heat. So you just want to make sure you haven't lost your little buttonhole placements. So this is where it can be really helpful to just poke a hole where the button is going to go and it'll be covered up the button obviously. And this doesn't really put a hole in, it, just kinda separates the fibers. Okay, Now we do the fold, fold, so we're just going to fold ones along our little snip line. You can also use a folding template. You can use a Manila file folder or one of these hanging file folders. This is just about an inch. In fact, that's almost perfect because you do want it to be just kind of a scant inch. You can fold, fold, just make sure that that is on the cut there and even hit that with the iron. Okay. So go ahead and do that and meet me back here. All right, The final step to preparing our right front is to simply do a line of top stitching or edge stitching. I'm just gonna stick it into the machine. I have my edge stitch foot on and just push go. If you're noticing your material starting to curl or maybe it doesn't seem like it's really behaving. And you can always check your work as you go to make sure that's about an inch. You can adjust slightly. You can sort of pull on your fabric underneath or pull on the top layer. I would recommend pulling slightly on that bottom layer. And there you go. Check your work one more time. Is an acute. And now you can attach the buttons and you're done with your front. The next step is to put the pocket on the right front, and I'll show you how to do that. To apply a magic pocket, you actually don't need the pocket pattern. You can use a pocket template and we'll talk a little bit more about that in a minute. But really, the first step is to just get a hunk of fabric that is approximately pocket shaped, bigger obviously. And is the right repeat for where your pocket is going to be. So we've marked the two little edges of the pocket. So I've gotten a blob of fabric that I know is wider than my pocket and longer. Then all you need to do now is match this onto the fabric so that that top piece disappears. So you know, it's all matching all the way around. Then folded back until you see your little edge points, those two little dots there, it might be hard to make out because there's lots of little dots. And then score that line with your fingernail. Then head over to the machine with this shiny side of the interfacing face up and one edge of it aligned against that score line, that fold line that we just put in. This interfacing is one and an eighth inch wide and just long enough to fit over your pocket. Head on over. And then we're just going to use the edge of the interfacing as a stitch guide. I'm just using the edge of my foot. It doesn't really matter what seam allowance here. And you'll see why in just a minute. We just want a nice straight stitch. Make sure that this edge is still riding along that fault line. Now we can just trim this little piece. Now I like to use my fingernail to kinda train the seam open because once you get to the iron with the interface and it can be a little tricky. You're going to fold this all the way over at the iron. Just want to favor the printed side a little bit at that edge and go ahead and iron that and meet me back here. Okay, we're back. I don't even know if you can see the little beginning of a pocket here. So I've ironed it over once and flipped it and ironed it one more time. And then I just check my work. I make sure that when I plot this down, that it is indeed just where I wanted to be. Our next move is to grab the pocket template. Now put it upside down so the shiny side is up. Plop this where you want your pocket to be. Plop this back down, making it disappear again, and then bring everything over to your ironing board and hit it with the iron. I'll be right back. Okay. I'm back. The reason to bring the shirt over is it can just help as a carrier for this whole thing. Now, that's stuck on there just where I want it to be. And now I can just use the pocket as a folding template. You can do this at the iron as well. What I find is much easier is to just run a line of stitching around the edge and use that. Now note I'm doing this teaching just to the left of the edge. Notice how my stitching is just to the left of the pocket template that gives me some bend allowance. When I turn this over, I'll have a little bit of ease kind of built in there and you won't see that stitching line on the correct side. Before we forget, let's just do an edge stitch along this fold-over. Okay, now we're ready to plop it down. Fold over the edges if you need to, you can really smash. That might be a little bulky there without interfacing in there. So smash that down as you need to plotted on your work, making sure it all matches. Now what I like to do is I do a couple of stitches across. So first, I line this up just where I want it to be. And I dropped my needle right where I want to start stitching. I take a couple of stitches, rotate, then I go down to here. And then I go back up again. Then I turn the whole thing around and I go back down that way. That has been reinforced a couple of times. But you don't have to reverse. It looks, I think, a little tidier. Now. I just pull on the shirt a little bit if I need to get that to match up using my fingers and get down to the bottom. Forget too far, flip it up. Now you could use your folding template if you need to. I'm just gonna go for it. Can fold that extra piece in. You need to is any cute matches perfectly and you're all set. All right, that's how we match our beautiful fun novelty prints. Thank you so much. This is Leah with the way we, so we'll see you next time. 6. Shirt Back - Pleat and Yoke: I want to show you how we make this beautiful yolk. Also how we do the pleat in the back of the shirt. And mentioning the yolk is sort of all in one treatment where you're not going to be able to tell what side you top stitch this from because we do this sort of burrito technique for the yolk. But before we get there, I want to show you one more tip that I like to do for the yolk. And that's using the top yoke to cut out the under yolk. So you do need to yolks. You can use any kind of fabric you want if you've already cut them out, don't worry about it. Go ahead and go through our steps just Exactly. It'll be totally fine. But what I like to do sometimes is used the bottom yogis to create the top job because with thick fabric, you might need a little extra to kinda get over the hump. And sometimes it means you can kind of run out of real estate here in the neck. And that's really where you don't want to run out of real estate, okay, so grab a hunk of fabric, that's going to be your second yolk. And then I would just use this to align it to, this is not on the grain. So I'm just going to use this yoke here to get all my little pink colors in line and just go. You could use your pattern to, that's easier for you. And then the sides as well. Okay. That's it. Don't bother cutting anything else out for now. Next step is going to be prepared. The back of the shirt will see you here soon. The next step is to, so the box pleat in the back of the shirt. I think the hardest part about this is just remembering to fold the shirt wrong sides together. And then you should have made a couple of clips where the back plate goes. All you need to do is so the width away from the back plate that you want the back pleat. So in our case, the back pleat is that wide. Great. That's where I'm going to so very simple. And I just saw about a half inch and just match your center back. That's it. You can also double-check this against your yoke to make sure. And it's fine. The next step is to attach the yolk to the back. The next step is to, so the outer yolk to the back. So you want to do right sides together and this is what's going to show. So when this is all said and done, you should put it this way. It's going to look like that. So we match our center backs. And if you haven't marked center back on your yolk, simply fold it in half. You can nip it if you need to or just score it like that. Right sides together. My gosh, the first pin I've used, I think, stick a pin in there. And then you're saying this at three eighths of a seam allowance, no need to backtrack on this one. Now you might notice these don't fit that well. It you can very easily managed them by using your fingers. You'll see there's a little bit excess here on the back. We want that this is actually a straight line. This is humped up a little bit. Get your hand under there. Kinda scoot that in. Same thing under here. Okay. The next step is to attach the inner yoke to the inside of the shirt back. So put the inner yolk right side up and make sure that everything is going to be correct. So when you saw this and flip it up, your little guys are facing the correct way. So the upper part of the pattern should be facing to the left, correct? Side up. And then the inside of the shirt plops down and just find center back real quick. And I just stitch right on my prior line of stitching actually just to the left of my prior line of stitching, so it doesn't show up in this. You do want to backtrack. Now. You're going to top stitch, but you're only going to top stitch. The top layer. The outside. The inside actually will not get top stitch. This is just a lot flatter. It's just much easier to get it nice and accurate. So just open up the top yoke like a book. The bottom yolk is still underneath. So all of your seam allowances should be to the right, your top yogis to the right, the bottom yoke to the left, and your back shirt to the left. Slide it under the machine. So just use my fingers to kinda score. Spreading open the seam. Now. Flip the yolk forward and press. Give it a nice good Press and then we'll cut around and create the inner yolk. Okay, you've done the top stitching. You've ironed very carefully the yolks together and now we just need to trim. And we know the yolks match. Okay, The next step is to attach the front of the shirts to the AUC. See you back here in a minute. 7. Yoke - Sew to Front : The next step is to it. So the outer yoke to the shirt front. So we do this in a couple of steps. The first thing we want to do is get the inner yolk out of the way. So I just shove it back underneath, like it was never there. And now your setup, the other thing that's tricky is it's very easy to get kind of confused and so the wrong front, and it just can get pretty tricky, particularly if you're not paying attention, which I often enough. So we wanna make sure to just build our shirt. So when we open it up, we have the right side, right front together. All of the sides we want to see are going to be the ones that are on the outside, etc. So go ahead and just plop this down. And so it at a scant three-eighths over to the other side. Okay, Let's check your work. The next step is what we call the burrito. So watch what I do and I'll show you how it's done. Okay, we're gonna so the inner yoke to the shirt front. And we do that one says sort of burrito or butterfly method. So your SRT should look like this. The inside facing up the front of the shirt facing you grab the shoulder seam of the yolk that you just sewed. Find the other shoulder seam and wrap it around the shirt till they match. Shoved the shirt up in there and that's creating the burrito. And then go ahead and so the seam, just make sure there's nothing, no shirt stuck in that scene. This I'm sewing at three-eighths of an inch, so we want to go okay. And stuff, your burrito. That's what it looks like, the inside. And that's what it looks like on the outside. Side. Number two, same thing. Grab the shoulder seam that's been stitched. Grab the loose sight of the AUC, wrap it around the outside of the shirt till those seams match. Stuff the shirt inside. And so that seam and stuff it, give it a good Press. And then the next move is to top stitch. This scene. We'll see you here. Same. 8. Working with Prints: Collar, Band and Cuff Layout: The next step is what I like to call the tricky bits, which is the color, the color band, and the cuff. We have a detailed instructions on how to do each of these techniques step-by-step. There's videos just on doing the color, the color band, and the cups. So please start there. What I'm going to demonstrate is specifically how we do our techniques with using a print. And really it's just helping you lay it out in avoiding some pitfalls. So with our techniques, we use the interfacing as a template. And as you will now know, having reviewed them, you always have to have good margins around the outside edges because this is actually going to be where you're stitching along the color here, where it attaches to the band, that is actually your cut line. And similarly with the band, the outer band edge here is the interface edge, but that's where you're going to sew it, attaching it to the neck here. And then this is the actual seam line along here. So hopefully that will help you determine where you want to place these templates on your print. So this can help knowing that this is the outer collar edge. You can then determine placement because maybe it looks cute to have this little color sticking up from your color. Likewise with the color band, I find the center alignment as I want to, and then I turn it on. And I should also mention the direction here. Some of the patterns will show you your grain line going this way, which may lead you to believe that you align this color going this way to be parallel with the salvage. You don't have to do that at all. You can align it anyway you want to including even on the bias. So back to our coughs, the other tricky bits. Same thing. We can put this any direction we want to and just make sure you have good margins all the way around because on our cuff we don't have any seam allowances is just the template is the finished shape of the cuff. And again, I've just used this as my center line here and I decided, you know what I want to showcase on the cuff, and that's really it. Now you're ready to proceed with the tricky bits and thank you so much. 9. Band Tip: Fit Shirt to Band: Another hot tip, big question, how do you get the band and the shirt to come together so that they're beautiful know puckers. The shirt is nice and smooth. The band is smooth. The band itself is a nice fit. The rents the neck and the shirt fits the band. That is the key. You want to fit the shirt to the band. So in step 5 and 6, we talked about applying the inner color to the inside of the shirt. And when we were demonstrating that I had you stab through the stay stitching line and matching that up exactly with the shirt stay stitching line. So that's your first pass now with a little samples, Everything's going to fit because we made it that way. But in the real-world, a lot can go wrong or just get altered, unbeknownst to you while you're building the shirt. So there's a lot of areas here when you're touching the yolk the scene, could it get bigger or smaller if perhaps are the front packet that maybe isn't the same size as it was supposed to be. So the shirt neck opening can really stretch or change shape from the original pattern size. What does not change though, is the band. And when you think about it, you've done a lot of work on this band. You have interfacing and there you have a lot of stitching, the band is done. The band is also what you measure to fit a shirt. So in the real-world, let's say you're a 16 and a half, you would measure from about an eighth of an inch from the edge of the buttonhole, all the way to the middle of the button. So this little color, an 8.5. So obviously this is just a sample. That's how you measure for a shirt neck, so you try it on if it fits your neck, you're good. The color band is done. You in that change, that measurement is not going to change. What will change is the neck opening. So think of this as the circumference of a circle. So we're looking down bird's eye view. This is what back the yolk front. And your neck is around here somewhere. So that neck opening is a circle, the band is a straight line. So this is not going to change. This is, so let's say you start attaching your band. Now, I start here, I keep this the same. This green here represents the seam line for your pattern, whatever that is, keep that there because you do want these sides to match and you don't want to go Finland around here because you want to keep the distance from that first button hole to the neck static. So this is matching up to your color band. So start there, then add or subtract as you need to, as you go around the circumference of a circle. So your circle will be kind of oblong, slightly oblong. Let's say the shirts too small. You ran out of shirt. If the shirt to small, make the hole bigger. So you'd start here. You're stitching line is going to change on the shirt. Just on the shirt, not on the band. So your new stitching line will look something like that. And if we were to measure the circumference of this now we probably gained about a quarter of an inch, maybe, maybe a little more. So now pin the color band to the shirt. In the shirt is now a bit figure shirt. Two big same idea. So instead of the green line, which is the original stitching line, if we were to attach on that line, the shirt was too big. No problem. Just bring it in. And this is why if I hadn't mentioned and I don't think I have on your pattern when you're cutting out your pattern, you want to keep a big seam allowance here just so you have some space to work with. Some pattern companies will have trimmed this to a quarter-inch already. Keep it big and beefy. Just mark your stitching line so you know where it's intended to be and then you can adjust it accordingly. All right, so I hope that that helps fit the shirt to the band. You'll let me know if you have any questions and we'll look forward to seeing your beautifully fit color bands. Thank you so much. 10. Collar Band Unit - Sew to Shirt: This video is going to show you how we attach the color band. The first step is to find center back of the color band. Simply fold the color band in half to match the front points and make a small little nip. Or you can mark it with a pen or a marker, just a very shallow marking there. Do the same with the center back of the shirt to center back. The next step is to match the inner band with the inside of the shirt. Now we've used two different colors of fabric to help you see this on camera. The inner color band is red, and the inner yolk is also red. This is just one of those places. It's very easy to get twisted around. So just double-check to make sure you are touching the inside of the color band to the inside of the shirt. So first match the center back, then you're going to match the center fronts. So you'll go to one side and match the center front, pin that down as needed. Now you see me matching that front by just lining them up so they stack on top of each other. And again, noticing whether the length of the color and the length of the shirt is correct. Then head on over to the other side of the shirt and give yourself a haircut if you need it, those little whiskers actually can get in the way. So trim as needed and do the same thing for site to stack everything together. Now, if you have done a quick test and it looks like the color is way off from the size of the shirt. Stop what you're doing and watch our video fitting the shirt to the band that describes in detail exactly what you need to understand and to adjust fitting the shirt color band, you'll even get a geometry lesson. Place your needle down, stack the fronts together so they aligned perfectly. Shoved the entire work under the foot so it butts up against the needle. Take a stitcher to reverse so you go back off of the work in, back on and now you only need to, so maybe an integer to check your work, make sure it looks like you want it to look. So just fold everything up in there. This is just temporary, just did a quick checker r2. One adjustment may be that the outside band doesn't quite cover over the stitching. And if that's the case, undo and redo stitch your first side, do the same thing. Shove the work underneath, Go ahead and stitch a few stitches on and then reverse back of the work. And then now you're going to attach the entire band to the neck line. Notice that I am sewing along that prior Linus stitching, that's our stitch guide or stay stitch line. That is the three eighths inch seam allowance for our inner color band in that stitch line is nestling with the stitch line along our neck. You can kinda move the fabric with your fingers. You should feel those to stitch lines sort of Nestle and grab onto each other. Go until the year center back, just adjust the shirt as needed and keep on sewing. You'll notice I'm only sewing about an inch or so. And then I stop and reposition everything. So I'm twirling the shirt under me so that it remains flat at the bed just in front of the needle. Who cares about anywhere else? Just in front of the needle is where I need it to be flat. So only an intuitive time and I stop at readjust. At this point you should be leading backup with your prior line of stitching and I just stitch over that so half inch or so. And then back, I don't go all the way to the end again because you don't want it too much of a stack of extra thread in that area, okay, check your work, fold everything up. And in one area where you might have a problem as you might run out of space for your seam allowance. So go ahead and trim as needed maybe with an actual pair of scissors, not your little nips with mumps, so lazy. You can also fold that seam allowance over like a little bookmark and shove it up into the color band. If you've already sown in your buttonhole as I have, you might have a little less real estate to work with here. So that is one thing to be sure that your buttonhole is up high enough that allows you enough space to get your seam allowance into the inside of the band. And I'm just doing some housekeeping here, a little trimming, getting rid of my whiskers as I can. If you have any other big chunks of fabric that you want to trim, now's the time to do it. Our next step is to top stitch our outer band. And we do that simply by pushing all of our seam allowances up into the band, folding the back as needed. And I'm using an all this kinda stuff them up in there. And then I also will sort of form that join with my fingers. You can smash the fabric into submission. You can press the fabric so there's a little less bulk. You can even hit it with a hammer or the blunt end of the all to kind of meld those fibers. And often what will happen, especially with a flannel, is you'll get a big old blob there off camera switched to an edge stitch foot. I have compensating or offset foot here is just the kind that goes with my machine. Most machines come with some kind of an edge stitch foot. So make sure your needle is in the proper place for stitching about a 16th of an inch away from that fold and you are placing the work outside up. So we're about to do a line of top stitching along the outer color band and that original fold line that we did way back in like step number 2. So we have a top stitch at about three-eighths already. Now we're going to do a second line of top stitching or right along that edge. And this top stitching is doing more than top stitch. It's also nailing down that outer color band to the shirt to get that accurate top stitch. So it's equally distant from the seam on the inside as it is from the fold on the outside is your lay the outer color band fold exactly along the line of stitching that we did in the prior step and might cover up that line of stitching by just a thread. So you're just shadowing that line of stitching. So your job now is to just make these two layers go at the same time. Notice I only take an inch or two at a time because there's a curve and I have the bulk of my shirt to the right because I'm right-handed. I feel like I'm more control on the right-hand side and also accustomed to sewing that way and the way my foot is setup, I'm using my all to grip on the fabric and force it underneath the foot a little bit faster than the band side because they find that the shirt can get bunched up. So for me it makes sense to force the shirt a little faster, but every machine is a little different and everybody's fingers are a little different. So check out how you're doing at this point. If you have three or four inches before the end, make sure you're not going to have excess. That's probably the most common thing that happens to be a more band than shirt that is happening to you. Stop on pick your work to about the center back and then give it another go in this time, maybe don't hold the shirt back, maybe pull the shirt forward so that the shirt is matching the band. You'll see I'll do some finessing here again, this is our we will call this the money shot. This is it right here. So take your time and this little area, you may not get it perfect the first time. That's okay. You can easily unpick that seem and try it again. So that completes attaching the shirt to the band. Meet us back here for the next step of getting your shirt together. 11. Sleeve Placket: In this video, we're going to show you how to make this adorable sleep packet. You'll create a nice, tidy, pointy tower, even top stitching. And it'll look great on outside as well as on the inside. Nice and sturdy. The advantage to this type of packet, it's a two piece packets. You have a tower piece and the inside smaller piece. The reason I like to do to peace packet, it's a little, I think it's just easier, it's more straightforward, easier to cut out. And it's a really great practice for other types of sleep hot pockets, for instance, a polo shirt or other types of like a handling. Also, it's fun because you can Guillot more accurate if you're doing some fussy cutting. And I didn't do that in this case, but you could do a separate to be those two pieces. So you could do different colors for the outside and the smaller internal pocket. Very easy to do. Number one is you need to get your little pieces, parts together. So meet me back here and I'll show you the pieces we need. In. The next step is to prepare your shirt sleeve jacket. Just need to make a few rectangles. Make it the width of the finished packet size, which is usually an inch, times three, so three inches wide, and then the length of the finished packet size plus about an inch. So determined all this from the original packet pattern. So the finished with an inch wide because it's a three-eighths inch seam allowance. And I just use the three-eighths inch here and found that that's an engineer. And it is measured from here to here and added an inch or so just to have enough length. And the we're gonna do TPS pocket if I didn't mentioned that already. Peas. The smaller piece is an inch and a half wide, so half the size again of the finished cut piece for the top packet. So three inches wide, half inch wide, and these can be a 67 inches long, however long really you want. In this video, you will learn how to apply a two-piece slave packet. And we'd like this method because it's simple. You can just cut it rectangles. Also, it's a little easier to use this method for other shirt opening applications like a polo shirt, first thing you do is just get your pieces together. And if you're using a print and you might want to consider cutting your rectangle out so that it has a cute it all feature in the front. Grab. Do you have a big packet and a small pocket? The big pocket is the part that gets the tower to help you form the tower in the future. Just so that seem a very narrow, seem like an eighth of an inch, just an integer, so about an inch or so from the top. And this is just a quick securing seem the next step is to fall the little packet. This is the underplay get folded in half and you're going to be sewing that to the shirt total, demonstrate that in a minute. So one of the things that can be really confusing is you want to, so you start the process off from the inside of the shirt. And I always start with the small pocket. So just fold that small piece in half and you place it on the small side of the shirt. We've already cut the slash line. So the small side of worth slash line is, is where the small side of the cutoff goes, put that into the machine, and just go ahead and start selling at a very small seam allowance. I do about oh, eighth of an inch or so. It's not even the width of my foot. So to the slash and it can be helpful to mark this so you can see so two there. And you're going to actually use so across a couple of stitches, you'll see me do that. Turn your work. So a couple of stitches. Now get your other packet. Fold that in half. Place it under the work. So a couple of stitches. Turn your work and so on down the other side. Let's make sure you haven't run out of real estate. The next step, let's check your work and then all you need to do now is a slate clip. And I just trim the small portion and flip that around to the inside. And I usually clip this at this point if you forget, you'll know it because you can't really turn it all the way around to the outside. So here I'm making it just a small clip just to that stitching line. Now you can turn it all the way around to the outside, fold the full line over again. And now we're going to just top stitch that down. So you're basically encasing. This seems a little hard to tell here, but I'm pushing this, see my eyelids to one side and unfolding over tuned case. Just tops to cut down. Same thing with the next side is make a little clip. But this time we're going to open up our pocket. So if it looks funny and if you can't figure it out, you probably forgot to open it up. I usually just use the IRA can just use your fingers like I am and check your work on the back, make sure that seems to be nestling nicely. And we just form a little tower just by folding it. So you can take a minute, see how you like it. You can also hit it to smash it down. You're going to have a lot of bulk there. So use a hammer if you need to. Stick it into the machine, make sure you're stitching the correct side. You don't want to close the bracket. And the top stitch or edge stitch. And just make sure your little tower pieces are still falling the correct way. There's sort of one way that it folds nicely and I don't always do it the correct way. So reverse cut their little seams going the right direction so that doesn't quite seem to fold one way, just flip it unfolded the other way. This can be a little fuzzy but and this is also quite a small plaque. And usually a standard packet is a little wider than this little easier to do is continue top stitching. At this point, we're just gonna go until that split. And you'll see, it'll feel actually Canada bump a fabric and just make sure everything's seated up in there. And you'll feel kinda seems all coming together to stitch until that point. Turn Newark. Go back across to your prior line is stitching to New York again. I just keep twirling it around. Take a couple stitches. Turn your head on back to the other side, telling me you're stitching again and then backstitch. You could do a little tack there too. And that is, it looks nice, sturdy on the inside. Nice and tidy on the outside. 12. Shoulder Seam - Flat Fell: This video is going to demonstrate how we do a crimp stitch, also called stay stitch plus. And that's to create this sort of natural cupping formation on your sleeve, which is going to help you create the flat fell. So this is done in actually three passes of has number one you see here is the crimp stitch or stay stitch plus, you only need a regular presser foot for this. So I'm going to put on my regular presser foot. It's a quarter-inch. So if you have a quarter-inch top stitch foot maybe that will help you get an accurate quarter-inch. And you're going to be sort of using one hand behind the foot, in one hand in front of the foot. And again, this is just a single layer. Think of it as a stay stitch. I have my pointy finger shoved up against the very back of the presser foot, holding that fabric from going anywhere. So you can see kinda builds up underneath the machine, underneath the presser foot. With my thumb, I'm sort of guiding the fabric in and with my right hand, I'm just making sure that it's going at a steady quarter-inch. I'm not holding the fabric back. I really want to force more fabric under there. The next step is to attach your flat file foot. And if you don't have a flat file foot, you can do this without, but it's really helpful. So what a felling foot does is it folds fabric up and over. So we're going to be folding the extra quarter inch seam allowance that we just stay stitch of the sleeve up and over the shoulder seam of the shirt. So you want your sleeve right-side up, your shoulder, or your shirt? Right side down and imagine the backs first. So make sure you have your backs matched or if you're doing the front side, this happens to be the backside. And I'm taking a couple of stitches with just folding that quarter-inch Up and over. The seam allowance of these are offset. So I had a quarter-inch sticking out on my sleeve and that's folding up and over my shirt. And then it's folding. Write out that stitching line that I just previously stitched. This flat felt foot is feeding in that quarter inch. It's about I think this foot is if you're having problems with your flat felt foot, to talk to your machine dealer or look online, there are lots of different feet that that may fit your machine. You'll see here I'm using an owl that's just helpful to get that kinda highlight ball effect of folding the excess seam allowance up and over my shirts and just helping me feed it into the foot. Little bit of difficulty in the yolk seem there's a lot of layers going on there, but it should still go through. If it doesn't, it is possible to take the work out of the machines sort of unfolded from the flat file foot and just stitch it regular and then feed it back in again. You'll see me do that a new second pass because it really does get pretty bulky in there. You also notice I'm only doing a few stitches at a time. Just take your time here. This is absolutely the most complicated seam on the entire shirt. So if you're finding this is just not working for you, don't worry about doing a proper flat felt, just stitch right sides together as usual. And then you can finish the scene with a surge year. With a surge. You can finish that scene with a surgery or you can zigzag it and then tops digit down. So please don't feel that you're missing out. If you can't do a proper flat film, it does take a little bit of practice. And really the best advice is getting a foot that works and do try some of them out and go all the way to the end. Then as I mentioned, there's a second pass and this is actually going to be stitched flat. So the second pass using the flat file foot, again, you'll see we open up the work so it's flat. And again, starting from the same and that you started from before feed in that quarter inch seam. So that should have three layers. So it's the sleeve folded up and over the shirt. So you'll one side of the sleeve shirt sandwiched in between the other side of the seam allowance of asleep and then the sleeve itself is not being stitched on. That's off to the right. You're stitching on the shirt. Some pitfalls that can happen here is you your shirt can kind of bunch up underneath you. Do you want to make sure that it's nice and you can even press it if you wanted to, but it's nice and flat, but there's no excess shirt, you know, glomming up under that seam. And as I mentioned before, when you get to the bulky parts now at our yolk, There's a, I don't even know I lost track probably 10 layers going on there at this point. So if you do need to remove the work from the foot, now's the time to do so. And you can just kinda get over the hump. You can even hand crank your wheel if you need to. You can also pound the seam down, which I usually do. I just take a little hammer and just smash the seam and you'd be amazed how flat you can get it. Continue on as you notice, also with this seam, I'm just doing a few inches at a time and I'm spreading that the work nice and flat sub the only thing that's getting stitched is at felled seam into the foot and then down and it's being stitched onto shirt. That's it doesn't that look beautiful. So you have to log line to stitching on one side. And then just a nice pretty line of top stitching on the top. The next step is to flat fell your sightseeing. So we'll see you here in a minute. 13. Side Seams - Flat Fell: One of the last steps for building our shirt is to do the flat felled sightseeing. And this is not necessary if you're not feeling like a fine fella, you can just sew right sides together, stitch it and search the edges if you'd like. The flood felt seam is nice. It gives a really tidy look on the outside. Everything is encased on the inside and it's nice and flat. So especially for toddlers skin and it's very smooth. Surged edge can be a little rough. So if you are doing a surge edge, you'd want to stitch that down as well. But the key for doing a flat felled scene is to get a flat. Well, when we say fell, that is what a fell seem looks like. So felling is turning it up. Hemming would turn it down. So this is an M6, I believe that six millimeter. It works pretty well for the site seems you can get different sizes, whatever came with your machine. If it if you're having problems with it, try different foot. I know that sounds crazy, but your machine will have other feet most likely available. The thing to remember about the flat felled side seam is we wanna go down the rabbit hole. So you're going to start from the shirt, tail him and go up and over and down to the cost. So get your work aligned properly. No need to change the seam allowances or anything. I offset my seam approximately the width of the flat file foot, stick it under my work with my needle. Let's pass number one, the past number to open up the work to get back under. Couple stitches, feed it in. Now you don't have to use the flat file if it's too difficult if you're felling foot is just not working out. You can just do an edge stitch here, but my feeling for it works pretty well on the second pass. A problem area is at the armpit. So if you need to smash that into submission, you can also take it out of the foot, get over the hump, and then put it back again. Now here's what we're going to go down the rabbit holes is shut everything down there. Make sure there's not anything underneath your machine. That's where it likes to get hung up a little bit. Don't panic in that area. It's under the armpit. Seriously, you're not gonna see it. So if it gets a little bunched up under there, now worry about it. Just keep on going down the rabbit hole. Make sure there's nothing under there. That's it. Okay. 14. Hem how to start rolled hem at button hole placket: The final step is to do your ham. I just just wanted to show this little treatment that I do down here. So this is the plaque inside the buttonhole packet and I've cut mine a little bit longer because I like to do like a little corner here. But you may be wondering, well, how do you start the role ham, if you've got this, you know, do you you don't roll the plaque into the ham? I do a little split down the middle, the stick that under my machine. And actually first let me get that him to start our Rowan sticking on the machine, put my needle down, feed it through. And then I start. And that's it. Now show you after this how I do the little treatment of the miter for the button pocket. Thank you. Okay. Thought I would just continue to show you how to do the rolled him here. I have other videos on this, but I figured I'd show you with a full shirt. I'll just so in TOC is ISO. So I've think about this as sort of a cone. And you're going to feed the raw edge into your, you, into your foot. Kind of like, uh, like imagines kind of going down to draw a ball. Maybe she's going this way. So you envision however you need to, to kinda get this cone going. So my left hand is going to arrange your favorite kind of as I bring me to, my right hand is helping with that fold. In a very light touch. Now you coming to the side seam, there's a little bit of a curve. Here's what's happening. So the outside curve, think about it. You need to, again, same thing, this is longer than this. So I'm going to pull a little bit on the shirt area here so that this in effect is a little bit longer in the edge, can kinda catch up with it. And be hard to tell. But I'm pulling towards me with the tips of my fingers. Straight line. And again, fuss outside curve and pulling a little bit on this and lets you manage. And you get to hear it, but think of it, unfold this n. And otherwise just let it go right during. Hence one doesn't always turn out the absolute best. So I sometimes will unpick out and just stitch that with a regular foot. And that is it. Once I hit this with the iron, those ripples should disappear. So that is a way to do a tidy rolled him on your shirt. Thank you so much. 15. Cuff- Sew Shirt using Slot Method: This video will show you how to attach the cuff to the shirt using the slot method. The first thing is to make sure you, of course, you have your completed cuff. And then to make sure that you attach i'd of the shirt packet to the button side of the cuff and also the buttonhole side of the packet to the buttonhole side of the cup. If you've already put in your button holes in your button. The shirt basically just get shoved right up in there. That's why we call it the slot method. So you also want to make sure that you have sown your pleats into the shirt. You can do this while you slot it, but it can be kind of confusing. There's a lot going on. So to just check the length against the length of the cuff and add or adjust your fleet as needed. And now just press go. You'll see here we're just top stitching right along the edge of that folded cuff. So that's the outside of the cuff. It's going to the outside of the shirt. And again, I'm just checking my work, making sure that the lengths are going to work out. And if you're really off here, you can put a tiny little pleat in close to the other opening of the sleeve plaque. It can be a little fuzzy. Those might be better just to remove your work and put it in a little pleat for you do this. You could also sort of stretch it as you need. So you might find that the shirt itself will fit in once you're in the sewing load. So I use the all the kind of Coke's things together and just cruise on down. I like our other top stitching go all the way off the cuff and backstitch, and that is it. And with this method, you're inside of the colorful look, as beautiful as the outside of the cuff. Thank you so much. This is Leah with the way we so.