Top Tips for Working with Velvet

November 22, 2022

Collaborative post provided by Rachel of Always a Project.

If fabric has never made you cry, you’ve probably never sewn with stretch velvet. Ha-ha! That beautifully soft texture can certainly work against you if you don’t understand what you’ve gotten yourself into.

I’m obviously being a **touch** dramatic, but maybe not?

If you’ve never sewn with velvet of any kind, it definitely helps to do your research. And learning from others’ (hi, it’s me!!) mistakes. Here are a few tips and tricks to get you off to the right start!

Nap

One of our favorite things to do is run our hands over the surface of velvet, do you agree? If you notice, when you brush your hand one way, the fibers are smooth and reflective. When you brush your hand in the opposite direction, the fibers stand up and appear darker in color. This is the “nap” or “pile” of the velvet.

When cutting your pattern pieces, it is VERY IMPORTANT to cut pieces with the nap in the same direction – typically fibers laying downward. If you don’t, you’ll encounter a lot of friction when sewing your seams and you’re end result will look like it’s color-blocked, like my pants below.

Don’t be me. Check your nap.

Yardage Requirements

Stretch velvet is heavy so it really works better for simpler patterns. Tops, shorter dresses, simple silhouettes… The more velvet you’re wearing, the more weight that your seams are supporting. Heavy garments will sag and lose shape. It also helps to add clear elastic to your weight-bearing seams.

I once made a dress with a fitted bodice and long, fully pleated maxi skirt out of stretch velvet. It was awful. The skirt pulled down the bodice in the wrong places and the fabric hung like it had given up on trying… it was so sad. And so was I.

Don’t be me. Keep your patterns simple and your seams supported!

Cutting

Because so many of us work with knits, we’re used to cutting our pattern pieces on the fold… or even cutting more than one piece at a time. Avoid layering your fabric at all times when cutting velvet. No matter how you fold it or how many pattern weights you’re using, velvet tends to shift. It’s best to cut your pattern pieces out in a single layer for more accurate cutting.

Velvet tends to shed a lot when you cut it. It’s best to wear a mask so you don’t inhale those fibers. You may not notice it immediately, but it can impact your sinuses.

Don’t skip cleaning up afterwards or you’ll have velvet fibers on e-v-e-r-y-t-h-i-n-g until the end of time.

Sewing

Because velvet can be shifty, pins are your best friend. You can use those coveted Wonder Clips, but make sure they don’t leave permanent impressions in your nap. Regardless of preference, use more pins or clips than you usually do to prevent the fabric from shifting.

Use a walking foot. It will help to feed your fabric through without creating tension or stretching.

It helps to baste your seams first. You may need to rip out a section and ease in again to eliminate some wrinkles. Alternatively, you can also use seam tapeThis extra step will ensure your fabric lays as beautifully as you planned.

Start sewing from the bottom of your garment and work your way up. That will help to eliminate some of those draglines that tend to show off.

Avoid topstitching. Your fabric will continue to slide around and you may wind up with puckers in your seams.

Use hem tape before hemming. I only use hem tape when I’m sewing with velvet. It makes a huge difference in the neatness of your hemline.

Pressing

Heat can crush your velvet so press with caution. Use a lot of steam, lower temps, and a pressing cloth on the wrong side of your fabric. This will protect the fibers on the right side.

Or finger press. Or use a clapper (my fave!).

You have options… just don’t ruin your garment with heat!

And remember…

Don’t be afraid of velvet! It’s a beautiful and versatile textile. There is a slight learning curve, but it’s totally worth the effort.

Grab some gorgeous stretch velvet in the shop here or glitter stretch velvet here both on sale through December 3rd, 2022 (11:59PM US Central Time Zone) and get started!

P4P University- Adjusting a Top Pattern for Height

July 21, 2021

P4P University- Adjusting a Top Pattern for Height

Today’s P4P University is all about adjusting a top pattern for height. We will take a look about the best practices for adjusting a pattern’s length, and how to create the best fit for your height.

Patterns for Pirates patterns are drafted for average height. That means in women’s patterns, they’re drafted for someone with the height of 5’5″. In this post, we will show you how to subtract or add length to a women’s top pattern to create the perfect fit.

DECIDING HOW MUCH TO ADD OR SUBTRACT TO A TOP PATTERN

When adjusting for height in a top pattern, it can feel a little daunting deciding how much to adjust by. But really, it’s just a little simple math. As a general rule of thumb, in women’s top patterns, you will want to add or subtract .5 inch for every inch you are off of the base of 5’5″. In our example today, we are making a Favorite Tee for someone measuring at a size XS, and is 5’1″. To determine how much length to subtract from the pattern, we simply find the difference between 5’5″ and 5’1″. That difference is 4 inches total. Now, keeping in mind our rule of thumb that for every inch difference in the wearer’s height from 5’5″, we take away .5 inches from the pattern, we will multiply 4 times .5 to get a total of 2 inches subtracted total.

Here it is written out:

5″5″-5’1″= 4″

4″ x .5 = 2″ subtracted from the pattern’s length

Conversely, if you are above the average 5’5″ the pattern is drafted for, you will find out how much to add to the pattern’s length by finding the difference in height, multiplying by .5 and ADDING it to the pattern’s length. It’s as simple as that!

WHERE TO SUBTRACT FROM/ ADD TO THE PATTERN

A common misconception is that one can simply add or subtract length to the bottom of a top to account for a difference in height. This is not usually the best course of action, as it can very often change the overall shape and intended fit of the garment. The most important thing to do is to spread the changes you make throughout the length of the bodice. This can be done to suit your preferences, but four good places to start are at armscye, just under the bust line, just under the waistline, and just above the bottom hemline.

Adding throughout the pattern like this helps to ensure that the bust, waist, and hip of the garment stay where they actually are on the wearer’s body. Patterns for Pirates uses a standard side waist length of 8″ and a waist to hip length of 8.25″, so if you know your specific length measurements between those points, you will want to add/remove the exact amount in those areas. For our purposes today, we are equally spreading our change in length throughout the pattern.

Take both your front and bodice pattern pieces, and mark with a line where you will be adding or subtracting length, such as we have, pictured below:

The next step is to cut the pattern pieces along those lines, so that these pieces can either be shortened or lengthened, depending on your fitting needs.

ADJUSTING THE TOP PATTERN PIECES TO EITHER LENGTHEN OR SHORTEN

In our example today, we will be subtracting length across the cuts in our pattern pieces to create the perfect fit for our wearer. Because we will taking away length in FOUR places (armscye, under the bustline, under the waistline, and just above the hemline) we will be dividing our total amount to be taken from the pattern’s length by 4.

2″ total needed to be taken from the pattern’s length

2″ divided by 4 = .5″

Therefore, we will be subtracting .5″ from the four different places in the pattern mentioned above. To do this, we will reposition our pattern pieces to overlap by .5″ each, and tape in place. Remember: you will want to do this to both the front and back bodice pieces of your top pattern.

If you are adding length to a pattern, you will want to spread your pattern pieces by the required measurement to create more length. When you are done re-taping, you will have two new bodice pieces adjusted for your height!

SEW UP YOUR TOP AS USUAL

Now that we’ve adjusted the front and back bodice pieces of our top, we can go ahead and sew as usual. Using your newly adjusted pattern pieces, cut your fabric and sew away.

And it’s as simple as that! Keep in mind that every body is different, and it may take a little practice to get the perfect fit when adjusting for height in a top. But with these simple beginning steps and general rules of thumb, we hope that you can adjust your patterns easily to create that perfect fit every time!

Using A Projector For Sewing – The Basics

June 18, 2021

I am going to be spending some time today talking about how I use my projector for sewing. We’ll discuss what type I have, and why I chose it as well as discussing the other options available; how I link it up to the pattern itself; how I ensure it is projecting at the right size; and some of the pros and cons of projecting. Hopefully it will answer a few of the questions you may have about this new sewing craze, and maybe give you the confidence to get involved too!

I first heard about using a projector for sewing patterns a few years ago. The idea is that you link a projector up to your pattern, and then rather than printing out the paper pattern pieces to cut and use, you project those pattern images straight onto fabric, cutting out the middle man, so to speak.

I didn’t really give it much thought, it sounded like an interesting idea but presumed it would be a bit too technical for me, and perhaps a bit cumbersome, but I liked the idea of doing away with paper pattern pieces and so when I started to see more people using projectors I decided to dive in and see if I could work out how practical it might actually be.

My projector is an Epson 485WI. I bought it in May 2020 after doing a lot of research about the kind of set up I would need for my own sewing room. I was lucky enough to find it reconditioned, on Ebay, being sold by a private school that was refurbishing its classrooms, and I have to say that it has been absolutely brilliant. Brand new, these types of projectors can be extremely expensive, but if you can find a reconditioned model like mine it’s a great way to make it more affordable. Things to be aware of are the seller’s returns policy and reviews, and the age of the bulb. Older bulbs will be dimmer, so a new bulb with fewer hours on the clock will give you a brighter image. Some less powerful projectors will need to be used in a darkened room, however mine can be used in the middle of the day, quite comfortably. The make and model you are looking at should be able to tell you the Lumens rating of the projector, that is it’s measure of brightness. My projector has a rating of 3100 lumens.

I chose it because it is an Ultra Short Throw projector. This means that you do not need to have a large distance between the projector itself and your cutting mat. I did not want to have to mount a projector on the ceiling, as we have a ceiling light right above my cutting table, so I had to look at other options. This type of UST projector sits next to the cutting table, raised slightly above it, and projects down onto the surface of the mat. I have a mantelpiece right behind my table (which is lifted up on risers to a more comfortable height for cutting), and I knew I would be able to sit the projector on the mantelpiece nice and neatly, away from my daughter and my dog – both crash hazards!

If you don’t have this set up, or you would prefer a ceiling mounted projector you can find them relatively inexpensively on Amazon or elsewhere online. You will need to measure the distance between your cutting mat/table and where your projector would be mounted to help choose the right projector for your space. The specifications for the projector you are looking at should detail the minimum distance needed and the size of projection this will give you. Generally speaking, the further away from the cutting mat the projector is, the bigger the projected picture you will get. If you want to get very adventurous, I have seen people setting up their projectors to reflect the picture down to the cutting mat via a mirror, to make a larger projected image, but I don’t have experience of dealing with this myself.

As well as the Ultra Short Throw projector that I have, you can also get Short Throw projectors that are specifically designed to project down from the ceiling but at a closer distance to the cutting mat. Again, the individual projector specs will give you details of how close you can mount the projector to the projection surface.

My projector is connected via an HDMI cable to the projector directly. Some people use a Chrome cast plugged into the projector and cast the image from their laptop or tablet and others have a cable tethered to the ceiling and wall that runs from their digital device to the projector. However, one way or another you need to be able to connect your projector to your pattern image being displayed on Adobe Acrobat. Some sewists using a tablet can use software called Zodo to display the pattern but I believe there are issues using the zoom function to accurately display the pattern at the correct size every time, so that may be something to do some further research into, if you don’t have a laptop/desktop computer to use.

Some of the other admins at P4P have kindly taken some photos of their projector setups, to give you an idea of how people are using these new sewing tools!

• Bekah uses a GooDee Wifi mini projector, with a short throw. She has about 4ft from ceiling to cutting table and so she chose to sink the projector in a recess cut into the ceiling space of her sewing room. She gets a cutting space of about 24″ x 36″. Her installation team were very hard workers!

• Lizzy has an Ultra Short Throw Epson 585w Powerlite mounted on a stand at the back of her cutting table.

• Trissa uses a Vivimage Explorer 2 connected to her Mac laptop with a 3rd generation Chromecast.

• Rachel has an Apeman projector mounted on a backdrop stand, for a non-permanent setup option.

So you can see that there are lots of different options out there for you to consider. My thanks to all my Pirate shipmates for their help supplying pics and setup details.

Watch THIS VIDEO to see my projector setup in action as I go through turning it on, calibrating it, selecting options and demonstrate cutting using a projected image.

The most important thing about using your projector is that you will need to calibrate it to make sure it is projecting at the correct size. Otherwise you will find that your pattern pieces are too large/small and your garment will not fit.

First of all you will ensure that your projector is casting a correct rectangular shape, with 90° right angles at the corners. This shape can be adjusted by either moving the projector itself, or using the Keystone adjustments on the projector settings. You may also need to adjust the focus as well.

Next you will adjust the zoom on Adobe Acrobat to make sure that the pattern pieces being projected will be the correct size. The Facebook group, Projectors For Sewing has a lot of information that will help guide you through this process, which has kindly been provided for free by the page admins. It includes several calibration grid files, which you can download and bring up in Adobe Acrobat. Here is a screen grab of my laptop displaying one of the calibration grids that can be used. Each line is a certain length as indicated on the grid, and your projected image has to be adjusted so that the projected line measures at the correct length.

These calibration grids will help you adjust the zoom in Adobe to the correct scale, by measuring the lines on the boxes once they are projected onto your cutting table. If the projected line measures 90cm on your tape measure, for example, and the grid says it should measure 80cm, you will need to decrease your zoom to make the image smaller. There is a little trial and error to start with, but it’s pretty easy once you understand the logistics of it. Once all the lines measure the correct size, your projector is calibrated. I use a centimetre grid as I am in the UK and use metric, but there are also imperial options too. You can watch the video linked above to see me doing this live, and see some stills below:

My machine stays in place on the mantelpiece, so I do not have to re-calibrate every time I turn it on. I set the zoom to the correct setting (which for me is 15.2%) and then just measure off a couple of lines on the calibration grid to make sure nothing has shifted.

When you open your P4P projector file, you will see two options at the bottom of the size layers, 2x2in grid and 4x4cm grid. These will bring up a grid which measures either 2×2 inch squares or 4×4 centimetre squares, superimposed over your pattern pieces.

You can then sit your tape measure or quilting ruler next to these to ensure you have got the right setting on your zoom, also. It is important to check the measurements at the top, and the bottom of your projected image, in case the projection has tilted in some way.

You do not need a projector file, however; some of our older patterns produced before this new projector craze have a layered A0 file, and this can also be used to project your pattern very effectively. The differences will be that the A0 file will not have the sizing grid option included, and the lines on the projector file are a little thicker and easier to see.

There are many great benefits that you get from using a projector for sewing. The time saving aspect of not having to tape/glue pattern pieces together or cut out paper patterns is astonishing. Plus you will be saving a massive amount of paper from your recycling bin. It’s great for being able to quickly cut out multiple sizes of the same pattern, for siblings etc.

You will save money on ink and paper too, and at £30 for a cartridge of ink for my printer every few months, it quickly adds up to a cost saving overall.

I find it easy to mash patterns by cutting/drawing part of the pattern out using one pattern image, and then flipping into the next pattern pieces to draw/cut the remainder.

You can use it for other things too, we had great fun during homeschooling, projecting my daughter’s maths and spelling homework onto my cutting table, which she really enjoyed. A lot of people use their projectors for home cinema setups, too. Just remember you will need to re-calibrate it afterwards, once you get it back into position.

If you make lots of pattern alterations, like full bust adjustments, sway back adjustments etc, you may need to get to grips with a software called Inkscape, which allows you to make adjustments to the pattern pieces digitally. Alternately, some sewists like to use their projectors to project the pattern image onto tracing paper, and then make adjustments to the paper pattern pieces as they go. Some adjustments can be made on the fly as you project, just by marking the pattern in a specific location, and then sliding your cutting board along the table to a new position, and then cutting again, but more advanced adjustments will need to be done in one of the ways discussed above.

With my projector, because the projection area is so large, sometimes I have to add a buffer of blank space around my pdf pattern so that I can manoeuvre it into the right place on my cutting table. I use a website called sedja.com to do this, and you can find full instructions on how to do this in the helpful files on the Projectors for Sewing Facebook page. I like to add a 25 inch buffer on every side. If you’re not sure what I mean here, the video linked above will show you how this works.

The only other downsides I have so far come across, is that if you do not note what adjustments you have made to a pattern then when you come back to it later, because you may not have a hard, paper copy to refer to, you will have forgotten what you did. For example, my daughter is tall and slender, and I always have to grade sizes for her. At the moment she is an age 8 height, 5 waist and 6 hip. I might make something for her and love the fit, but if I don’t note down what grading I did, if I want to make another I will have forgotten. You can add notes to your pattern on Adobe Acrobat however, just remember to make them!

Sometimes it is also difficult to see which pieces to cut when looking at the projected image, as the text may be a little blurry. I find that if I turn on the tools and comments section, I can use a large red line to score out the pieces I don’t need to cut, so I don’t get confused when cutting out.

The only other downside? Sometimes, especially in the middle of summer, the fan on the projector can kick out quite a lot of heat. I cut out a pattern wearing a bikini during a particularly hot spell last year!

Overall, it’s a fantastic tool to have in your sewing arsenal, the time and money saving aspect alone is enough to make it worthwhile to give it a go. I certainly haven’t looked back.

I would recommend doing a lot of research before you dive in and make a purchase. There is a vast amount of information on the Projectors for Sewing page, and I would recommend joining and seeing what setups people have to get a little inspiration.

Hopefully this has helped you get an idea of how projectors can be used in your sewing room to help you and maybe inspire you to join this growing community.

Happy Sewing!

Dana x

Dana is a sewing teacher and fabric fancier living in Suffolk, UK. She specialises in plus size womenswear and funky kids clothes, and she loves testing and blogging for P4P. You can find her at The Slippy Chicken Company

P4P University- Facings

May 27, 2021

Today’s P4P University is all about facings. We will take a look at what facings are used for, how to draft your own, and where you can use them in your patterns. A facing is a way to finish the edge of a garment. Although you will often see tutorials for using a facing in necklines, they can be used in many other ways as well. Today we will look at both a simple neckline facing, an all-in-one facing, and how to use a hem facing.

**A video tutorial is available at the bottom of this blog post. **

WHEN TO USE A FACING

You can use a facing when sewing a pattern to finish any garment edges (necklines, sleeveless armholes, hems, and more). While they are more common in woven garments, you can also attach a simple facing to a knit garment if you are looking to replace the neckline binding or band. Let’s see how we can draft and use a simple neckline facing on the P4P Brunch Blouse Pattern.

NECKLINE FACING

You will need the paper pattern, tracing paper, pencil, ruler

Begin by measuring 2 inches down all around the neckline of the paper pattern and placing marks. Draw a curved line to connect your markings. Trace this line, as well as the original neckline, onto your piece of tracing paper. This will now be your facing pattern piece. Repeat for the pattern back. **The Brunch Blouse uses a center back seam. To remove this in your facing, cut off 1/2 inch from the center back line on your pattern piece. Then cut the fabric on the fold at the new center back line.**

Cut your pattern pieces and facing pieces from your fabric. Make sure you are cutting your facing pieces on the fold as you would your front and back bodice pieces. Apply interfacing to the back of your facing pieces. You can leave off interfacing if you would prefer as I did in this knit pajama top. Make sure you use knit interfacing if applying to a knit garment.

Sew the shoulder seams for your front and back bodice as well as the front and back facings. Press the seams open. Finish the outside edge of your facing with your serger, an overlock stitch on your machine, or your preferred finish. Place the bodice right sides out and mark the quarter points with pins. Repeat with your facing. Match your facing and bodice, right sides together at pins. Stitch together at 1/4 inch using a long stretch stitch for knit garments. **Note this will finish the neckline at 1/4 inch lower than if you were to use a band. If you do not want a deeper neckline, make sure you add the additional 1/4 inch to the neckline during the tracing stage**

Press the seam allowance towards the facing. Understitch. (See this tutorial for help with understitching) Fold the facing to the inside of the garment and press well. You can now topstitch along the facing edge or simply tack the facing down at the shoulder seams for a cleaner finish.

ALL IN ONE FACING

An all-in-one facing is a great way to create a clean finish on your sleeveless tops. This will create a finished edge on both the neckline and armholes using one piece. Here is how you can create this facing using the P4P Brunch Blouse.

Begin by marking two inches down from the underarm seam and make a mark on your pattern. Continue marking two inches down around the arm and neckline edges, creating a soft curve to bridge the two areas. See the pictures below for how I marked both the front and back bodices. Trace this new facing piece onto tracing paper using your marks and the original pattern lines at the shoulder, neck, and arms.

Cut your pattern pieces as well as facing pieces from your fabric. Cut your facing pieces from interfacing as well. Sew your bodice together at the shoulders only and center back if you are using the Brunch Blouse. For this facing technique, we will be using our interfacing to create the clean finished edge– the steps will look slightly different from the neckline facing tutorial above. Feel free to use either method on your facings.

Sew only the shoulder seams on BOTH the facing pieces and the interfacing pieces- DO NOT FUSE the interfacing yet. Next, sew the interfacing to the facing, right sides together, along the outside curved edges using a 1/4 inch seam allowance. Clip the seam allowances around the curves. Finally, turn the interfacing and facing, right sides out. Your fusible side should now be facing the wrong side of the facing. Carefully align the pieces and press well. This will now give you a clean, finished edge along your facing without having to use your serger or machine.

Next, lay the bodice right sides out, flat on the table. Lay the facing on top, right sides together. Match all seams and pin around the neckline. Stitch with 1/4 inch seam allowance, then clip and grade seam allowance. Press seam allowance towards facing and understitch at the neckline. Once the neckline is done, turn the garment right side out and lay flat. Roll one side of the bodice in a tight roll towards the opposite shoulder seam. Wrap shoulder seam fabric around the rolled fabric, pinning right sides together. Stitch with a 1/4 inch seam, being careful to not catch rolled fabric while stitching. Carefully pull the fabric through the opening and understitch as far as possible on each side of the armhole. Then repeat on the opposite side.

Fold facing up away from the underarm, match seams and stitch the side seams per the pattern. Trim away any bulk and fold seam allowance back down. Tack at underarm. Repeat on other side. The all-in-one facing is now complete. Finish the top per the pattern instructions.

HEM FACING

The final type of facing I will show today is the hem facing. This simple finish is helpful when creating a curved hem like the Brunch Blouse.

To create the hem facing pattern pieces, take your front and back bodice pieces and mark 2 inches from the bottom edge working from side seam to center. Make sure to mark your fold line and trace your facing piece onto paper. Cut one front and back facing from fabric and interfacing. Fuse the interfacing to the back of the facing pieces. Sew the side seams of your facing and finish the narrow side of the facing. (Make sure you are finishing the top of your pattern piece and not the bottom edge. Otherwise, your piece will not fit inside your garment without bunching.)

Complete your top per the instructions until the bottom hem. Lay your facing and top, right sides together and sew the raw edges together at 1/2 inch seam allowance. Press seam allowance towards facing. Understitch. Press the facing towards the wrong side of the top. Finish with your preferred stitching. You can edgestitch the facing or handstitch a blind hem.

This video will show you how to create the facings discussed in this blog post for those who prefer to learn that way.

Thank you for joining me today to learn all about facings. You can find more sewing tips and tricks on the P4P University blog posts.

Shannon

P4P University – Interfacing for Garment Sewing

May 17, 2021

The correct use of interfacing is one of the main things that takes your garment sewing to the next level. Today we will be talking about different types of interfacing, why you might want to use it and how to correctly apply it.

The first thing we need to clarify is the difference between stabiliser and interfacing. Getting these two confused is easy to do, and people can often buy the wrong one for their needs, but their uses are quite different.

STABILISER

Stabiliser is a type of textile used to add extra weight to a particular part of a piece of fabric, usually so some sort of decorative work can be added to that section. For example, you might add stabiliser to the wrong side of the front of a pair of children’s pyjamas to add some embroidery or applique to the bodice. The stabiliser helps keep the fabric from distorting when adding the decoration to it. It can be left on, trimmed down or torn off after use, depending on it’s type. The picture below shows some embroidery on the reverse of a pair of pyjamas. You can see the tear-away stabiliser still sitting between the A and the Y, after the rest has been removed.

INTERFACING

Interfacing is a type of textile used on the wrong side of a fabric to make that particular area stronger/more weighty. For example it is often used in shirt collars to help them stand upright. The interfacing gives the fabric more rigidity and is not removed, it is permanently attached.

There are two types of interfacing, differentiated by the way you attach them to your fabric. ‘Sew In’ interfacing is sewn onto the wrong side of your main fabric, within the seam allowance so it is not visible when the garment is finished. Alternatively it can be quilted on in a particular pattern of your choice, so that it is visible when completed. It seems to be less popular these days, but is the traditional, couture interfacing.

More popular is ‘Fusible’ interfacing. This is the same as ‘Sew In’ but it has a layer of heat activated adhesive on the wrong side, which means it can be ironed directly onto the wrong side of your main fabric and adheres permanently. The instructions for ironing will either be printed on the selvedge, if you have bought it by the metre, or they will be on the packet if you have bought it bagged. It is important that you ensure the interfacing is fully adhered before sewing the garment together because otherwise it can start to peel off and look messy. This picture below shows an example of an iron-on interfacing attached to the wrong side of a piece of cotton.

Interfacing comes in many different weights, from a light weight interfacing used to add a little extra body to the facing on a silk blouse, to a very heavy weight interfacing used to reinforce the brim of a cap/hat. I used a medium weight interfacing along the placket of my So Classic Sundress to give added support for the poppers and stop it distorting with wear.

Pattern instructions will advise you which weight of interfacing you will need, so that you can ensure you purchase the type needed to get the finish shown in the pattern listing pictures. For example, the Timeless Tunic notions require a lightweight interfacing for adding body to the neckline facing to help it keep the correct shape.

You will also find interfacing used in woven patterns to add body/structure/strength to shoulder seams, around pocket openings, along plackets, in collars, and even over entire bodice and sleeve pieces in jackets and coats.

KNIT/STRETCH INTERFACING

As well as woven interfacing, you can also find knit/stretch interfacing used for adding greater structure or strength to knit fabrics. It can be used to stop these fabrics from stretching out too far, for example it is often used around pockets in a knit dress, so that the dress doesn’t become misshapen with use. I like to use it to add greater structure to the front of my Go To Jacket before sewing on the zipper, as it helps stop the fabric stretching out when attaching the non-stretch zipper to the stretch fabric.

In this video I discuss a few different types of interfacing and show how they are adhered to fabric. Sometimes seeing the fabrics being handled can give you a much clearer idea of what they would be like to use in real life.

Whichever type or weight of interfacing you need, the pattern you are using will give you details of what you need and when you need to use it.

Now that you know more about how to use interfacing, why not take a look at one of these patterns above or the Timeless Tunic or Tiny Timeless and put your new found skills to use.

Happy Sewing!

Dana x

P4P University – Sewing Curves

March 9, 2021

Knowing how to properly sew curves makes a huge difference in giving your garments a more professional finish! There are different techniques, whether you are sewing a convex or concave curve… think neckline versus bust. At the core, the key is all about eliminating bulk and resistance so your curves can lay as designed.

Clip The Seams

The first technique works for curves, like necklines, that require the fabric to spread in an array. It’s simple!

Once you have your pattern pieces stitched together, clip into the seam allowance every half inch or so. Take good care not to snip through your seam!

You’ll notice that the fabric relaxes because the tension in the curve is gone!

To demonstrate, I’ve added a facing to the neckline of the Brunch Blouse. After stitching together and clipping my seams, I turned the facing to the inside of the shirt and gave it a good pressing.

Look at that result!

Grab Those Pinking Shears

Pinking shears can pretty much do it all… they can reduce bulk and relieve tension in your curves. Even more, they stop fabric from fraying!

To demonstrate, I’ve stitched up the front bodice of the So Classic Sundress. This gorgeous pattern features princess seams. You definitely want to reduce the bulk in those princess seams that run right along the front of your bust!

After stitching my pieces together, I trimmed the seam allowance with pinking shears and pressed the seam open.

Here’s the result!

Your Serger is Magic

Once I learned how to gather on my serger, I wanted all the ruffles! It turns out that you can also make small adjustments that will help you to achieve the perfect curved hem on knits.

All you need to know… turn up that differential dial! You’ll want to test on a few scraps to determine how much to adjust the dial.

In this instance, tension is your friend! You want to create slight tension along the raw edge of your hem. That will cause the hem to naturally turn inward and help you to maintain that beautiful curved edge without fighting fabric folds. All you have to do is pin and stitch!

My fabric was a heavier knit so I adjust the differential feed all the way up. A lighter knit wouldn’t require the same adjustment.

Again, once I learned this trick, it changed my relationship with curves! I love it.

I hope you find these techniques helpful! Please drop questions in the comments below and join us in the Patterns for Pirates Facebook Group.

Happy sewing!

P4P University – Understitching and Topstitching

February 23, 2021

Hi Pirates! Today we’re going to take a look at understitching and topstitching to find out how to use them while making your favorite woven patterns. The written instructions are below or you can scroll to the bottom of the page to find the video tutorial.

What is Understitching?

Understitching is the technique that is used to keep facings or linings from rolling out towards the front of your garment during wear. It provides you with the ability to keep any of the facing or lining from being visible while also giving you a nice, finished and crisp edge without any stitching showing.

How to Understitch:

Begin by sewing your two pieces of fabric right sides together using the pattern seam allowance. In my example, I am using the Brunch Blouse and added a full lining to showcase understitching. You most often use understitching while attaching a facing or lining, so I added a lining to this pattern by cutting an identical top from lining fabric. After sewing the bust darts, center back seam, shoulder seams, and stay-stitching the necklines on both my main fabric and lining fabric, I was ready to sew them together. Open out both tops flat and pin the necklines together, right sides facing. Then sew all the way around the neckline with a 1/4 inch seam allowance. Clip around the entire neckline, about every 1/2 inch, to help the fabric release and ease around the curves before turning. You want to clip through your stay-stitching lines but not through your seam allowance. Only clip up to the seam allowance line.

Press your seam allowance all towards the lining or facing. Make sure you press this well. Stitch 1/8 inch away from the seam line, on the lining side. This will hold all your seam allowances to the underside of the top when you are wearing the garment and will prevent the lining fabric from showing. Sew slowly while keeping your 1/8 inch seam allowance and readjust every inch or so around the neckline to make sure your curves are laying flat with no puckers. I prefer to stitch from the right side of the lining and feel to make sure the seam allowance is all under the presser foot, but you may stitch from the wrong side as well to be able to see your seam allowances while sewing them down. Finally, press your neckline well, making sure you have the lining fully towards the inside of the garment. I like to make sure about 1/8 inch of the main fabric is also towards the back of the seam while pressing to further make sure no lining will be visible.

You do not need to add topstitching when you have used understitching.

What is topstitching?

Topstitching can serve many different purposes. You can use it to add a decorative element to your make, like the back pockets of your favorite SOS pants. Or, like in today’s blog post, it can be used to hold the lining or facing to a garment. All topstitching will be visible and therefore it is important to do it carefully and have accurate stitching. Here are some tips to help your topstitching turn out great.

How to Topstitch:

Begin by selecting a thread that is suitable for your fabric. When applying decorative finishes, you may want a thicker topstitch thread and select a top-stitch stitch option on your machine which will create a thicker, more defined stitch. For my brunch blouse, I chose to use regular all-purpose thread and a regular straight stitch on my machine. You will want to slightly increase your stitch length when top-stitching. I use a 3 length for finer and medium weight fabrics and 3.5-4 length for heavier fabrics. Typically, the topstitching is sewn at 1/4 inch. You can use a specialty foot or use the edge of your presser foot to help keep a smooth, straight line.

Pressing will be equally important in topstitching as it was for understitching. Make sure you have pressed the area you will be topstitching well first to minimize any potential for puckers. You will want to avoid back-stitching while topstitching and instead, tie off your thread ends. These tips will help your topstitching turn out fantastic. Take your time and focus on keeping your line very straight.

For my brunch blouse, I used a burrito roll method to finish my arms, as I added a lining. After sewing the lining and main fabric cap sleeves, right sides together, I turned the bodice right side out and pressed. Make sure you press your fabric so that all the lining is fully under the main fabric and will not show. Next, topstitch, using a 1/4 inch seam allowance and a stitch length of 3 down the sleeve hems. This topstitching attaches the lining to the fabric so that it will not be exposed during wear. Then I continued sewing the brunch blouse per the instructions, treating the lining and main fabric as one piece for the rest of the stitching.

Understitching and Topstitching Video

I hope you enjoyed this look at understitching and topstitching. If you have any questions, please visit the Facebook Group and join the discussion with so many very helpful sewists. And make sure to check out the other P4P University Posts for more help.

P4P University – Armbands Tips and Tricks

February 10, 2021

P4P University – Armbands Tips and Tricks

I’m going to spend a little time today showing how I get the best finish on my armbands. They can be quite tricky to get right and people often struggle with ‘bubbling’ over the shoulder, which can ruin the look of an otherwise perfect neckline.

The pattern I will be using to illustrate how I sew my armbands is the Youth Essential Tank. There are many different cut lengths, from shirt to dress length and the option for a regular tank or a racerback cutline. Today I will be sewing the shirt length tank option for my daughter, ready for the summer weather which we are all desperate for right now!

The first thing to remember is that there are pattern pieces for you to use for the neckband and armband options and these are calculated at 85% of the opening, but the fabric you use may need you to make some adjustments to those pieces to get the perfect fit. A fabric like a 100% cotton interlock won’t have as much stretch as you may need and you will probably want to add a little length to your bands, perhaps recalculate at 90%. Something like a ribbing/cuffing has lots of stretch and that could be cut at 75 or 80% to get the same look. Either way you will want to ensure that you sew the shoulder and side seams of your garment at the full ½” seam allowance or you will find that the bands won’t be long enough, as not using the full seam allowance will make your neck/arm openings wider than they were drafted to be.

If you prefer a video, I filmed the process of making my Essential Tank here:

Sew your shoulder seams and then prep your neckband by sewing the short sides, right sides together to form a loop. Fold your fabric wrong sides together around the long edge and then place a clip at the joining seam. Place another clip at the other end of the band by stretching the band a little to find the centre point opposite the joining seam. Unlike a regular neckband, we won’t be quartering the neckhole and the neckband, just halving. Find the centre front and centre back of your neckhole and place clips. You should have this.

Next, evenly stretch the neckband until it fits the neckhole and clip the neckband to the neckhole at the shoulder seam (this won’t be the normal quarter point as the shoulder seam will be further towards the back). Then also place clips 1 inch either side of the shoulder seam NOT STRETCHING THE NECKBAND BETWEEN THESE THREE CLIPS. (If making an adult sized tank I wouldn’t stretch for 2 inches either side of the shoulder seam), then ease the remaining neckband in between the clips either side of the shoulder seam and the centre front and back clips.

Sew the neckband on, making sure to use the full seam allowance, and remembering not to stretch the neckband over the shoulder seams. This reduces the tension on the neckband here and helps to stop the ‘bubbling’ we spoke of earlier. I prefer to sew with the band uppermost as it helps me keep an eye on the seam allowance. I also like to start sewing just before the shoulder seam as this is the area we will NOT be stretching as we sew. It is easy to forget about this if you come to it at the end of sewing the neckband on, so I like to do this part straightaway so I don’t have to worry about forgetting about it later.

TIP – If you have difficulty managing the three layers when sewing the neckband on, or if your fabric has a tendency to curl badly, I recommend sewing the neckband together around the long raw edge before attaching it to the bodice. You can either use your overlocker/serger without trimming any seam allowance off, or do a zig zag stitch with your sewing machine right at the edge (you may need to stretch the neckband slightly as you sew round, just to make sure it will still fit in the neckhole after sewing this temporary stitch). It just keeps those two layers together whilst you are sewing it onto the bodice, then you simply trim if off with your serger blade when you attach it, or trim with scissors if using a sewing machine.

Press with steam and then topstitch. You can either use a chain stitch as I have here, or a regular 2 or 3 needle coverstitch. If you have a sewing machine then you can choose a twin needle, long straight stitch or zig zag/stretch stitch of your choosing.

Next we move onto the armbands which are sewn in the same way as the neckband. First sew the short ends to form a loop, then fold wrong sides together and mark the seam and opposite point on the band with clips or pins.

The armbands are a little easier because more often than not you find the shoulder and underarm seams are opposite one another. I like to put the armband seam at the bottom of the armscye, for comfort and so you cannot see it when it is worn, then clip in place. Next clip the opposite end of the armband to the shoulder seam. Again, clip the armband to the armhole WITHOUT STRETCHING for 1 inch either side of the shoulder seam (again for a larger sized adult tank, I would not stretch for 2 inches either side of the shoulder seam), then ease the rest of the armband into the armhole between the other clips. The idea behind this is that it should allow the armband to run flat over the shoulder seam, but then the added tension around the bottom of the armband will encourage it to flip up and sit snug against the side of the body at the bottom and sides.

Sew, using the full seam allowance, then press with steam and top stitch as before.

Finish the rest of your garment as usual, and you’re done.

I hope you found this tutorial helpful and don’t forget if you have any questions we have a large community on our Facebook page who are always happy to help.

Happy Sewing!

Dana x

P4P University Color Blocking Tips and Tricks

February 1, 2021

Hello, fellow sewing friends! I’m super excited to talk to you today about color blocking. As long as I’ve been in the sewing world color blocking has always been really popular. A lot of patterns even include it! But what if your favorite p4p pattern doesn’t have any color blocking options? Well, today I’m going to teach how to easily do it yourself! If you aren’t familiar with color blocking, it’s basically just adding interesting unique blocks of different fabrics to your pattern without altering the fit. It’s a great way to spice up a regular t-shirt, use up some scraps, and make for some fun visual art. You can color block anything from sleeves, front bodice, back bodice, legs, hoods, if it has a pattern piece- you can color block it. Now, let’s get started!

First, you’ll want to pick your pattern and print out your chosen size. (If you are using a projector you can do it but I highly recommend printing whatever piece you want to color block. For my example, I color-blocked just the front bodice so I printed that and then used my projector to cut the rest of my pieces. ) Now if you plan on doing any “angled” color blocks and your pattern piece is on a fold- I recommend tracing the mirror image and attaching it to your piece so you have the “full piece”. I used The Basic tee for my son and chose to only block the front of the shirt.

Now the fun part- Choosing your color block! Honestly, you can really do anything so just start drawing! I use a straight edge to make sure my lines are nice and tidy (easier to sew that way). The only thing I would avoid is really complicated shapes or anything like a floating “v-point” that doesn’t reach an end (you can see my example below in the red no box). If you are new to this technique I’d start simple to get the hang of it and then you can expand from there. This is what I drew out and what will be the final “look” of my shirt.

Once you’ve drawn your color-blocked lines you’ll want to cut them all out and these are your new pieces. Decide which fabric you want for what piece and it’s time to start cutting.

Now here’s the most important part- You’ll need to add seam allowance to those pieces. You can choose whatever amount but I usually go with 1/4 inch. Now you can either do this by laying your new pieces on a piece of paper and adding it to that piece so it becomes part of your pattern piece.

Or what I do is simply use my quilting ruler while cutting to add it to my piece. So for the cut part of my piece that needs seam allowance, I just line my quilting ruler 1/4 over my cut paper line and then use my rotary blade to cut that line instead of my paper line.

Make sure you add seam allowance to every place that you cut out a color block line on your pattern piece.

Now it’s time to sew! If you decided to do any intersecting lines like this one I did. You’ll want to sew those pieces together first. So line up your piece edges right sides together and sew with the seam allowance you chose. You’ll then want to topstitch your seam allowance down.

(Tip- if you are using a coverstitch I like to do a reverse coverstitch on the seam allowances with a fun color to add some extra “pop” to my color blocking).

Now repeat this with your other pieces until they all come back together. It should finish at the same size as your initial pattern piece before you added color blocking.

Finally, you can sew your garment together as recommended by the pattern. The only difference is you have a cool color-blocked piece instead of a plain piece!

Yay! All done!! Can’t wait to see what you all create!

Happy Sewing,

Michelle

P4P University – Adding Trim to Hems

January 29, 2021

P4P UNIVERSITY – Adding Trim to Hems!

Hello pirates! Today’s topic will focus on how to add a decorative trim to any hem – this is a super easy way to add a unique and decorative touch to your garments! This post will walk you through the steps to select your trim, prepare your hem, add trim to your hem, and also to launder your garments with trim. For this example, I will be using the Cozy Pants – Youth pattern, and I have chosen to do the shorts with the plain waistband and no pockets. I love adding trim to the most basic options because I feel that it adds a fancy design element while still keeping the project quick and easy – my favorite!

Now let’s get started!

Helpful Tips in Selecting the Trim:

STRETCH FACTOR – If your trim is not as stretchy as your garment fabric, you will want to be sure the pattern you’ve chosen will still be wearable with a non-stretchy hem. Adding a non-stretchy trim will restrict any stretching. For the shorts pattern I have chosen, the legs are wide enough that it’s okay if the hem no longer has stretch. But if it was more fitted, then I’d have to switch to a trim that has an equal or similar amount of stretch.
TRIM WIDTH – For added convenience, I recommend selecting a trim that is either as wide or wider than the length of the finished hem. This allows for you to stitch the trim and hem in place in one step! This is optional of course, but I like to minimize the steps wherever I can! 🙂 Wideness of the trim will also depend on if the trim is placed on top or under the hem. For example, if you’d like for the trim to be on the underside of the hem, you may want to choose a thicker trim and/or a trim that you don’t mind will have a portion of it hidden behind the hem.
PLAN AHEAD – It is a good idea to already have your pattern, fabric, and location of trim decided on before selecting your trim. This way, when you select a trim you will be able to envision how it will look. Also – be sure to have a scrap of your fabric nearby when shopping to ensure color coordination!
TRIM CONTENT – Be sure to see if the trim is made from material that could shrink. Trim made from cotton will likely shrink, so before sewing with it I recommend washing it in a similar manner that you plan to wash the finished garment (see end of post for laundering tips).

Preparing for the Hem:

Now that we have selected our trim, we are ready to add it to our garment! Construct your garment as usual, but stop before hemming where you plan to add the decorative trim. Follow the steps below:

PRESS YOUR HEM & MEASURE TO CUT TRIM, press hem as indicated by the pattern and measure the length along the edge of your hem. Cut your trim at that length plus an inch or two. I like to add a little extra length to allow some wiggle room, and I cut off the excess later (pictured first below).
PLACE TRIM ON OR UNDER HEM, place trim as desired to verify that the length of the trim has been cut correctly and also to visualize the end goal. Adjust the hem and/or recut trim as needed. Pictured below: trim placed under the hem, also referred to as the underside (pictured second), and trim placed on the topside of the hem (pictured third).

Add Trim on Topside of Hem:

PIN, CLIP, and/or TAPE TRIM IN PLACE, secure trim in place and leave any excess trim unpinned/not taped – I prefer to leave the excess until after I’ve sewn it to ensure I don’t end up with a gap. I use wash away wonder tape for adding trims, bindings, and difficult hems – it is my absolute favorite tool! It sticks everything in place, is clear, and washes away – perfect for this project! For these shorts, I used my tape and also a few clips for extra security (pictured first below).
TOPSTITCH TRIM IN PLACE, finish using your favorite topstitch to secure both your trim and your hem. Be sure your stitching is catching both the hem and the trim. Once you reach the end, cut off the excess trim where needed. I like to overlap the ends of the trim just smidge and cover the edges with a little fray check. Here, I use my coverstitch – but you can also use a zig-zag stitch, triple stitch, etc. My thread is the same color as my trim – so you can’t see the stitching, but here it is stitched on (pictured second).
Note: if you are attaching a narrow trim that is smaller than the size of your hem, you will want to first hem your item, and then sew your trim in place. You may also consider using a blind hem to minimize the appearance of stitching before adding the trim. *Tip* For very narrow trims, use a narrow zipper foot on your sewing machine to help you sew right along the edge of the trim!

OR

Add Trim on Underside of Hem:

PIN, CLIP, and/or TAPE TRIM IN PLACE, leave excess trim unpinned/not taped. I prefer to leave the excess until after I’ve sewn it to ensure I don’t end up with a gap. I use wash away wonder tape for adding trims, bindings, and difficult hems – it is my absolute favorite tool! It sticks everything in place, is clear and washes away – perfect for this project! For this example, I am using just a small strip of fabric to show how to finish the hem since I decided to add the trim on top (previous example). Here, I have only used tape to secure the trim in place (pictured first below).
OPTIONAL STEP FOR NARROW TRIMS, open up the hem and stitch along the edge of the trim closest to the bottom (pictured second). In the example below, we would stitch along the trim edge opposite of the pom-poms/circles. This is needed if your trim will not be secured by the final hemstitch. If you complete this step, using wonder tape would be the easiest method to ensure the trim doesn’t shift around while you open up your hem. If you don’t have tape, you could use pins, but be sure to only pin through one layer of fabric while securing the trim to the underside of the hem. Clips would not work because you wouldn’t be able to open the hem up. When stitching towards the end, cut off the excess trim where needed. After you have stitched the trim to the fabric, refold your hem.
*Tip* For very narrow trims, use a narrow zipper foot on your sewing machine to help you sew right along the edge of the trim!
TOPSTITCH TRIM IN PLACE, finish with your favorite topstitch (pictured third). If you did not complete the optional step, this stitch will also serve to stitch your trim in place – so be sure your stitching is catching both the hem and the trim. Once you reach the end, cut off the excess trim where needed (if you haven’t already). When the edges of the trim meet, I like to overlap the edges just smidge and cover the edges with a little fray check. Here, I use my coverstitch to finish the hem – but you can also use a zig zag stitch, triple stitch, etc.

And that’s it! Here is my finished product, with the trim stitched on top of the hem. How cute is this??

Caring for Garments with Decorative Trim:

Below, I have included my recommendation for caring for your garments with trim. However, this is just my preference, so be sure to defer to your own best judgement – especially when working with delicate fabrics and trims. I tend to use pretty versatile fabric that can handle a little more activity :). Also, I would be lying if I said I ALWAYS do this for items with decorative trim because I’m known to just throw everything in the wash together without a second thought. However, this has honestly led me to some sad occasions while folding laundry and seeing that my pom poms or fringe are now a mess and they are not always salvageable!! So I recommend the following:

WASH IN COLD WATER ON DELICATE/GENTLE CYCLE, preferably by itself so it doesn’t risk getting tangled with any straps or strings from other clothing.
SKIP THE FABRIC SOFTENER, fabric softener can lead to build-up on fabric over time. This can cause some fabrics to actually lose softness, and it can even lead to discoloring some fabrics.
HANG/AIR DRY, this is strongly recommended based on personal experience! But if you must, you can try drying on the lowest heat setting in the dryer and taking out the garment as soon as it is dry to avoid allowing it to continue drying and get overheated. However, air drying is the safest and most reliable option.

I hope you enjoyed this post and found it helpful! Have fun sprucing up some of your garments quickly and easily, and be sure to share your embellished P4P items in the Patterns for Pirates Facebook Group!

Nap

Yardage Requirements

Cutting

Sewing

Pressing

And remember…

P4P University- Adjusting a Top Pattern for Height

DECIDING HOW MUCH TO ADD OR SUBTRACT TO A TOP PATTERN

WHERE TO SUBTRACT FROM/ ADD TO THE PATTERN

ADJUSTING THE TOP PATTERN PIECES TO EITHER LENGTHEN OR SHORTEN

SEW UP YOUR TOP AS USUAL

WHEN TO USE A FACING

NECKLINE FACING

ALL IN ONE FACING

HEM FACING

What is Understitching?

How to Understitch:

What is topstitching?

How to Topstitch:

Understitching and Topstitching Video

P4P University – Armbands Tips and Tricks

P4P UNIVERSITY – Adding Trim to Hems!

Helpful Tips in Selecting the Trim:

Preparing for the Hem:

Add Trim on Topside of Hem:

OR

Add Trim on Underside of Hem:

Caring for Garments with Decorative Trim:

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