Fashion Studies ~~ Practical Manual CLASS =X[= CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Dethi-110 092 India—ae NY. J Practical Manual on Fashion Studies Class-XI Price: ® First Edition 2013, CBSE, India Copies: “This book or part thereof may not be reproduced by any person or agency in any manner.” Published By The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110092 Design & Layout: Multi Graphics, 8A/101, WE.A. Karol Bagh, New Delhi-110005 Phone: 011-25783846 Printed Byana ct afar ‘safer 1s, eres Bie, ere a RE a met aes eee ore] we fre, er sad emer ant a: ‘arora, anion afte wifes =a, ferare, snfetiey, fevare, ei afte saree a eine, fear afte area af et ure aa fer, war 3a wa & cated at after ait [re at ware ait arezat) ‘afta ah ret aigar wart & ferq aaetere trax amet ga wferara aan Harm arte 26 vata, 1949 f aT UT ENT ga aaa -aY atti, arftsPrafira afte arreftie aaa #1 1 ere es er) eee 1976 2B 3..1977 nape eG eT ee 2 -ebfeenra ( mearetrerert stv ) aeficFrere, 1976 i ener 2 wren ( 3.1,1977 ) & “eve we” a aa we eerie a 4 qe adet 5135, apr ater — sree & wets afer a ae acini fee ae — Cm) ars sr gen at sik sae steel, densi, wegera st TET a TT HR; (a) eres fore eat Teta atigters ai ta eA Tel sea areal i aes A eile a site sae THE aH Ca) sme at gen, ere ok state ter wt ah za ET Ta; (2) tetera it aan feu ar woe wT Sar (8) are avi ciel arcane aera anges #1 re ar Prion at it eel, re tte weer ar an oe caverta art Sea 8 ot ai, ta wens ar aT ae GH feral S aH & fea; (wrt arnt: septa at thee reve a re we she sera EET ae, (8) srpfeen sataen a Paraat iene 4, ater, eh, otk aa Sita @, ver ame site TeRT aes we cen fo aE Te waa wa; (a) aaafre gftesin, arraarg ste arash cen que st sree ar ferret; (@) Arista afer a qa ta she fer ae: (a) efere sik arafice afatattrel # est asi a eed at site ae ar aa ware at fared oe Free aed EE shesrafer ati sa st Ee (© ae aa-fro a dere 2, oe ae Sige a oe FT a Te ar, gente, areca eres & fer fever HE TE BU afer (ret res) rae, 2002 ee re 12.12.2002 ) a eetTHE CONSTITUTION OF INDIA PREAMBLE WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a '[SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC] and to secure toallits citizens SUSTICE, social, economic and political; LIBERTY of thought, expression, belief, faith and worship; EQUALITY of status and of opportunity; and to promote among them all FRATERNITY assuring the dignity of the individual and the’ [unity and integrity of the Nation]; IN OUR CONSTITUENT ASSEMBLY this twenty-sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION. 1. Subs, bythe Constitution (Forty Second Amendment) Act. 1976, se. 2, for’Sovereign Democratic Republic” fw.e.f.3.1.1977) 2, Subs bythe Constitution Forty Second Amendment) Act. 1976, sec. 2, for unity of the Nation” fw.e..3.1.1977) THE CONSTITUTION OF INDIA Chapter IV A FUNDAMENTAL DUTIES ARTICLE 51A, Fundamental Duties -It shall be the duty of every citizen of India- fo ae ty hah ane sis ors pr wing the Nagel aa tha Neon inthem; (b)_tocherish and follow the noble ideals which inspired our national struggle for freedom; (o) touphold and protect the sovereignty, unity and integrity of India; (d)_todefend the country and render national service when called upon todo so; () topromote harmony and the spirit of common brotherhood amongst all the people of India transcending religious, linguistic and regional or sectional diversities; to renounce practices derogatory to the dignity of (f) tovalue and preserve the rich heritage of our composite culture; (@ to protect and improve the natural environment including forests, lakes, rivers, wild life and to have compassion forliving creatures; (h)_ todevelop the scientific temper, humanism and the spirit of inquiry and reform; (i) tosafeguard public property and to abjure violence; ()_ tostrive towards excellence in all spheres of individual and collective activity so that the nation constantly rises to higher levels of endeavour and achievement; "(who isa parent or guardian to provide opportunities for education to his/her child or, as the case may be, ward between age of six and forteen years, 1. Ins. by the constitution (Eighty Sixth Amendment) Act, 2002 4 w.e 4. 12.12.2002)Se ~~ Bw Foreword India is known for its rich heritage of textiles and costumes. The global interest and demand for Indian textile and craftsmanship has ed to an emergence for huge apparel industry for domestic market and export. ‘The large scale production of ready-to-wear clothing has ed to setting up of manufacturing units and export houses, requiring trained professional to lead the design activity and product development and coordination, The Indian apparel industry is spreading and growing by leaps and bounds providing employment to overa million people. In response to the above the subject FASHION STUDIES is being introduced at Senior Secondary level as an independent elective subject in the academic stream. A student will have the option to take this subject in combination with other subjects. The course portrays up-to-date basic concepts, techniques, application and some classroom practical, The publication in hand is the main course book, which covers all necessary information essential to understand the principles of ‘Fashion Studies’ included in the syllabus. Further, guidelines in project work will be developed to enable the teachers for effective transaction of curriculum, ‘The subject has been developed in collaboration with NIFT (National Institute of Fashion Technology, Delhi). I place on record the services rendered by Shri, PK. Gera, Director General, NIPT. The NIET faculty who have contributed as authors of various chapters are Sr. Prof. Banhi Jha, Dean and CBSE Project Coordinator, Professor Kripal Mathur, Project Anchor, Prof. Vandana Narang, Dr. Nilanjana Bairagi, Ms. Ashima Tiwari and Ms. Anu Jain. ‘The initiatives taken by Dr. Sadhana Parashar, Director (ARTS) and the efforts made by Dr. Kshipra Verma, Education Officer are highly appreciated in bringing out the publication. I invite the comments and suggestions from the experts, teaching community to improve upon the curriculum, textual material and other related matter. ‘Vineet Joshi ChairmanSe DNB Preface Fashion theory and practices are built on an academic foundation where history, anthropology, sociology, psychology and economics intermingle to shed light on clothing as one of the three most essential needs of the human race. Itisa visual indicator ofthe cultural identity ofa country. Fishion is a dynamic force which influences lifestyle choices made by consumers. It drives international trends in a multitude of areas from apparel, accessories, automobiles, cuisine, wellness, vacations and more, Glamour notwithstanding, fashion is a serious global business with high financial stakes. The increasing references to Indian textiles, clothing and culture on international ramps are indicative of India being centre-stage on the global fashion map. ‘The current educational scenario provides students with a wide range of subjects that are informative and also encourage individual aptitude. Many want to pursue non-traditional careers where creativity, problem-solving and business acumen integrate into an exciting combination. Fashion Studies, introduced by CBSE at the 10+2 level as an elective academic subject, points in the direction of fashion as a creative and challenging career. Fashion Studies offers insight into the components and processes of design, manufacturing, ‘marketing in apparel and textiles, It encompasses the process from fibre to fabric, from concept to creation of garments. It provides an overview of fashion, introduces an understanding of fabrics and. surface techniques, design fundamentals and elements of garment-making. Fashion Studies is envisaged to help students to make an informed decision about their future goals. Sr. Prof Banhi Jha Dean - AcademiesSe ~~ Bw Acknowledgement ‘Mr. Vinect Joshi IAS Dr. Sadhna Parashar, Director (ART & I) Dr. Kshipra Verma, Education Officer ‘Mr. Prem Kumar Gera, IAS Sr. Prof Banhi Jha, Dean (Academic) Prof. Kripal Mathur . Overview of Fashion: Sr. Prof. Banhi Jha . Introduction to Fibres, Dyeing and Printing: Dr. Nilanjana Bairagi . Design Fundamentals: Prof. Kripal Mathur Elements of Garment making: Prof Vandana Narang & Ms Anu JainNBTSe i ~~ FASHION STUDIES I ‘Total Marks 100 (Theory 70 + Practical 30) Students will demonstrate their understanding of the subject through the following practical exercises CHAPTER 1: OVERVIEW OF FASHION 1. Relating Fashion Cycle theories to contemporary fashion 2, Explaining the Pendulum Swing theory for fashion forecasting, 3. Referencing of historical costumes as inspiration for Indian apparel design 4 ‘Use of print media asa source of information for fashion trends CHAPTER 2: INTRODUCTION TO FIBERS, DYEING AND PRINTING Identification and distinguishing between the different fibres through burning test Identification of basic weaves in fabrics Identification of different printing techniques on fabric eu an Applications and end uses of different textile structures CHAPTER 3: DESIGN FUNDAMENTALS 9. Analysis of the relationship between form/shape and function/use and to develop sensitivity towards color, shape and texture 10. Analysis of varied textures in nature and man-made environment 11. Conversion of verbal language into design development 12, Use of Balance/Symmetry, Emphasis and Contrastin designing products and spaces CHAPTER 4: ELEMENTS OF GARMENT MAKING 13. Develop familiarity with the machine 14, Preparesamples of seams 15. Prepare samples of seam finishes 16, Prepare samples of gathers, pleats and tucks1. uu. Mw DNB Drawing Board - Half Imperial Paper i, Cartridge paper fi, Sunlit Bond paper iii, Ivory paper ix. Tracing paper / Gateway tracing paper x. Butter paper Stationery i. Graphite pencils - HB, B, 2B ii, Clutch pencil iii, Brasers (medium size) - 6 iv. Plastic ruler - 12" and 24” ¥. Plastic ruler - 12" and 24” vi, Black pen - thin nib Miscellaneous Supply i, Scotch tape - 1 fi, Masking Tape/ Cello tape - 1 fii, Stapler -1 iv, Scissors - medium size x. Drawing board clips - 4 vi, Pins - Thumb pins, Gem clips, All-pins vii, Glue Art supplies i, Poster colours - box of 12 =a MATERIAL LIST * For Practical Exercises 1- 4i ~~ ii, Black water-proof ink - 1 bottle iii, Colour pencils - set of 12 colours iv. Colour marker pens - set of 12 colours Brushes i, Round watercolor brushes - size nos. 2, 4, 8 (1 each) ii, Flat watercolor brushes - size nos. 3,5 (1 each) Palette(for mixing colours) Water Container i, Ceramic mug or glass - 1 Sketchbook - 11" by 14” Portfolio case-Half Imperial size Apron -1 (to protect the school uniform during practical exercises) Paper sizes (for reference) Size AL Ad AB Ad Inches 23.4 by 33.1 Full Imperial 16.5 by 23.4 ¥% Imperial 117 by 165 Ya imperial 8.3 by 11.7Se DNB * Practical exercises 1 - 4 are based on Unit I: Overview of Fashion PRACTICAL EXERCISE 1 Objectives 1. Toenablestudents to demonstrate understanding of the theories of the Fashion Cycle 2, Toexplain the relevance of the theories to contemporary fashion Material requirement 1. Unlined/ blankskerchbook (A3) 2. Scissor, glue 3, Fashion magazines Procedure 1. Refer to books, magazines and the internet with a focus on any decade in the 20th century (e.g. Jazz age of 1920s, Hippie era of 1960s, Punk fashion of 1980setc.) 2, Find articles and photographs of the overall look’ of the selected decade e.g. art, architecture, cars, furniture and other lifestyle products. Focus on the details of clothes (fabrics, silhouettes, colours and prints) and accessories (watches, bags, shoes). 4, Find visuals of Indian and international runway shows (within the last 3 years) where the collections are inspired by the selected decade but re-interpreted anew. Label the visuals with information about the designers, location of the shows and year, 6, Paste the visuals on sheets/ notebook co-relating similarities and differences in design between the original fashion and its contemporary interpretation, 7. Writea note analyzing the Fashion Cycle (e.g. Gyele within Cyele, Recurring Cycle) of the look’ 8. Makea presentation for the class Observation and Discussion 1. Whatis the relevance of the theories related to the Fashion Oycle for the fashion industry? 3Se i _§_ > &.-Y PRACTICAL EXERCISE 2 Objective 1, Toexplain the Pendulum Swing as an important aspect of fashion forecasting, Material requirement 1. Unlined/ blank sketchbook (A3) 2. Scissor, glue 3. Fashion magazines Procedure 1, Select any one Indian or Western item of clothing worn by a large segment of the population (e.g jeans, slwar-kameer, sarsete) 2, Refer to magazines and the internet to find visuals of Indian or international shows (within the last 2-5 years) where this item of clothing has been featured. 3. Focus on the design variations of this item of clothing in terms of cut, fit, fabrics, colours, prints to identify the salient features. 4, Find visuals ofthis garmentrecording the changes it has gone through within the last 2-5 years. Write a briefnote with pictures analyzing the Pendulum Swing Make a presentation for the class Observation and Discussion 1, Whatisthe relevance of the Pendulum Swing theory for the fashion industry?Se NY. J PRACTICAL EXERCISE 3 Objective 1, Todevelop analytical understanding of how historical costumes inspire traditional Indian clothing 2, Toenable understanding ofthe Trickle-across theory of fashion in terms of traditional Indian clothing Material requirement 1. Unlined/ blank sketchbook (A3) 2. Scissor, glue 3. Fashion magazines Procedure 1. Refer to books (see bibliography), magazines or internet on traditional Indian clothing focusing on. details ofthe costumes 2. Collect pictures of any three traditional costumes for women and/or men (e.g, Choli blouse, Anarkali Jaurta, Angarkha, salwar, churidar, sari ete.) Analyze details of the costumes in terms of silhouette, fabric and surface embellishment 4, From magazines or internet, find 5 visuals of contemporary fashion apparel inspired from each of the three traditional costumes 5. —_Labeleach picture with the following details: i, Name of the designer/ label brand fi, Season iii. Price (optional) 6. Compile the visuals in a notebook systematically Observation and Discussion 1. How do historical costumes continue to be a source of inspiration for traditional designs across different consumer segments?Se ~~ Bw PRACTICAL EXERCISE 4 Objectives 1. Tolearn touse print media as a source of information for fashion trends 2. Toenable identification of current fashion trends predicted for the season through media coverageand reports 3, Tovisually identify similarities and differences in design interpretation by designers Material requirement 1. Unlined/ blank sketchbook (A3) 2, Scissor, gue 3. Fashion magazines Procedure Prior to the exercise, the teacher may do the following: 1, Familiarize students with names of Indian and international fashion magazines. 2, Identify articles and photographs on a few global fashion trends reported in newspapers and Indian ‘magazines in the last one year. 3, Discuss the key trends based on photographs of collections from Indian and/or international runway shows. ‘The students will do the following: 1. Selecta current key trend as reported by the media 2, Identify visuals of garments or fashion accessories/products (e.g. watches, bags, shoes) based on the key trends 2. Study the details ofsilhouette, material, colour, print, texture (as applicable) 3, Cutout pictures from different magazines which show design variations of the same trend by different designers/ brands 4, Stick the pictures in a scrapbook along with a brief note on how designers/ brands interpret the same trend in different ways.Se DNB Observation and Discussion 1 2, 3 Are there commonalities in fashion trends presented by designers in their shows? “Are these designs currently available in Indian stores? Are the designs similar to or variations of predicted trends? Are they more commercial (Wearable/ practical) than designs on the runway?—ae ~~ Bw MATERIAL LIST * For Practical Exercises 5 - 8 FABRIC SAMPLES: 1 [Any 5 fabricsamples of 10cm by 10cm cach of the following composition: a Cotton b. Wool © Silk d. Polyester © Nylon Any 5 fabric samples of 10cm x 10 em each of the following weaves: a. Plain: 2samples b, Twill: 2samples ©. Sateen: I sample Any 5 printed fabricsamples 10cm x 10 cm preferably of the following printing techniques; a. Block printed : 2 samples b, Thermal Transfer printed: I sample © Screen printed: 1 sample d. Digital printed: 1 sample Any 20 fabric samples consisting of different types of weaves, prints, structures, ee, (c.g. plain woven samples for dress material, velvet, canvas, heavy weight upholstery fabric, chiffon, denim, stretchable fabric, ete.) STATIONERY 1 2, 3 4. Scissors- medium size Ivory paper Plastic ruler - 12" and 24” Blackpen- thin nib Stapler-1DNB MISCELLANEOUS SUPPLY ‘Small Bunsen burner 2. Forceps 3. Pins 4 Beaker with water = aeSe i ~~ Practical Exercises 5 - 8 are based on Chapter 2: Introduction to Fibers, Dyeing and Printing, PRACTICAL EXERCISE 5 Objectives 1. Toenablethe students to identity and distinguish between the different fibres through burning test. Material requirement > Ivorysheets Scissor Small Bunsen burner Forceps Pins Beaker with water $e eggs Any fabricsamples of 10cm 10cm cach of the following composition: 1. Cotton 4, Polyester 2. Wool Acrylic 3. Silk Procedure 1, Collect 5 different fabric samples (Sem by 5 em) of cotton, polyester, wool, silk and acrylic, 2, Take out few yarns ftom each of the samples and burn the yams using a small flame with the help of forceps, 3. Observethe samples as they burn. 4. Observe whether the fibres melt or form a hard beard or ash and identify the burning smell that is emitted, 5, Identify the samples from the smell and the residue after burning. 6, Makeatableinthe ivory sheet and paste the sample of fibre and write down the observations. Observation and Discussion 1, Explain the significance of identification of fibres 10Se DNB PRACTICAL EXERCISE 6 Objective 1. Toenable students to identify the basic weaves in fabrics Material requirement 1. Iworysheet 2. Scissor, glue 3. Any 5 fabric samples of 10cm*10 em each of the following weaves: -° Plain: 2 samples +2 Twill: 2samples -® Sateen: Isample Procedure 1. Take fabrieswatches of 10cm * 10 cms each of basic weave patterns, 2, Observe the two sets of yarn, see how the warp and weft yarns move up & down for interlacement 3, Identify the warp and the weft 4, Findout the type of weave (plain, twill or sateen) of each of the fabric samples. 5. Presentitneatly on theivory sheet. Observation and Discussion 1. Discuss the different basic weaves.Se ~~ Bw PRACTICAL EXERCISE 7 Objective 1, Toenable students to identify the different printing techniques on fabric Material requirement 1. Iworysheet 2, Scissor, glue 3. AnyS printed fabric samples 10cm*10 cm preferably of the following printing techniques a. Blockprinted :2samples b, ‘Thermal Transfer printed: 1 sample © Screen printed: I sample 4. Digital printed: 1 sample Procedure 1, Take fabrieswatches of 10 cm * 10 cms each of different printed patterns, 2, Observe the type of print, how many colours have been used in the print. 3, Identify the method of printing. 4, Presentitneatly on theivory sheet. Observation and Discussion 1. Discuss the different methods of printing on textiles.Se NY. J PRACTICAL EXERCISE 8 Objective 1, Toenable students to understand the applications and end uses of different textile structures. Material requirement 1. Iworysheet 2. Scissor, glue 3. Any 20 fabric samples consisting of different types of weaves, prints, structures, etc. (example: plain woven samples for dress material, velvet, canvas, heavy weight upholstery fabric, chiffon, denim, stretchable fabricetc.) Procedure 1. Select ofeach fabric swatch of 10 em by 10cm each. 2. Observethe type of print, colours, thickness, feel and the comfort properties ofeach sample. 3, Identify the end uses of each of the fabric samples 4, Presentitneatly on the ivory sheet. Observation and Discussion 1. Explainhow the end uses differ based on the design and property of the fabric.Se i ~~ PRACTICAL EXERCISE 9 “Exercises 9 - 12 are based on Chapter 3: Design Fundamentals Objective 1. Toanalyze the relationship between form/shape and function/use. 2, ‘Todevelop sensitivity towards color, shape and texture. Material requirement 1. AB Sheet/s 2. Scissor, glue 3. Magazines for selecting picture of the product Procedure 1, Refer to magazines or internet to collect pictures of interesting products, (For example helmet, torch, penscissorsete.) 2, Analyze the pictures in terms of aesthetics and its end use/function, Describe its design attributes (aesthetics and functionality) 3, Cutthesclected product picture and paste it neatly on an A-3 Sheet 4, Label the different parts of the selected product. 5, Writea short note on the function of each part. Observation and Discussion 1, Discuss the role of Elements of Design for improving aesthetics and functionality while designing any product.Se DNB PRACTICAL EXERCISE 10 Objective 1. Toanalyze varied Textures in Nature and Man - made environment. 2, Tosensitize students to the tactile fee of the objects in Nature and Man-made environment. 3, Todevelop ability to interpret/convert a tactile feel/look into verbal language. 4, Interpretation of verbal expression for design development, Material requirement 1. Adsheet/s 2. Scissor, glue 3. Magazines for selecting pictures. Procedure 1. Tnorder to sensitize students, faculty must show visuals of various Textures and describe with an adjective for conversion to verbal expression, 2, Students need to collect visuals depicting textures in Nature (eg, bark of trees, ripples in the water, texture on flora and fauna, stones and others) 2, Students should also collect visuals depicting textures in Man-made environment (fabric texture, corrugated sheet, wall texture and others) 3. Pasteatleast three visuals from cach category on A-4 sheets 2. Present them individually with brief description of each Observation and Discussion 1, Discussion on Textures found in Nature, 2, Discussionon Textures found in Man-made environment. 3. Roleof'Textures in Design development. 4, Awalkthrougha park, historical monument or market.—ae i _§_ > &.-Y PRACTICAL EXERCISE 11 Objective 1. To improve observation for identifying emotions in the world around them. 2, Todevelop ability to interpret/convert different types of emotions into words 3. Conversion of verbal language into design development. Material requirement 1. Adsheet/s 2. Scissor, glue 3. Magazines for selecting pictures Procedure 1. In order to sensitize students, teachers must show and discuss visuals of various emotions for conversion to verbal expression, 2, Students need to collect 10 visuals depicting emotions (e.g. Anger, Happiness, Joy, Loneliness) 3, Selectat east five such visuals 4, Pastetheseon A-4sheets, Present them individually with relevant verbal description of the emotion. Observation and Discussion How differenttypes of emotions can be portrayed through colours. Students to enact/express different emotions before the class. ‘Students may identify movies or plays where emotions have played an important role.Se DNB PRACTICAL EXERCISE 12 Objective 1. Toimprove their observation for identifying Balance/Symmetry, Emphasis and Contrast in nature and architecture. 2. To develop an understanding of how to use Balance/Symmetry, Emphasis and Contrast in designing products and spaces Material requirement 1. A4Sheet/s 2. Scissor, glue 3. Magazines forselecting picure Procedure 1. Inorder to sensitize students, faculty must show visuals depicting Balance/Symmetry, Emphasis and Contrast. 2, Students need to collect 10 visuals for each category i.e. Balance/Symmetry, Emphasis and Contrast. Paste at least five visuals ofeach on A-4 sheets. 4, Present each picture with brief description. Observation and Discussion 1. Discussion on different types of Balance in nature and architecture. 2. Students to discuss Balance/Symmetry in Nature (eg. veins on a leaf, pine tree, the Taj Mahal etc). 3. Class discussion on Balance/Symmetry, Emphasis and Contrast in architecture (Mughal architecture, Eiffel Tower, Qutub Minar and others)Se ~~ Bw GENERAL INSTRUCTIONS FOR CHAPTER 4 "Exercises 13 - 16 are based on Chapter 4: Elements of Garment Making Objective 1. Todevelop basicskillsfor converting design on paper into astitched garment 2, Tounderstand the requirement of hands-on experience of working on a power machine asan essential and integral part of these practical exercises. Procedure (General instructions) 1. Undertake prior planning and clarity for the performance of the exercises. This includes reading of handouts, appropriate lab manuals and textbooks before performing the practical. 2, Followall precautions and regulations while working in the ab. 3, Listen carefully to any introductory remarks and experimental procedure given by the teacher. 4, Ensure that your working space is clean and organized and all the required stocks and materials are keptready, Record Practical Result sin the recommended record/file neatly and legibly with care. under the following headings: 1 Introduction/Aim State the purpose and objectives of the experiment precisely in two or three sentences. 2, Materials and methods ‘The requirement like equipment, materials, etc. should be given here, Methods should also be described along with principles of the techniques used. 3. Sample/ Results ‘The sample should be attached. 4. Discussion and Conclusions Results should be interpreted and conclusions drawn. 18Se DNB 5. References Reading materials which were consulted for the experiment be given as reference (e.g. your lab manual) along with the name of the author and the book, pages referred and year of publication, Safety rules in the laboratory Safety rules to be observed while working on the machine: Safety is important to everyone and it is ones responsibility to maintaina safe working place. -® When operating the machine, do not be careless. % Always inspecr the machine before starting the work. Be sure itis clean and threaded correctly, with no loose threads on the pulley belt and all guards in place, When in doubs, ask the teacher. Reportany injuries or accidents immediately tothe teacher. Wipe up any oil spilled on the floor immediately to prevent anyone from slipping, Operate machines only with permission. ee When sewing on a power machine, wear low shoes and close-fitting clothing. Avoid loose-fiting sleeves, sweaters, jewellery, ties and ribbons when operating the machine. If your hairs long, tie itat the back. Do nottilt your chair forward or backward while operating the machine Use both hands to raise and lower the machine head. Always keep yourhead above the table. Keep your fect off the treadle when youare not operating the machine Keep your feet off the treadle when you are setting or threading the needle ‘Turn the motor off when youare not stitching, ‘Turn the motor off before cleaning, oiling oradjusting the machine. See eee EE ‘Turn the motor off before removing or replacing the pulley belt and run the machine out. Wait until allmotion has stopped. $ ‘Turn the motor offin case of an emergency or when in doubt. ‘Turn the motor off before unplugging the machine. *® — Donotuse yourhand to stop and start the hand whe. $ 19Se ~~ Bw ‘Use your hand only to set the hand wheel, 3 Before operating the machine, close the slide bed cover. When operating the machine, keep your hands, scissors and other sharp objects away from the belt. Keep the machine and work station clean with all tools in the side drawer. ‘Unplug the machine at the end of the day. Know the location of the main power switch, outlets and fuses in case of an emergency. Donotremove any safety devices from the machines, ‘Tarn off the iron at the end of the class Always place the iron on the iron pad to avoid burning the ironing board cover. When trimming or cutting, putall trimmings in the wastebasket. Scissors should be handed to another person with the handles toward the person. Never toss or throw scissors or equipment. Donot eat or drinkin the work area, a Keep your machine covered when notin use. Spool ph ‘Take up bar oan Hand wheel “Tension regulator “Tension disc — ‘Thread guide Stitch Regulator Needle clamp. Presser foot damp Back Stiteh lever Peps side plateSe DNB PRACTICAL EXERCISE 13 Objective 1. Todevelop familiarity with the machine 2, Toleahow'to thread the machine Principles ‘The sewing machine isan important piece of sewing equipment. A basicunderstanding ofhow the machine operates will enable the student to use any machine efficiently and correct stitching defects. ‘Thestitch looks same from both the sides and is absolutely lat. Its important fora beginner to learn to thread the machine correctly asa lot of problems in stitching and final scams occur due to incorrect threading. The machine will not work properly until itis threaded in the right sequence. The student should be able to control the sewing ‘machine to make straight line, curved lines and shapes on fabric. Requirements 1. Machine, thread and sewing kit (as given in Annexure 1) 2, Nine pieces of muslin of 77" Pre Lab Preparation Student should be familiar with the safety rules. Procedure 1, Identification ofthe following machine parts: Arm o? BackStitch Lever Bed Bobbin Bobbincase Feed Dog © Bobbin Winder es © Hand -wheel aee pe Y ~~ Bw Hand Lifter Head Knee Lifter ‘Needle Bar Pan Presser Foot Presser Foot Lifter Shuttle Stitch Regulator Tension Regulator ‘Thread stand or Spool Pin ‘Thread take up lever Throat Plate $$) es es ee geges Learn to operate treadle ‘Turn the hand wheel ‘Switch on the machine THREADING a. UPPERTHREADING ‘The thread is fed from the spool through the tension discs and then to the take-up lever before itis threaded through the needle, Before threading the machine 1. Raise the pressure foot 2, Always have the take-up lever to its highest point before threading ‘The following steps need to be followed in exact sequence- +® Pheespool of thread on spool pin. Be sure nick on spool will not catch thread asit is reeled offspool, Take hold of thread end. s® Pass thread end through first thread guide. 22Se DNB Bring thread down toward the tension assembly. 3 Pass thread under and around tension dises, taking care thatit fall between two of the discs 3 Pull thread upward and then lett go slack. ‘This allows thread to be caught by the hookand thread check spring, which together hold thread in position between tension discs. Bring thread up and behind next thread guide. Pass thread into the take-up lever. Bring thread down and through thread guides. Pass thread end through eye of needle, being sure that it goes in proper direction for $e bs ‘machine, Pullatleast3" of thread through necdle. LOWER THREADING + Threading the lower portion of the machine involves threading the bobbin into its case. © Insert the filled bobbin into the bobbin case so that the thread is pulled back on itself through the spring, +® _ Fitthe bobbin case into the machine, holding the case by the lever on the back, The open leverlocks the bobbin into the case. ® Push the case into the socket until it clicks then release the lever, close the cover. If it does not click, the mechanism inside is notaligned. RAISING THE BOBBIN THREAD + Toraise the bobbin thread, thread the needle, holding the top thread, turn the hand wheel with the other hand until the needie has gone down in the bobbin area, +® Bring the needle up again to the highest point, stil holding the thread and rotating the hand wheel. With the needle, aloop of bobbin thread willalso come up. © Pall the upper thread to bring the bobbin thread out, Take both threads through the pressure foot and bring them toward the back. ‘The thread ends should be at least 2" - 3° long. Machine Practice Al the exercises are to be done on fabric - first on single layer of muslin and then on double layer. Stitch the following: Parallel lines 2BSe ~~ Bw b) Corners ©) Curvedlines ©) Observations ‘The student should be able to identify all parts of the machine and understand the importance of each part. If the machineis threaded properly itwill run smoothly. ‘Take care while stitching to ensure the following 1. Alllinesare parallel fi, Comersareat 90 degrees iii, Curvesaresmooth, fv. There areno puckers and seam slippage ‘Viva Questions 1, Whatall does bed of sewing machine contain? 2. Whatare the different parts required for threading the machine? 3. What problems are you likely to face when the upper thread is notin right place? 4, Ifbobbin thread is not pulling up, what may be the cause forit? 5. How-do you ensure that your comers perfect? 6, Howdo you ensure parallel lines? 24Se DNB PRACTICAL EXERCISE 14 Objective 1. Preparesamples of seams Principles Seams are result of joining together two or more pieces of fabric by means of stitching, The basic function of «scam is to hold pieces of fabric together. In order to perform its function correctly, the seam should have properties or characteristics closely allied to those ofthe fabric being sewn, i. Acurved seam requires careful guiding asit passes under the needles so that the entire seam line will be the same even distance from the edge. To get better control, use a shorter stitch length (15 per stitch) and slower machine speed. fi, A.comered seam needs reinforcementat the angle to strengthen it. This is done by using small stitches (15 t0.20 perinch) for l"oncither side of the corner, Itisimportant to pivot with accurately iii, A seam finish in whicha line of machine stitching is made 4 from the raw cut edge before pinking, It is done to prevent the pinked edge from raveling, to prevent the seam from curling & on fabries which ravel lightly. It isa quick and easy finish suitable for firmly woven fabrics. Requirements 1. Machine & sewing kit (as given in Annexure) Pre Lab Preparation 1. _ Eight pieces of muslin of 66" each Procedure a. Straight Seam 1, Laytwolayers of material together, right side facing right side. 2. Machine stitch at edge leaving an allowance of 1". Start with backstitch and end with backstiteh, 3, Press opens the seam, to avoid bulkiness and to make itsmooth and fat. b. Curved seam 1. Stitcha line of reinforcement stitching juston seam line of the curve. 2. Clipinto seam allowance all the way to the stitching line at intervals along the curve. 25Se ~~ Bw 3. Cut out wedge-shaped notches in the seam allowance of outer curve by making small folds in seam allowance and cutting atslightangle. Becareful not to cutinto stitching line. 4, Press seam open over the curve, using tip of iron only. Do not press into body of the sample. If not pressed to required curves, seam lines become distorted and look pulled out of the shape. © Cornered Seam 1. To join an inward comer with an outward corner or straight edge, first reinforce the inward angle stitching just inside the seam line 1” on either side of corner. 2, Insert a pin diagonally across the point where stitching forms the angle clip exactly to this point, being careful notto cut past the stitches, 3, Spread the clipped section to fit the other edge; pin in position then with clipped side up, stitch ‘on the seam line pivoting atthe corner Stitched & pinked seam 1. Take two layers of fabric, right side facing right side; stitch on wrong side, leaving a distance of I"from edge. Press open the seam allowance. (straight plain seam) Using a short stitch place a line of a stitching ¥4" away from the edge of the seam allowance. On. the one side of seam allowance. Repeat the same on the other end of seam allowance. 3. ‘Thenpinkthe outer edge ofthe seam allowance away from the seam you have just applied. 4, Pressopen flatscamallowance. Observations Check ifthe seam line is straight and there are no puckers or pulls, Ensure that the corners are at perfect right angle. Ensure thatthe fabric does not ravel after pinking. Viva questions 1, Whatarethe qualities ofa straight seam? 2, Howmany stitches perinch should be used for cotton fabric? 3. Wherealldo youuse the straight seam? 4, Whatare the qualities ofa curved seam? How many stitches perinch should be used for cotton fabric? 6. Givetwouses of curved seam. 2610. NBT Whereall do you use the cornered seam? Why do weneed to reinforce the comer seam? How does pinking help in finishing the sample? Give names of fabric for which Pinked seam is most suitable for, a = aeSe ~~ Bw PRACTICAL EXERCISE 15 Objective 1. Toprepare samples of seam finishes Principals ‘Asseam finish in which the raw edge of the seam allowance is turned under stitched and concealed. ‘This isa neat tailored finish for ight to medium weight fabrics of cotton, linen and viscose. A seam which has been pressed open and stitched parallel to and on both sides of the seam line, through garment and seam plies. Requirements Machine & sewing kit (as given in Annexure I) PreLab Preparation 1, _ Eight pieces of muslin of 6" 4” each 2. ‘Twopieces oflight weight mustin on bias grain of 1" x6"(Hong Kong seam) Procedure a. Turned and stitched seam 1. Take two layers of fabric, right side facing right side, stitch from wrong side at a distance of 1" from theedge. Press open theallowance. (straight plain seam) 2, Tarnunder the edge of the seam allowance /” stitch along the edge of the fold. Repeat the same step on the other edge of seam allowance. b, Hong Kong seam 1, Place two layers of fabric right side facing right side, Stitch ata distance of 1" from the edge on wrongsside, Press opens the allowance, 2, Using 1" wide bias strip, with right sides together stitch bias strip to seam allowance 14’ from edge on one side ofthe seam allowance. 3, ‘Tum bias over edge to the underside and press. From the right side. Stitch in the erevice of the first stitching (stitch in ditch) trim unfinished edge of bias. 4, Finish theotherside similarly. 28Se DNB French seam 1. _Laytwo layers of material together, wrong side facing wrong side. The first stitch is 1/8"or "outside the fitting line, depending on the desired finished width of the seam, Trim the edge so that it is less than desired finished width of the seam, Itlooks best when finished width is 14" orless. 2, Press theseam in one direction, ‘Iu the fabric so that right side is facing right side. Fold on the line of stitching. Machine stitch on the seam line. Since the raw edges are enclosed, this seam requires no special finish Double Top Stitched Seam 1. Take two layers of fabric, right side facing right side, stitch at a distance of 1" from the edge on wrong, side. (straight plain seam) 2. Press plain seam open. Top stitch at equal distance from each side of seam line, (1/4” away from seam line on both sides) catching seam allowances into stitching, Observations 1, Checkif the seam lines straight and that there are no puckers or pulls “The edges should be neatly concealed in the bias trip. The seam should not be too broad and bulky. 4, Theedges should be neatly enclosed inthe seam. 5. Thestitch line should be uniform on the both sides of the seam. 2, 3 6, ‘Theunder layers should be flat and pressed open. ‘Viva questions Whereis the Turned and Stitched seam used? 1 2, Hows this seam different from the Stitched and Pinked seat 3, Whereis the Hong Kong seam used? 4, Hows this seam different from the Turned and Stitched seam? 5, Whatare the advantages ofa French seam? ‘Whereis the French seam used and why? 6. 7. Giveother names of this seam? 8. Givetwo uses of the seam and where itcan be used as a decorative seam. 9, Can variations of these seams be created? 29—ae ~~ Bw PRACTICAL EXERCISE 16 Objective 1 ‘To prepare samples of gathers, pleats and tucks. Principles Gathering is the process of drawing fullness into a much smaller area by means of two rows of machine basting. Requirements Machine & sewing kit (as given in Annexure I) Pre Lab Preparation a b, Gathers ‘Two pieces of muslin of 6"x 4" and 18"x4" Pleats One pieces of muslin of 6"x 18" each ‘Tucks One pieces of muslin of 6"x 12" each Procedure 1 4. ‘The stitch length for gathering is longer than for ordinary sewing. For medium weight fabrics use a stitch length of 6 to 8 stitches perinch. For soft or sheer fabrics, use 8 to 10 stitches per inch. Along stitch makes it easier to draw up the fabric but a shorter stitch gives more control when adjusting gathers. Pleats are made by folding the fabric in various ways. Pleating may occur asa single pleat, asa cluster oraround an entire garment section. Side pleats are all turned in the same direction, Box pleats have the two folds turned away from each other, Inverted pleats, which have an underlay, have the two folds meeting at the centre. “Tucks are parallel folds of fabric used for a decorative effect on the right side ofthe fabric. ‘The spacing can vary from the very narrow pin tucks to deeper, spaced tucks. ‘Yo ensure perfection in stitching tucks, the markings must be exact. The pin tuck is an edge stitch evenly spaced 1/16" from the fold, for wider or more widely spaced tucks, increase the amount of fabric in each fold or the space between the tucks 30Se NY. J Gathers 1. Takea bigger fabric piece and from the right side stitch (8 to 10 per inch) one basting line just nextthe Stitch another line (on the same single piece of fabric) 14° away in the seam allowance. Pin seam edges together at matching points, such as notches. 4, Draw up bobbin threads, distributing fullness evenly and with drawn threads wound around a pin on cither side to secure gathers. 5. Pinbasteandstitch seam with gathered side up. Pleats 1. Markand fold the pleats as desired, 2, Stitch on the seam line ¥4" away in the seam allowance. 3. Nowstitch the pleats in place and finish as desired. Tucks 1. Markand fold the tucks as desired. 2, Stitch on the seam line of the tuckas shown. 3. Now finish thesample as desired, Observations ‘The gathers should be distributed evenly and should not form pleats. “The pleats should be even and according to the design. ‘The tucks should be of even depth and equally distributed Ensure that the seam line s straight and that there are no puckers or pulls Viva questions 1, Whatstitch size should be used for gathering? 2, Whyaretwo rows ofstitch line needed to gatherevenly? 3. Howmuch extra fabricis required for2 box pleat of 2" depth? 4, Whatis the bestway to finish the pleats? ‘Whats the ideal width of pin tucks? Why are they called pin tucks? 31Se ~~ Bw ANNEXURE - I Sewing Kit All pins: Fine, long, rust proof pins. ‘Magnetic pin holder / pin cushion: to hold pins. ‘Muslin: Fabric used for experimentation and develop toils, Push pins: Drum shaped 14" long pinsto hold pattern pieces and fabric on table. ‘Tracing wheel: Instrument with small serrated or needle point wheel mounted on one end ofa handle used for transferring markings from paper patterns on the muslin. ‘Tailors chalk: To mark on fabric 12" /24” scale: To mark straight lines to measure. ‘Measuring tape: Metal tipped narrow, firmly woven double tape of cloth or plastic usually 60" long (150cm) marked with both inches and centimeters. Grading scale: Transparent plastic ruler with grid 2" X 18" in length indicating fraction of inches (or millimeters). L-square: Plastic or metal ruler with two arms at right angles of varying lengths usually 12” and 24" to square off comers. Carbon paper: Coated paper on one side with white or coloured wax to transfer marking on fabric or paper. ‘Transparent tape: To secure paper pieces together and mend tears Paper shears/scissors: Cutting instrument, ranging in size from 8" to 12" with two sharply pointed straight blades, to cut paper patterns, Tailors shears: Cutting instrument ranging from 12” to 16" with two wide blades, to cut fabric and muslin ‘Magnet: a high carbon alloy stec! that has a property of attracting iron and steel can be of any shape, to pick up pinsand needles, 32DNB ANNEXURE - II ‘Common Machine Problems 1. Thestudent needs to identify the common problems encountered while sewing 2, Theperson operating the machine should be able to rectify these and solve the problems. Bobbin, 1, Doesnot wind: ® — Makesure the thread is wrapped around the bobbin in proper direction. +® — Checkto sce if bobbin has been placed properly in the winder. -* Therubberring might be worn out and needs to be replaced. 2, Winds unevenly: *® Thethread may note inserted in the thread guide. © Youmay be running the machine too fast. © Thetension spring may need adjustment. 3, TheNeedle moves up and down during winding, => Needle has not been disengaged Fabric 1. Layers feed unevenly © Presser foot pressure incorrect ® Mayneed tostitch slowly *% The fabric may be very light weight use tissue paper while stitching 2. Doesnot feed in straightline +? Presser foot may be loose or bent © Pressure ofthe presser foot may be incorrect © Needlemay be bent © ‘There may bea defectin the machine feed ” ‘You may be pushing or pulling the fabric 33 —aeSe i ~~ 3. Puckerswhenstitched “Many fabries pucker when stitched ina single layer ‘The stitch length may be notin correct relation to the fabric type Ifthe fabricis sheer or light weight, the presser foot tension may need to be regulated ‘Thread may be too thick Needle maybe coarse Bobbin thread may be uneven Stitch tension may beunbalanced ees ee gg Feed dog may be worn out 4, Shows feed mark on the underside * Presser foot pressure may be too heavy. You may need to put tissue paper between the fabric and thefeed © The feed may be damaged or set too high Fabricis damaged or holes around the stitches © Checkneedle type suitable for fabric. © Needlemay be blunt or too coarse. © Check for the nickin the throat plate, foot orfeed MACHINE Motor does not run 1. Cordisnorpluggedin, 2. Powerstitch off, 3, Kneeorfootaccelerator may be jammed or improperly attached to power source. Motor runs but hand wheel does not turn 1. Threadorlint may be caught or tangled in the bobbin case area. Motor runs, hand wheel turns, but needle does not move 1. Thencedlemay have been disengaged for bobbin winding and not tightened back to sewing posi 34Se DNB 2. Tf needle has been tightened but still does not move, the motor belt is slipping because it is loose or worn, Motor, hand wheel and needle moves but fabric does not feed 1. Makesure the presser footis down 2. Check the stitch length regulator 3. The pressure regulator may at the least/ light pressure. If fabric is heavy, more pressure may be necessary for fabric to feed. 4, Theteed dog maybein the lowered or down" position Motor, hand wheel, needle and fabric moves but no stitch is formed 1, Thread mayhave come out of theneedle, 2, Needlemay be threaded in the wrong direction. 3, Needle may be inserted backward or may not be pushed all the way up into the clamp, 4, Needle may be the wrong length for the machine, “Machine may be threaded incorrectly 6. Bobbin maybe empty 7. Bobbinand /orcase may be inserted incorrectly 8, Thetimingofthemachine mightbe off Runs sluggishly 1, Bobbinwinder maystill beengaged 2. Knee or foot control might be improperly positioned 3. Machine may be inneed ofoiling and /or cleaning Runs noisily 1. Machine probably needs oiling and / or cleaning 2, ‘Theneedle could be bentand hitting against foot or throat plate 3. Bobbinand /orcase may notbe tightenough 4, Bobbin may be almost out of thread, 35Se i ~~ Will not shin reverse 1. Ifmachineis very old, it may nothave this capability 2. It is a recent model, check the stitch control. If may be set for stretch stitch" or "buttonhole” ‘Sometimes these stitches cannot be reversed manually. NEEDLE. Unthreads 1. _ Insufficient thread may have been pulled through the needle before the seam was started 2, Machine may be outoftop thread Breaks 1. Youmaybe using the incorrect presser foot Presser footand /or throat plate may be loose or improperly fastened, ‘Needle mighthave bentand hit the presser foot and forthroat plate ‘Needle may be incorrectly inserted. ‘Needle might be too fine for the fabric being sewed and for the job being done You may have pulled too hard on fabrie while stitching, Check machine settings, eNaneey ‘Needle may be defective STITCHES Are uneven lengths 1. Youmightbe pushing or pulling the fabric too much 2, Pressure on the presser foot could be either too light or too heavy for the fabric 3. There could belint or other clog between the teeth of the feed dog, Have loops between them, 1. Ifthe loops are large, the machine is improperly threaded 2, Ifloopsare small tensions are unbalanced 3. Bobbin may bewound unevenly 4 “There may not be enough pressure to hold the fabric taut during stitch formation 36—ae DNB Skip hereand there 1 ‘Needle may be blunt or bent 2. Needlemay be inserted backward ort might not be all the way up into the clamp 3. There may be insufficient pressure on the presser foot 4. — Throat plate may be wrong for the purpose 5. ‘You may be stitching at an uneven speed 6. While stitching, you may be pulling too hard on the fabric THREAD Needle thread breaks. 1, ‘Usually this is caused by the needle being inserted backward or threaded backward 2. Thread may be caughtin the spool notch or itcould be wrapped around the spindle 3. Theremay bea rough or burred place ona thread guide 4. Theneedlemay be blunt 5. Needlemay notbe all the way up into the clamp 6. Needle may be too fine for the thread, causingiitto fray-often the case with silk buttonhole twist 7. checkthread quality Bobbin thread breaks 1. Bobbin case may notbe threaded properly and /or the ese not inserted propery 2. Bobbin may be too full 3. Check for dirt or clog in the bobbin case, 4. Bobbin tension may be too tight Bobbin thread cannot be raised through hole in throat plate L 2, Bobbin case may be improperly threaded. Itmay nothave been properly inserted