look like leaves of a book. Be careful to see that the heads of the
pins are on top. Now catch the pins to the case with several long
stitches which are taken below the points of the pins. Stitch a ribbon
to flap of envelope and one at the bottom. Close the case and tie the
ribbons and you have a handy pin case (Figure 69).
V
MAKING BUTTONHOLES, CUTTING FROM A PATTERN, A DOLL DRESS
To make a good buttonhole is an accomplishment that any girl can be
proud of, as it is the hardest thing in sewing. The thread should be
almost double in length to that you usually take, as a joining is very
clumsy in a buttonhole.
A buttonhole is a worked opening in a piece of material or garment
through which a button is to be slipped. The friction caused by
buttoning and unbuttoning necessitates that the worked edges should be
firmly and well sewed.
[Illustration: Fig. 70. The first step in buttonholing]
Before we make a real buttonhole, let us see how the stitch is worked.
Draw a line one inch in length with the straight of the material. Take
two stitches one inch long over this line. At the extreme right of the
stitches insert your needle, threaded with No. 40 cotton. Take a stitch
about a sixteenth of an inch below the line. While the needle is still
in the material--you are working from left to right--(Figure 70), carry
the thread under its point from the left, to the right side of the
needle. The enlarged cut showing this stitch is very plain. The needle
is then drawn through the material toward the chest and then straight
from it. The next stitch and every other stitch must be identical with
the first, the difference being that each stitch is then a little
farther to the left. Every stitch must be the same length.
Now let us prepare to make the stitch on a fold. Fold a band in three
equal parts. Pass the needle between the folds and bring it out on the
edge. Hold the end of the thread with the left thumb. Carry the needle
to the back of the fold and insert the point through the fifth thread
of the material from the edge. The double thread at the edge of the
needle is brought around the point of the needle from left to right and
drawn out. (Figure 71).
A tailor's buttonhole is made slightly different. The needle is placed
in the same position as in the ordinary buttonhole. The thread is
brought from the top of the stitch and the doubled thread is brought
around under the point of the needle from right to left (Figure 72).
[Illustration: Fig. 71. The position of the needle in buttonholing]
[Illustration: Fig. 72. A tailor's buttonhole]
The corners of the buttonhole are worked in two ways, either barred or
rounded. The round corners are worked in the same buttonhole stitch,
only it is twice the depth of the buttonholing along the two edges.
Five or seven stitches will be sufficient for a corner or the ridge of
the buttonholing will be too crowded.
The bar or braced end of the buttonhole is a little more difficult. It
is necessary to bar a buttonhole for heavy woollen materials such as
men's coats, or your own cloak, or outer wraps (Figure 72). Generally
the first end of the buttonhole is rounded and the last end barred
(Figure 73).
[Illustration: Fig. 73. The buttonhole with one end rounded and the
other barred]
Work around the buttonhole end when the last stitch has been made,
turn the material so that the work lies across your forefinger. Pass
the needle over the extreme left of the stitch, (Figure 74). Work four
stitches the same length as those of the two sides of the buttonhole,
and then insert the needle through the ridge of the first buttonhole
stitch. The ridge of the bar faces the buttonhole. This bar should be
just the width of the buttonhole. Nine stitches are usually sufficient
for it.
[Illustration: Fig. 74. Barring the buttonhole]
Tailors run two or three strands at the base of the buttonhole before
working the nine stitches. The stitches are not taken through the
material but only over the threads.
A buttonhole is fastened off on the wrong side at the base of the
stitch.
The most important step is to cut the buttonhole straight. The
buttonhole should be a trifle longer than the button. It should be cut
in the opposite direction to which the strain will be. For instance on
the back of the waist the buttonholes should run crosswise, for the
movement of the shoulders spreads the buttonhole lengthwise. On the
bands around the waist buttonholes are made lengthwise.
A sharp pair of scissors or a penknife should be used for cutting the
holes. Insert the point of the scissors or knife through the centre of
the buttonhole. Cut one side, then the other, along a thread of the
material.
The thread is fastened securely on the wrong side of the left-hand
corner. Use No. 40 sewing cotton for buttonholes, unless on very fine
material, when No. 60 should be used. Sometimes it is well to over-cast
the raw edges before working the buttonhole. A thread should always
start at the extreme lower left-hand corner.
The backs of yokes should be fastened with loops and fine buttons. To
make a loop, span the thread across the edge of the material in a loop
large enough to slip the button through. Let the last stitch be on the
right-hand side. Now place the threaded needle under the strands of
thread letting the thread fall under the point of the needle. Repeat in
this manner till the strands are entirely covered. The ridge or purled
edge of this stitch will be on the outside of the loop.
[Illustration: Fig. 75. Loops made of threads]
Hooks are sometimes caught into loops, but they are made directly on
the material instead of sewed on the edge. The strands of thread,
however, are not as loose as the buttonloops. The diagram (Figure
75) of the two loops will convey a clear idea of how the threads are
spanned and covered.
The last step in sewing is cutting from a given pattern. An old garment
that fits well, ripped apart makes an excellent pattern and requires
very little fitting. Press the pieces before using them as a pattern.
Lay the material so that the selvage runs lengthwise, that is, from
head to foot. Only one half of the garment is necessary for a pattern,
as the material is doubled or folded lengthwise (Figure 76). The
centre front of the skirt or waist is always placed on the fold of the
material and either basted or pinned down before cutting.
[Illustration: Fig. 76. The centre front on fold]
Collars, cuffs, bands, and sleeves are cut with the selvage running
their length. Cut any part of a garment such as sleeves, waist, or
skirt through two thicknesses of material so that both sides will be
exactly alike. This does not refer to the front gore of a skirt. When
the material has a right and wrong side the right sides should face
each other before cutting the pattern.
Handkerchiefs or frills should be cut along a thread so that the edges
may be perfectly straight.
Be sure that the material lies perfectly flat under the pattern. Pin
the centre first to keep it from slipping before pinning the edges.
Pin the entire garment before cutting anything, so that you can be
sure that your material will be sufficient. This also gives you an
opportunity to see where to put the smaller pieces and economize with
the material.
A large pair of scissors should be used in cutting. The blunt-pointed
blade is next to the board or table. It is well to practise on paper
and plan the pattern before using the pattern on the cloth.
Bias bands should be cut on the bias of the material. Cut a square
piece of material and fold it cat-a-corner. Cut along the fold and you
will get a true bias.
Bands to finish the necks of undergarments or around armholes should be
cut on the bias. In fact, any curved edge that has to be faced should
be faced with a bias instead of a straight band.
Now suppose we make a real dress for Sally Ann that will be put
together and finished just like one of your own dresses. The style we
will select will be on the order of a French dress, that is, a long
waist and short skirt. The pattern for the waist is in seven parts:
they are the front, side front, back, side back, sleeve, collar, and
cuff. The skirt is only one piece.
Three quarters of a yard of material will be sufficient to make a dress
for a doll from eighteen to twenty inches in height.
In all patterns that are bought only one half is given; sometimes
all the seams--which are a very important part of a dress--are given
and sometimes they are omitted. Any pattern that is published by a
reliable firm tells on the envelope whether you should allow for the
seams or not.
The pattern is usually of tissue paper and each piece has perforations
or holes of different shapes. One shape means this side must be
placed on the fold of the material, another shape or perforation the
same shape only grouped differently, means that the pattern should
be placed on a straight thread of the material. Still another means
"gather here." If there are tucks in the pattern they are usually
indicated. Where the seams join each other, little notches are made and
corresponding notches are placed together and pinned after the pattern
is cut.
Let us suppose the material is forty-five inches wide. Place the centre
of the skirt on the fold of the material and pin in place. Your pattern
should be planned and pinned on a flat surface such as a sewing table.
Place the pins through the tissue pattern and both thicknesses of the
material, letting the head and the point of the pin be visible to the
eye. Do not cut any piece of your pattern until you have planned and
pinned every piece, as that is the only way you can economize on your
material (Figure 77). Often a pattern cut before each piece is planned
comes to grief if an over-supply of material has not been provided.
The centre front is also placed on the fold of the material as well as
the centre, back and collar. The sleeves are now fitted in, so that
the perforations rest on the straight thread of the material. The side
front and back and cuffs are also pinned to the material. The pattern
now pinned, take a large pair of cutting scissors and holding the blunt
part toward the table, cut close to the tissue pattern, or if no seams
are allowed, the width stated in directions should be allowed for the
seams.
[Illustration: Fig. 77. The waist pattern pinned to the material]
Let us make the sleeve first. Take one sleeve and holding with the
right side join notches together (Figure 78). Baste the sleeves up on
the seams one eighth of an inch from the edge. When the basting is
finished make a row of fine running stitches. Turn the sleeves on the
wrong side and baste them before working the combination stitches. The
sleeves are now ready to be banded. The band is taken and sewed on the
short side. The seaming is taken on the wrong side of the material. A
little seam is taken on each of the long sides of the cuff. Fold the
cuff in half. The turns or folds are opened out and now turn the cuff
inside out. Run a gathering thread at the lower edge of the main part
of the sleeves starting the thread one half inch from each side of the
seam. Place the cuff around the sleeve so that cuff seam rests on the
seam of the sleeve. Pin into position. It will probably be necessary
to pull or adjust the gathering thread so that the lower part of the
sleeve be just the size of the cuff. Baste the band on after it has
been pinned satisfactorily before working the combination stitch.
[Illustration: Fig. 78. Notches of sleeve put together]
Turn the sleeve inside out and fold the cuff in the creases. Hem the
inner side of the cuff to the wrong side of the sleeve. On the upper
side of the sleeves run another gathering thread about one inch and a
half from the seam (Figure 79). We have now finished with the sleeve
until the waist proper is ready.
[Illustration: Fig. 79. Gathering the top of the sleeve]
Now take the centre back and side back and baste them together. Join
the pieces so that the notches correspond. Work the combination stitch
three eighths of an inch from the edge. The side fronts are joined
to the backs under the arm and on the shoulders. The front is then
sewed to the right side of the waist only. It will be necessary to
face the centre front piece and the left side front. Take a bias strip
of material not more than three quarters of an inch wide and fold an
eighth of an inch on each side of this strip. Join the shoulder seams
together, one side of the back to the right side of the front and
the other side to back. Sew with combination stitches, then make a
felled seam as explained for the sleeve. Baste the turned fold to the
right-hand side of the waist by opening out creased side and placing
the two right sides together and stitching one eighth of an inch from
the edge. Turn the bias over to the wrong side of the waist and slip
stitch. Slip stitching, as I have explained before, is somewhat like
hemming; only the stitches are taken back of the folded edge and catch
one thread only of the material.
The other bias band is basted in like manner to the left-hand side of
the waist.
[Illustration: Fig. 80. The gathers on the upper part of the sleeve]
The sleeves are ready to be put in. Measure one and one quarter inches
from the under arm seam on the waist, which is the short seam near the
front of the waist. Pin the seam of the sleeve to this point. Pin the
rest of the sleeve so that the gathers are evenly distributed. Pin
the right side of the sleeve to the right side of the waist. Baste
securely. Remember that the gathers should be thickest on the upper
part of the sleeve (Figure 80). Stitch with fine back-stitching and
then overcast. The neck may be bound or may have the collar attached.
Turn and hem the outer edge of the collar; a ruffle of lace may be
added if desired. Baste the collar to the waist, and try the waist on
Sally Ann. If it is a satisfactory fit, stitch in place. It is well to
cover the raw edges with a little bias fold. Hem the fold down on both
sides.
The long strip is not joined, but a half-inch hem folded on one side
and then stitched. The skirt is plaited or kilted, as it is often
called. A hem is made on each of the short sides of the strips. Now
crease the material as if you were going to make a tuck three quarters
of an inch deep. A box plait will next have to be planned; again crease
your material as if you were going to make a tuck three quarters of an
inch deep. These creases must be exactly three quarters of an inch from
the double fold of each piece. Measure an inch and a half, then turn
the material under so that a three-quarter inch piece is under the left
side of the waist line. This completes the box plait.
The plaits from there on are folded toward the left, while the first
two were toward the right. Baste each plait down securely. When working
on cotton materials that have a lot of dressing, the creases are likely
to stay in without basting, but while working on it the edges are apt
to get turned up. Basting (Figure 81) is therefore the surer and safer
way to keep the plaits in position, while for woollen or soft, sleazy
materials it is the only way.
When every plait has been basted lengthwise, take another thread and
baste them crosswise three or four times.
[Illustration: Fig. 81. Section of plaited skirt showing how it should
be basted crosswise]
Join the waist to the skirt, taking care that the centre of the
box-plait is under the direct centre of the front of the waist.
A sash will be needed to finish this dress. It can be tacked in place
or little straps of ribbon may be stitched at intervals and the ribbon
run through the straps (Figure No. 81A).
If this dress had been stitched on the machine it would have been
better to make tailored seams on the waist; that is, a narrow seam is
taken on the wrong side. The material is then turned back so that on
one side of the seam it slightly overlaps the other. Baste in place and
stitch on the edge. Tailored seams do not require any extra allowance
of material. They should slant toward the right on the right side
of the garment and toward the left on the left side. If the seams
were stitched to run in one direction the garment would have a very
one-sided appearance.
[Illustration: Fig. 81A. Sally Ann's new dress]
Press all the wrinkles caused by handling the dress in sewing. It is
best to lay a damp cloth over the material rather than place the iron
directly on the material. You will need a small iron for this dress.
Press each plait down carefully. Take out the basting threads before
trying on the dress.
There are good, bad and indifferent dressmakers, and I know you wish
to be one of the former. Sew a row of buttons on the left front of the
dress and make little buttonholes to correspond on the right side.
VI
A LESSON IN STENCILLING
What is stencilling? Let us see. Stencilling is a branch of painting.
Have you heard the story of the Baltimore belle in the time of the
Revolution who was most anxious to go to the first big ball that was to
be given after the war? The town had been divested of all the beautiful
silks and satins that the great ladies were accustomed to wear. Our
country had stopped importing these costly materials because there was
no occasion to use them and no money to pay for them.
An invitation had been sent to one of Baltimore's fairest daughters
who was intending to go with her cousin. What were they to wear? Both
needed the festive garments. At last, after a careful canvass of the
town, the young man managed to borrow a pair of satin breeches and a
flowered coat and all the other articles necessary to make a fine dandy
of those days, except the silk stockings.
The girl succeeded in finding a piece of white lawn of the coarsest
kind that was sufficient to make a frock. In no way discouraged this
clever young lady, who luckily could paint beautifully, started and
painted little sprays of rose buds on the fifteen or twenty yards
required for the gown. This made a very dainty and pretty frock.
[Illustration: Fig. 82. Stencilled curtains]
Poor George, her cousin, was in despair in not being able to borrow or
buy a pair of silk stockings, but clever Miss Betty hit on the plan of
painting his legs with a thick coat of white and then decorating them
with clocks on each side, so that no one at the dance even suspected
that he didn't have on silk stockings.
Miss Betty's dress was voted to be the most charming dress of the
evening.
Ever since I have heard this story I have wished that Miss Betty had
known how to stencil. What a lot of time she would have saved! I am
sure you will agree with me when you know how to stencil.
Have you noticed the flat gay decorations above the moulding in some
houses? Well those are stencilled. A painter will cut out a design from
a thin steel background; he lays this on the wall and paints over the
open spaces in the design. It is the only true way in which he can keep
his pattern. All free-hand designs are bound to show a difference in
outline.
Stencilling for home decoration is used on curtains (Figure 82),
portières, rugs, couch covers, table covers, lunch sets, pillow tops,
(Figure 83), bags, counterpanes, as well as for dresses, parasols,
wraps, scarfs, and in fact almost every conceivable object that allows
the use of decoration.
You can get a stencil board from any artist supply shop, but the one
you can make at home is cheaper even if it is not quite as durable.
[Illustration: Photograph by Mary G. Huntsman. A Single Motif Being
Used On a Stencilled Scarf]
In many of the schools, stencilling in its simplest form is taught in
the kindergarten. The children are taught to fold a heavy piece of
drawing paper lengthwise and draw half a design so that the centre
of it is on the fold of the paper. The design is then cut away, leaving
the background intact. This method is good for very simple motives.
Sometimes when we do not wish our design to be so set, we will draw it
without creasing the paper.
[Illustration: Fig. 83. A simple stencilled pillow]
The stencil board that you can buy is very hard for little fingers to
cut, besides being expensive.
To make a stencil pattern, draw a design such as a bunch of violets.
Let every petal be separated from the other and where the stems should
intersect leave a little space between. These little spaces or bridges
are what keep the background together. Of course, as a usual thing,
if you buy a stencil outfit, one pattern or more already cut comes
with it. In many of the large shops stencil patterns can be bought
separately, but if one has any idea of drawing it is an easy matter to
make a pattern.
[Illustration: Fig. 84. The cut stencil]
The design can be traced and cut on a piece of heavy manilla paper: a
coat or two of shellac makes the paper stiffer and somewhat waterproof.
The advantage of using drawing paper is this, that it may be cut with a
pair of scissors, while a stencil board requires a sharp penknife and
lots of finger strength to cut the pattern. White shellac is the best
to use, as it dries quickly. It can be bought from any paint store.
The pattern now cut (Figure 84), you are ready to do a piece of real
stencilling. Let us choose the cheapest thing we can get for our first
attempt. A piece of cheese cloth for a sash-curtain appeals to me.
Put in the hem so that the stencil will be sure to be straight. Lay a
large piece of blotting paper over the board or table on which you are
going to work. Place the cheese cloth on top of that. Try your stencil
pattern and measure how many times you can repeat it. It is better to
plan a pattern with a small space between each motif so that you will
not have half or part of the design left over. Stick a pin where the
centre of each motif should be.
Lay the stencil pattern in position and thumbtack it down to the cheese
cloth and blotting paper. Turpentine and oil are the most satisfactory
for stencilling, though there are several patent mixtures sold that
are good. The paint can be mixed with the turpentine till it is the
consistency of a thick cream or the brush can be dipped into the
turpentine and then into the paint. In either case the brush must be
wiped quite dry, as the process is more of a rubbing in one than
painting. Bristle brushes of four different sizes should be in your
stencil outfit. They come round and flat, (Figure 85). The frontispiece
shows a child stencilling with the round brush.
[Illustration: Fig. 85. The brushes]
Dip the brush into the mixture and be sure you wipe it off on a soft
rag before painting in the design. If the brush is too wet the result
is a blurred stencil.
Use a different brush for every colour. When the first motif is
stencilled, move the pattern and place it over the next pin. If you
want to reverse the pattern, clean it thoroughly with naptha on both
sides and let it dry for a couple of minutes before using again.
To make a stencilled piece washable it has to be steamed like printed
dress goods. This can be accomplished in two ways: that is, by
holding it over a steaming kettle, or by laying a wet cloth over the
stencilling and pressing with a hot iron.
Needless to say, a piece stencilled in water colours should not be
treated like this.
[Illustration: Fig. 86. A stencilled bag]
Water colours or crayons can be used when a piece is not desired to be
washed. The latter works in as smoothly as paints.
Scrim, cheese cloth, linen, crash, burlap, monk's cloth, and Arras
cloth can be used for curtains or portières. The cost of them varies
from seven cents to one dollar a yard.
Sometimes a small motif is taken and stencilled all over the material.
This gives the effect of a printed pattern.
Five tubes of paint will produce almost any shade under the sun. They
should be blue, yellow, red, black, and white. Blue and yellow make
green; blue and red, purple; lavender, yellow and red make orange. A
little black will soften the colours while white lightens the shade.
Other combinations can be made by mixing three colours together. Enough
of the paint should be mixed at one time to stencil the entire piece,
as it is extremely difficult to mix a new batch of colour that will
be the exact shade as the first. Ultramarine blue is the shade of the
deep sea. Crimson lake is a bright red. Venetian red is a terra cotta.
Emerald green is a blue green. Sap green is yellow green. Ivory or lamp
black are the two blacks to be had in oil paints; the former is shiny
while the latter is dull. Flake white is the term for white in oil
paints.
Of course, you can buy ready mixed in tubes almost any shade you
desire, but it is lots more fun to make your own colour combinations,
as well as very much cheaper. Diamond dyes can be used for stencilling
by letting one package of dye serve for one pint. The dyes will have to
be boiled in the manner stated in their directions.