Group 2-Initial Final Project-Ict06

ACTIVITY #03
Initial Final Project Requirement

For Authoring Tools (2S-TLE-ICT06)
HOME ECONOMICS:
DRESSMAKING
Submitted By:
Aleux Viktoria Torres
Angelie Kyla Caber
Cristine Mae Udarbe
Zulliene Rhezzy Balicat
BTLE-ICT III-25
To be submitted to:
Professor Emilio Aguinaldo
Home economics: DRESSMAKING
TABLE OF CONTENT
● Lesson 01: Sewing Tools, Equipment and their uses

● Lesson 02: Carry out Measurement and Calculations
● Lesson 03: Read and Interpret Product Design
● Lesson 04: Perform Basic Maintenance
● Lesson 05: Practice Occupational Safety and Health
● Lesson 06: Production of Sleeping Garment pt.1
● Lesson 07: Production of Sleeping Garment pt.2
● Lesson 08: Production of Ladies Trousers pt.1
● Lesson 09: Production of Ladies Trousers pt.2
● Lesson 10: Production of Children’s Wear pt.1
● Lesson 11: Production of of Children’s Wear pt.2
● References
LESSON 01: SEWING TOOLS, EQUIPMENT, AND THEIR USES
LEARNING OUTCOMES: At the end of the lesson the learners are expected to Identify
sewing tools and equipment.
DEFINITION OF TERMS:
Altering- changing portion of a garment to fits the body

Cutting tools - a cutting implement; cutting (for fabric)
Fabric - the cloth used in making the garments
Measurement tools- an instrument used for obtaining measurements and
quantities
Sewing Machine - textile machine used to stitch fabrics and other materials
Sewing tools- instrument that aid in accomplishing a sewing task
Learning Outcome 1
● Identify sewing tools and equipment and their uses
Performance Standards
● Sewing tools and equipment are identified

● Types of sewing machines are classified and their uses are identified
Materials
- Measuring Tools
- Cutting Tools
- Pinning Tools
- Marking Tools
- Sewing Machines
- Fabrics
- Thread
WHAT DO I NEED TO LEARN?
SEWING TOOLS AND EQUIPMENT
Sewing equipment different tools are used in garment construction, the skillful
use of the different sewing equipment will help take measurements and drafting a
pattern accurately and timely manner. The right use of sewing tools at the right time
would help to accomplish the task successfully, all tools must be used appropriately in
order to produce the best result.
In this lesson, the learner will be provided with knowledge and skills of the
different tools and equipment which are necessary in sewing. The complete set of
sewing tools and equipment are presented:
1.1 MEASURING TOOLS
TAPE MEASURE - A flexible measuring device used in

taking body measurements.The front has the measurement
of 150 centimeters and 60 inches on the other side.
Fiberglass tape is commonly used by dressmakers.
SEWING GAUGE - A small ruler with a sliding guide and is

about six inches long. This gauge is used for measurements at
hem lines, button holes and areas where other small
measurements require checking, such as pleats and tucks.
The gauge is usually made of metal or plastic.
RULERS - A ruler measuring 12 inches or even 18

inches, either clear or solid. It is a useful tool to have for
measuring and drawing straight seam lines and cutting
lines. It also aids in connecting lines. A clear ruler is also a
good tool for marking buttonholes.
YARDSTICK- A yardstick is made of smooth, shellacked
hardwood or metal. It is used for marking hemlines and checking
grainlines when laying out the pattern.
L-SQUARE-The tailor square or "L" is used to transfer

measurements to the draft pattern. It also divides the garment into
the desired measurement. It has perfect squares and is useful in
making straight lines and numbers. It can also function as a tape
measure.
It has two arms connected perpendicularly.

a. The longer arm is twenty-four (24) inches long.
b. The shorter arm is fourteen (14) inches long.
FRENCH CURVE-This is used to shape the depth of the neckhole

and armhole of the pattern.
1.2 CUTTING TOOLS
Cutting tools are instruments that serve well if properly used and maintained,
Sharp cutting tools make clean cuts and well-defined notches, do not damage the fabric
and make the work efficient. Sewing cutting tools should not be used for other
household tasks. Cutting tools must be sharpened regularly and the joints are oiled
occasionally for better use.
Bent-handled dressmaker’s shears

These are made of quality steel and hold a sharp
cutting edge. The blades move easily and cut smoothly
along the entire length and the points should come together.
Shears have the length of 7- 12 inches and are satisfactory
for most apparel fabrics.
a. All steels, chrome-plated shears are for heavy duty cutting
b. Stainless steel blades and plastic handles are fine for lightweight fabrics
c. A serrated edge shears give maximum cutting control and
is used for synthetic fibers and slippery knits
Pinking Shears
This is popular in zigzagging or scalloped edges or for seam
finishes. This is used to finish seams and raw edges and to
create decorative edges on many types of fabric. It cuts a
travel-resistant edge. This is not satisfactory for straight cutting.
Cutting scissors
a. Trimming scissor
It is 3-4 inches long. It is used for trimmings, clipping threads and
snipping slashes.

b. Embroidery scissor
It has 4-5 inches finely tapered blades. Both points
are sharp for use in working with fine details in
delicate fabrics and in embroidery work.
. Buttonhole scissor
c
This is intended for making buttonholes.
Thread Clippers
Thread clippers are a handy little spring loaded cutting tool
that allows for the snipping of threads. These clippers are
specifically used to snip threads and they are not designed to cut
fabric.
Seam Ripper
Seam rippers are specifically designed for ripping out
stitches from seams, either as a result of an error or during
alterations. They should be used carefully to prevent damage
to the fabric.
otary Cutter and Mat

R
It is an adaptation of the giant rotary cutter used by the
garment industry. It works like a pizza cutter and can be used by
left or right-handed sewers. The rotary cutter is available in
different sizes with different blades. When using a rotary cutter,
work on a cutting mat to protect the blade and the cutting surface.
1.3 MARKING TOOLS

A marking tools are required for transferring pattern markings to the garments fabrics
pieces and for making alterations on the garments.
Chalk Pencils/Dressmaker pencil

This is available in white or pastel shades.
This chalk pencil is used to make fine lines on fabric.
It has an erasing brush at one end.
Liquid Marking Pen

Liquid marking pens come in two types. There
is one that washes out and one that fades after 48 hours.
Those that wash out should not be used on fabric
that show water marks. The mark should be removed
before pressing the fabric.
Tailor’s Chalk
This is essential as a marker for use on materials.
Tailor‘s chalk is available in a range of colors and is
removed by brushing
Wax chalk
This is available in black or white and is used
for woolen fabrics. Wax can be removed by pressing.
Tracing Wheel
There are two types of tracing wheels, those with a
serrated edge and those with a smooth edge. The serrated
edge wheel produces dots on the fabric and is suitable for
most types of fabrics. The smooth edge wheel is best for
delicate fabrics and unlike the serrated edge will not pierce
more delicate fabrics.The smooth edge wheel creates a solid
line.
Dressmaker’s Carbon Paper

Dressmaker's carbon paper, also called dressmaker's
tracing paper, is a specially waxed carbon paper that transfers the
tracing wheel`s marking to the fabric. A color of tracing paper
should be chosen that is close to the color of the fabric. Different
brands of tracing paper have different instructions; therefore, the
instructions for the particular brand that is purchased should be
followed.
1.4 PINNING AND SEWING TOOL
Pincushion
A pincushion holds the straight pins and needles while
working to prevent accidents.
Hand Needle
Used in making temporary stitches and buttonholes.
Sizes of 7 to 10 are for general hand sewing.
Thimble
A small hard pitted cup worn for protection on the finger
that pushes the needle in sewing.
1.5 MATERIALS
Fabric
The Fabric is the cloth used in making garments. The plain
cotton fabrics, flour sack or catcha is the most appropriate
material for beginners because these are very easy to handle.

Thread
The thread is used in assembling or constructing
the parts of the garment. Threads vary in sizes. Heavy
fabrics need stronger threads. Threads should have the
same color with that of the fabric used.
1.6 TYPES OF SEWING MACHINE
Well-selected sewing machine is essential for achieving good results. It should

be used correctly in accordance with the job requirements.
1. Lockstitch Sewing Machine - This is usually

used in homes and sometimes in school. This is also
called ―Domestic Sewing Machine‖. It is run by foot and
may also be converted to electric power.
2. Hi-Speed Lockstitch Sewing Machine. This is
sometimes called „straight stitching machine‖ or
industrial sewing machine. It has automatic
lubrication and is used by tailors and
dressmakers .
3. Over Edging Machine. Other companies call

it ―small machine‖. It finishes the raw edges of the
pattern for construction.
4. Embroidery Machine. This is used in making

Fancy stitches and in making different kinds of
embroidery stitches on fabrics for the Barong
Tagalog, pillow cases, linen, and other novelty
Items.
5. Button Holer Machine. This is used in

making buttonholes on garments.
6. Button Attachment Machine. This is used in attaching

buttons to the garments.
7. Double Needle Machine.

This is used in the construction of the different kinds of
clothing especially for the inseam, outseam and side Seam.
8. Bartacking Machine. This is used in reinforcing the
opening and closing of pockets.
Major Parts of the Lockstitch Sewing Machine

The two major parts of the lockstitch sewing machine are the upper and lower
parts.
The Upper Parts is composed of:
1. Head is the complete sewing machine without

a cabinet or stand.
2. Arm is the curved part of the head containing
a mechanism for operating the needle.
3. Bed is the flat portion of the machine and
beneath is the feed dog where it is mounted,
and the shuttle and lower thread are placed.
Parts of the Sewing Machine in the Arm
1. Spool Pin is the thread holder.

2. Thread Guide keeps the thread in
position.
3. Thread Take up Lever releases the
thread and interlocks with the bobbin
thread.
4. Presser bar lifter moves the presser
foot.
5. Tension controls the looseness and
tightness of stitches.
6. Needle Bar holds the needle in place.
7. Needle Clamp holds and tightens the
needle.
8. Presser Foot holds the fabric in place while sewing.
9. Needle is a slender tool attached to the needle clamp used for sewing.
10. Bobbin Winder controls the bobbin while winding thread.
11. Stitch regulator checks the length of the stitches.
12. The Balance Wheel sets the mechanism in motion.
13. Belt connects the balance wheel to the drive wheel.
14. Stop Motion Screw hinders moving when loosened and starts
Parts of Sewing Machine under the Bed

1. Feed Dog moves the fabric while sewing.
2. Throat plate is the window of the feed dog and
it is where the bobbin threads come out.
3. Slide plate is a movable plate that covers the
shuttle and bobbin case.
4. Shuttle holds the bobbin case while sewing.
5. Bobbin is a metal spool for winding thread.
6. Bobbin Case holds the bobbin.
The Lower Parts of the LockStitch Sewing Machine
The lower parts of the sewing machine are the cabinet and the stand. The
cabinet has drawers and screw on the hinges for the attachment of the head.
The following are the lower parts of the sewing machine and their uses:
1. The Band Wheel leads the balance wheel through the belt connection.
2. Band Wheel Crank moves the band wheel.
3. Pitman Rod holds the treadle to band wheel
crank
4. Belt Guide holds the belt to its place.
5. Belt Shifter removes the belt from the wheel.
6. Dress Guard protects the dress from the wheel.
7. Treadle is where the feet are stationed to drive
the band wheel through the pitman rod.
8. Legs support the cabinet of the machine.
9. Cabinet holds the head of the machine by interlocking screws on the hinges.
LESSON 02: CARRY OUT MEASUREMENTS AND CALCULATIONS
LEARNING OUTCOMES: At the end of this lesson the learners are expected to do the
following:
LO 1. Obtain measurements.
LO 2. Perform simple calculations; and
LO 3. Estimate appropriate quantities.
Accuracy - exact measured distance or circumference

Calculation - Process of calculating
Conversion - a change of figures from centimeters to inches and vice versa
Cost - amount paid or change for something that is acquired
Grain - the direction of fabric threads
Hemline - marked line at the bottom of the garment where the hem is turned
IMC - Individual Measurement Chart
Length - the longer or longest dimension of object to measure
Measurement - A systematic procedure of determining the quantity or extent of
the entire measurable dimension
Pattern - piece of paper usually one-half of the body used as a guide in cutting
the garments
Width - measurement taken at the shortest dimension of the object to measure
Learning Outcome 1
● Obtain measurements.
● Parts of the body are measured

● Appropriate measuring tools are selected for the job.
● Reading of measurements is practiced with accuracy.
● Accurate measurements are obtained.
Materials
- Model
- Tape measure
- Sewing gauge
- Ruler
- French curve
Parts of body to be measured can be taken in:

Horizontal measurement Vertical measurement Circumferential measurement
1. The horizontal measurement is taken from the left of the figure to the right.
2. The vertical measurement is taken from the top of the body figure to its base.
3. Circumferential measurement
Neck - Loosely measure around the circumference at the base of

your neck.
Bust - Lift your arms to the side.Measure around your body

crossing over the fullest part of your bust. (The tape measure must
run directly over your nipples and across your shoulder blades on
your back).
Bust to Bust - Measure from your one nipple to your other nipple.
Upper Bust - Measure around the torso directly above the bust line.
From armhole to armhole +- 8cm down from neck.
Lower Bust - Measure around the torso directly under the bustline.
Waist - Measure around the waist at the narrowest natural waistline
point, allowing 2 fingers between your waist and tape measure.
Hips - Measure around the fullest part of your hips. As a guide, this
is often 20cm below your natural waistline. Stand with your knees
together.
Shoulder to Bust - Measure from tip of the shoulder to the center

of bust (nipple).
Front Shoulder to Waist - Measure from tip of shoulder over bust

to natural waistline.
Shoulder to Shoulder - Measure across the back of neck from

socket of one shoulder to socket of the other shoulder.
Shoulder to Neck - Measure from base of neck along top of

shoulder to the shoulder socket.
Down Center Back - Measure from nape of neck to natural waist.

Back Shoulder to Waist - Measure from tip of shoulder to natural
waistline.
Across Back - Measure from armhole across back to armhole

positioning tape measure + - 8cm down from nape of neck.
Full Back - Measure from side seam, under armpits to side seam
across back, positioning tape measure +- 4cm down under armpit.
Sleeve Hole - Measure around the shoulder under the armpit.
Bicep - Measure around the fullest part of the upper arm.
Elbow - Do a fairly loose measurement around the bent elbow.
Under Arm - Measure from under the arm. Start at the armpit to the
wrist.
Over Arm - Measure from outer shoulder socket on outside of arm,

with a bent arm, to the wrist.
Side Seam - Measure from under armpit to natural waistline down.
Upper Arm – Measure from the outer shoulder socket on the

outside of the arm to the crook of the elbow.
MEN’S APPAREL ( MEASUREMENT )
A. Vertical Measurement
hirt length - taken from the nape down the center back to
S
the desired length.
Sleeve length - taken from the shoulder tip point down to the
desired sleeve length.
Length of pants or shorts – measures along the side below

the waist band to the desired length of the pants.
Crotch or Rise – measured by placing a ruler under the
crotch then measuring below the waistband down to the top
of the level of the ruler.
B. Horizontal Measurements
Shoulder - taken from one shoulder point to the other.
Breast - taken around the body with the tape measure

passing over the fullest part of the shoulder blade at the back
and over to the apex.
Upper arm girth - taken around the fullest part of the arm in
line with the armpit.
Lower arm girth or sleeve width - taken around the arm two
to three inches below the armpit.
Neck measure – taken around the neckline.

Waist (w) - taken around the smallest part of the waistline.
Insert two fingers under the tape measure for ease or
allowance.
Hip or seat (H) - taken around the fullest part of the hip
(buttocks) with two fingers inserted under the tape
measure.Desired Bottom or Hem Circumference or leg hole –
taken around the fullest part of the bottom.
Desired Bottom or Hem Circumference or leg hole – taken

around the fullest part of the bottom.
Learning Outcome 2
● Perform simple calculations
● English and Metric systems of measurement are identified and applied.

● Simple calculations are performed based on the job requirement.
● Reading of measurements is practiced with accuracy.
Materials
- Conversion Chart
- Calculator
- Paper and Pencil
METRIC CONVERSION CHART
Simple calculation is a simple mathematical application used to compute the exact

dimension of body parts, the length and width of materials, and the cost required to
manufacture clothing.
This is the procedure that involves the four fundamental operations (MDAS).
LENGTH AND WIDTH OF MATERIALS
The Metric measurement system is also required when measuring the length and width
of materials such as textiles
METRIC CONVERSION CHART FOR FABRIC AND SEWING
1/4 Inch = 0.25 Centimeters 4.5 Inches = 11.43 Centimeters
1/2 Inch = 1.27 Centimeters 5 Inches = 12.7 Centimeters
5/8 Inch = 1.59 Centimeters 5.5 Inches = 13.97 Centimeters
3/4 Inch = 1.905 Centimeters 6 Inches = 15.24 Centimeters
1 Inch = 2.54 Centimeters 6.5 Inches = 16.51 Centimeters
1.5 Inches = 3.81 Centimeters 7 Inches = 17.78 Centimeters
2 Inches = 5.08 Centimeters 7.5 Inches = 19.05 Centimeters

10 Inches = 25.4 Centimeters 1 Yard = 0.9144 Meters
10.5 Inches = 26.67 Centimeters 2 Yards = 1.8288 Meters
11 Inches = 27.94 Centimeters 3 Yards = 2.7432 Meters
11 Inches = 27.94 Centimeters 4 Yards = 3.6576 Meters
12 Inches = 30.48 Centimeters 5 Yards = 4.572 Meter
Example:
1. How many inches are there in a 100 centimeters width of fabric?
2. How many centimeters are there in a 60 inches length of fabric?
Answer:
a. Given:
1 inch = 2.54 cm
Width of fabric = 100 cm
Equivalent of an inch to cm = 2.54
Calculation:
100 cm = 39.37 inches
2.54 cm
b. Given:
1 inch = 2.54 cm
Length of fabric = 60 inches
Equivalent of a cm to an inch = 2.54 cm
Calculation:
60 inches
X 2.54 cm
152.4 cm
Cost Needed
Example:
You need to buy a 60 inch length of fabric to be used in making a dress to your
customer. You know that the cost of the fabric that you are going to use is P5.00 per
centimeter. How much will you need to buy it?
Step I – Convert the 60 inches length of fabric into centimeters.
60 inches
X 2.54 cm
152.4 cm
Step II – Multiply the cost per centimeter to the length of fabric converted.
152.4 cm
X Php 5.00
Php 777.00
Sample Computations for fabric, thread, buttons and other supplies in Sewing
QUANTITY UNIT DESCRIPTION UNIT COST TOTAL COST

OF
MATERIALS
3 yrds Polyester PHP 25.00 PHP 75.00

Cotton (60”
1 spool width) Red PHP 15.00 PHP 15.00
Thread
6 pcs PHP 2.50 PHP 12.50
Pattern
10 pcs Paper PHP 3.00 PHP 30.00
Buttons
¼ yds PHP 10.00 PHP 5.00
Pellon
TOTAL PHP 133.00

Learning Outcome 3
● Estimate Appropriate Quantities
● Reading of measurement is practiced with accuracy

● The fundamentals of arithmetic operations are practiced with accuracy
● Cost of project materials are estimated based on current price
Materials
- Calculator
- Reading measurements
- Conversion table
ESTIMATE APPROPRIATE QUANTITIES

In planning a project, it is important to estimate the quantity of materials to be
used and the cost involved. Doing estimates will help you to make the right decisions so
that there won’t be any effort, money and time wasted.
Estimating of Materials
In estimating you should know the size and the number of product to be made
and the size of the cloth if it is 36”, 45” or 60” width. For example, an organizer
measuring 12” x 30” with three patch pockets of different designs. For one yard of a 45
width cacha cloth you can make two organizers. So for one organizer you can use ½
yard of a cacha cloth. Estimated cost of the cloth is Php60.00.
The table below shows a sample of materials estimated and the cost good for
one project
Quantity Materials Unit Price Total Cost
½ yard ½ yard Cacha (45” 60.00 30.00

width)
¼ Manila paper 7.00 2.00
1 spool Thread (small) 5.00 5.00
Total Cost = 37.00
The table below shows a sample of materials estimated and the cost good for
twelve products to be produced
Quantity Materials Unit Price Total Cost
12 yards ½ yard Cacha (45” 60.00 720.00

width)
3 pcs. Manila paper 7.00 21.00
1 spool Thread (bigl) 35.00 35.00
Total Cost = 776.00

LESSON 03: Read and Interpret Product Design
LEARNING OUTCOMES: At the end of this lesson the learners are expected to do the
following:
● LO 1. Sketch simple project design; and
● LO 2. Produce simple project;
Accuracy - exact measured distance or circumference

Calculation - Process of calculating
Conversion - a change of figures from centimeters to inches and vice versa
Cost - amount paid or change for something that is acquired
Grain - the direction of fabric threads
Hemline - marked line at the bottom of the garment where the hem is turned
IMC - Individual Measurement Chart
Length - the longer or longest dimension of object to measure
Measurement - A systematic procedure of determining the quantity or extent of
the entire measurable dimension
Pattern - piece of paper usually one-half of the body used as a guide in cutting
the garments
Width - measurement taken at the shortest dimension of the object to measure
Learning Outcome 1
● Sketch simple project design
● Design for a simple project is sketched applying the principles of design and
applying the color harmonies
Materials
- Picture
- Catalogue
- Different kind of designs
Structural design- this design is formed by stitching pieces together like collar, cuff,
yoke, pleats etc.
Decorative design- it is made after the dress stitched example by putting buttons, frills
or lace.
Principles of Design
1. Proportion- is the relationship in size
between various parts and the whole.
Fashion designing is a creative expression.
Exact mathematical proportions are not
required as long as what you design is
visually pleasing and in accordance with the
size, shape and height of the bearer.
2. Balance- is the arrangement of a design on a space resulting in a sense of

equilibrium. It is the equal distribution of weight from a central point or area.
There are three kinds of visual balance. They are the formal or symmetrical
balance, informal or asymmetrical balance and radial balance.
a. Formal or Symmetrical Balance

● is the equal visual weight of each side of an imaginary
central vertical line. It is achieved when each half of an
object is exactly like the others. A jacket with two breast
pockets and two hip pockets are formally balanced.
b. Informal or asymmetrical balance- is when the design is

balanced, but each side is different in some way. It is achieved
when the two halves of a whole are different, but seem to be
equal in weight or emphasis. For example, a jacket with a breast
pocket on one side can be balanced by a pocket on the hip of
the opposite side.
c. Radial Balance- is achieved when all parts of the design are
at
equal distance from a central point. A man wearing a sun
the design on the front of his shirt may have this kind of design.
3. Rhythm- is the repetition of an accent to create an interesting design. Repeating an

accent on different parts of the dress or one part of the dress will achieve a design that
is harmonious and visually united.
a. Repetition- rhythm could be achieved by repetition of motifs of

design, shapes, buttons, tucks, pleats, lines, fabric etc.
b. Radiation- rhythm can also be achieved by radiated lines.
c. Gradation- rhythm can be created by gradual change of lines,

shape or shade of the color.
4. Emphasis - is achieved by the designer’s ability to create a center of

interest by which the viewer’s eyes are directed to a specific area of a
garment or body part.
5. Harmony - is the pleasing and congruent arrangement of parts. It is

the blending of all components of design. When the structural lines,
decorative lines, colors and accessories all relate to each other
comfortably, harmony results.
Elements of Design
● Line- creates a visual dimension of length and width. When lines meet, space is
enclosed and a shape is defined. Lines direct the eyes to a certain path of vision,
or it can draw the eyes away from an undesirable area of the body. It defines a
shape or silhouette and conveys a mood of character.
Kinds of Line
1. Horizontal lines- are lines parallel to the earth. By the use of
these lines, a taller person appears to be shorter and lean and
thin, a little fatter.
2. Vertical lines - are lines perpendicular to the earth. The

shorter and fatter person appears to be taller and thinner by
the use of these lines.
3. Diagonal lines- these lines give an illusion of length and

breadth. These should be used to subdue defects of the body
figure and supplement the personality by highlighting the
attractive body features.
4. Curved lines- these lines are curved.

5. Crossed lines- are lines used to add variety and lessening the
length. For example length can be reduced with the help of a
belt.
6. Broken lines- both vertical and horizontal lines are used in

broken lines. An illusion of length or breadth can be created
by the judicious use of these lines.
COLOR THEORY
The color of clothes or anything else is usually the first thing you notice. Before
you begin, begin by researching which colors work well together, and then learn the
definitions of color words and the rules that govern color.
Primary colors are the origins of all colors; despite the fact that there are
thousands upon thousands of colors in the world, they are all made up of these
three hues: red, blue, and yellow.
Secondary colors are created by combining two basic colors in an equal

proportion. Equal portions yellow and blue make green, equal parts red and blue
make violet, and equal parts red and yellow make orange.
These colors can be found on the color wheel: orange, green, and violet.
Intermediate colors are created by combining two equal parts main and
secondary colors. For instance, if you combine equal quantities yellow (primary
color) and green (secondary color), you will get yellow-green. On the color wheel,
yellow-green is located between yellow and green.
The intermediate colors are;
Yellow + green = yellow-green Red + violet = red-violet

Blue + green = blue-green Red + orange = red-orange
Blue + violet = blue-violet Blue + orange = blue-orange
Pure colors are the primary, secondary, and intermediate colors since they do
not contain white, black, or gray. Pure colors are frequently referred to as
"normal, true, and basic colors."
Tints are created when pure colors are blended with white. Pink is created when
white is mixed to red. In other terms, pink is a red tinge. The lighter the pink, the
more white you apply. Pastels are another name for tints.
Shades are created when pure colors are blended with black. For example,
when black is mixed with red, the result is maroon, a hue of red. The more black
you add, the darker the result.
Grayed hues - Most of the colors used in clothing are grayed, rather than the
vivid, pure colors shown on the color wheel. Grayed hues are sometimes known
as soft colors or "dull colors." The more gray you add, the duller the hue
becomes.
Neutrals - White, black, and gray are examples of neutrals. They complement
each other and all other hues. The more grayed a color is, the more different
colors it will blend with.
Warm and Cool Colors
Cool colors - Green, blue-green, blue, blue-violet, and violet are examples of cool
hues. Blue is the most appealing hue. They are next to each other on the color wheel.
Warm colors - Red, red-orange, orange, yellow-orange, and orange are warm hues.
Red is the most welcoming hue. They are also next to each other on the color wheel.
Qualities of Colors
Hue- The value of a shade refers to its lightness, hue, or blackness. The value colors
range from the very lightest tint to the very darkest shade.
Value- The brightness or dullness of a color is defined by its intensity. When you say a
color is brilliant, very bright, dim, or very dull, you're characterizing its intensity. Green
peppers, for example, are vivid yellow-green, but olives are bland yellow-green.
Intensity – means the brightness or dullness of a color. When you refer to a color as
―bright‖ or ―very bright‖ or ―dull” or ―very dull” you are describing its intensity.
Example, green peppers are bright yellow-green, while olives are dull yellow-green.
Color Schemes
The beauty of any color scheme depends upon how well the colors harmonize.
To harmonize, colors must appear to belong together.
1. One-color harmony (monochromatic color) – the easiest color scheme to

follow is one that uses the same color in different values and intensity. Example,
a dark blue suit with very dark blue accessories and a light blue blouse.
. Adjacent color harmony – or analogous color harmony. Since they are near
2
each other on the color wheel, neighbor color harmony. Example,
yellow-orange, orange, and yellow-green are next to each other on the color
wheel; therefore, a pleasing adjacent color harmony may be made from them.
3. Complementary Color Harmony – these are colors that are opposite in the
color wheel. Using these colors may be very pleasing.
a. Complementary colors – directly opposite in the color wheel.

Example, red and green, blue and orange, yellow and violet.
b. Split
complementary colors – a variation of

the complementary color scheme. In addition to the base color, it uses the
two colors adjacent to its complement.
c. Triad - A triadic color scheme uses colors that are evenly spaced
around the color wheel. Triadic color harmonies tend to be quite vibrant,
even if you use pale or unsaturated versions of your hues.
Learning Outcome 2
● Produce Simple Product
● Project produced in accordance to the specifications of designs
Materials
Sewing Tools
- Needle
- Plain cloth (any color)
- Thread (any color)
HAND STITCHES FOR BEGINNERS

Sewing the basic hand stitches is relatively simple if you thoroughly study each
step before moving on to the next. Sewing by hand is a skill that most, if not all,
individuals should try to acquire at some point in their lives.

Back Stitching- Make one running stitch,
then a back stitch to the start of each
running stitch is overlapping the first
stitch. Resembling machine stitching is
used to reinforce a hand-stitched seam.
Basting- Basting is essential for good

stitching. This is used to secure fabric that
is temporarily held in place until it is
properly sewn. There are four of them
hand basting, machine basting, pin
basting, and other methods of basting
using an iron, baste the edges.
Running Stitch -To make this stitch,

push the needle's point in and out of the
fabric until you reach the desired length
and have a few stitches on the needle.
With your left hand, pull the fabric taut
and pull the needle all the way through.
Practice making nice, uniform stitches.
Outline Stitch- This stitch is similar to the

back stitch but it is slanted. Make one
slanted back stitch in front of another,
letting each one overlap the one before it
just a little bit, until the design is filled.
Blanket Stitch - Put your needle in 1/4

inch from the edge of the fabric, put the
thread under the point of the needle and
pull through.
Catch Stitch - This is used for a flat finish
next to fabric, such as seam binding on a
hem. Hold the open hem edge away from
you, work from left to right, Take a stitch
in the hem, then a tiny stitch to the right
just beyond the edge of the hem with the
point of needle to the left. This makes
diagonal
Chain Stitch - Insert the needle in and

out of the fabric (as in the running
stitch).Bring the thread under the tip of
the needle while still in the fabric,
then pull the needle through.
Color- is a radiant energy loosely termed light that produces sensation in our eyes. The
color of the dress easily attracts the client’s attention and becomes her basis in
choosing her apparel. It is the most powerful element.
Psychological Effects of the Color

1. Black- suggests strength and dignity and is usually worn for formal evening
affairs. Black also symbolizes mourning and death.
2. Red- makes us feel bold and daring. Red connotes passion and bravery.
3. Blue- represents truth, loyalty, calmness and wisdom. Deep blue could also
make us feel depressed.
4. White- makes us feel clean and fresh. White connotes innocence and purity.
5. Green- suggests life and abundance as this is the color of plants, but green
could also suggest jealousy.
6. Yellow- makes us feel joyful. It also connotes cowardice and treachery.
7. Purple- is the color of royalty, but it can also symbolize suffering.
8. Orange- is a warm color that suggests deliciousness and ripeness. Eateries,
especially fast food joints use orange with a touch of green to stimulate appetite.
Theories of Color
● Brewster-Newton theory- Simplifies the colors that exist
in nature into 4 groups, primary, secondary, tertiary and
neutral colors.
● Young-Helmholtz theory
○ It has 3 fundamental uses that correspond to the
three nerve elements of the retina.
● Red , green and violet are the nerve elements
● If all these elements are excited white is produced,
if green and violet are excited blue is produced,
green and red are excited, orange is produced.
Color System
a. The Prang system- is a commonly used mechanical
arrangement that uses the twelve basic hues. Primary
hues are placed at equal distance on the color wheel
Secondary colors are placed halfway between the
primary and intermediate colors.
b. Munsell System- is a color space that specifies colors

based on three color dimensions hue ( color / shade),
value ( lightness), chroma (degree of vividness / brightness
of color)
Classes of colors in pigment

● Pigments are coloring materials that are found in
crayons, watercolors, and oil paint.
1. Primary colors- (red , yellow , blue) basic of all
colors, also called independent colors.
2. Secondary colors- (green , purple , orange)
produced by mixing 2 primary colors.
3. Intermediate or Tertiary colors- ( red violet, red
orange, yellow orange) found between the
primary and secondary colors.
4. Quaternary colors – mixture of 2 tertiary colors.
Properties of Color
a. Hue- Name of color or family of colors.
b. Value- degree of lightness or darkness , the amount of white and dark added to a
pure hue.
Ex. White and red = pink
Red and black = maroon
c. Intensity- brightness or dullness of colors.
Ex. Low intense color – blue
High intense color - red
Contrasting color harmony

● Complementary color harmony- uses colors that are opposite
in the color wheel.
● Double complementary harmony- combination of 2 directly
adjacent colors and their adjacent.
Ex. Violet – orange – blue – yellow
● Split complementary harmony- is a variation of the

complementary color scheme.
● Triad harmony- uses colors in a triad scheme spaced

equally apart on the color wheel.
● Neutral color harmony- consists of the following colors brown,

beige, tan, black, gray and white.
LESSON 04: PERFORM BASIC MAINTENANCE
LEARNING OUTCOMES: At the end of this Lesson you are expected to do the
following.
LO 1. Operate machine and assess its performance;
LO 2. Clean and lubricate machine
DEFINITION OF TERMS
Absorbent – the ability of a material to fully enclose and absorb another substance, like
paper towels, diapers, and fabrics are essential for cleaning and personal hygiene.
Adjust – change present setting as in adjusting tensions.
Balance wheel – the wheel at the right of the arm that sets the mechanism in motion.
Band wheel – the wheel below the upper mechanism that leads the balance wheel
through the belt connection
Band wheel crank – moves the band wheel.
Bent – a change of shape or angle caused by pulling or pricking to a harder part such
as a machine needle driven out of the throat plate slot.
Blunt – refers to an unsharp or dull needlepoint that is irreplaceable. Damp cloth – a
cloth applied with moisture on water.
Entangle – forming knots like thread entangled in the bobbin case.
Feed dog – the toothed part mounted on the throat plate that helps move the fabric
against the presser foot.
Fault – something is wrong with the machine, system, design etc, which prevents it
from working properly.
Gummy – a thick sticky quality such as oiled accumulated dust on sewing machine
parts.
Jam – to cause a machine to be stuck fast so that it cannot work.
Lift – moving upward as in a presser foot lifter.
Lubricant – a material capable of reducing friction when applied between moving parts.
Lubricate – the act of applying a lubricating agent between moving parts to reduce
friction and preventing the form of rust.
Manipulation – the act of managing or operating manually or mechanically a given tool
or equipment.
Posture - the correct working body position for a given task.
Pucker – wrinkling of fabric caused by very tight stitches.
Replace – putting something new in the place of an old or damaged part.
Rewind – winding again or repeat winding
Stitch length – the length of each individual stitch.
Stitch regulator – the part of a sewing machine that controls the stroke of the feed dog
and regulates the length of stitches.
Treadle – this is where the feet rest to drive the band wheel through the pitman rod.
Tension – the force that is applied by the machine on your thread.
Trend – a general tendency in the way a situation is changing or developing.
Vital – extremely important and necessary for something to succeed or exist.
Learning Outcome 1
● Operate Machine and Assess Its Performance
● Proper handling of machines is observed.

● Correct procedures in machine operation are identified.
● Common machine troubles are resolved
Materials
- Set of sewing machines

Setting of Sewing Machine and Its Troubles
A treadle sewing machine is a type of sewing machine powered by a foot

pedal, allowing the user to pump the pedal up and down in a rhythmic motion. This
mechanical power is then transferred to the sewing machine's mechanism, causing the
needle to move and perform the sewing. Historically used in households before electric
machines, these machines have largely replaced treadle machines due to their
convenience but are still appreciated for their historical value and craftsmanship.
Treadle Sewing Machine Picture Tour
View of the cabinet with the machine

closed.
Cabinet open and the machine in the up

position
The machine for more details be sure to

see the manual.
Close up of the bobbin winder. Note the

heavy brass and the number of
connections in this mechanism, compared
to today's machines.
View of the end of the machine. Tension
mechanism and tread guides.
View of the back of the machine
Close up of the back access panel.
Close up of the decal. Note the area in

the red circle. The japanning has
remained in tack but the decal has peeled
away leaving bare metal.
Metal Singer emblem and the machine

serial number.
SETTING OF SEWING MACHINES
Perfect machine stitching is easy to achieve if you set the machine properly. This
involves threading the upper and lower parts of the sewing machine. The beginner In
dressmaking must learn how to thread the head of the sewing machine as one of the
first steps in becoming a competent operator.
THREADING THE MACHINE
Each part of the threading mechanism on the head of a sewing machine has a
definite purpose in guiding the thread from the spool to the needle. The thread must
pass through the various guides in a given order so that the machine will sew properly
the formed stitches.
A. ORDER OF THREADING IN THE UPPER PART

1. Spool Pin
2. Upper thread guide
3. Between metal disc of tension
4. Thread take up lever
5. Lower thread guide
6. Needle
STEPS:
1. Put the spool of thread on the spool pin.
2. Bring the thread to the thread guide .
3. Pull the thread between the metal disc of the tension.
4. Bring the thread up to the thread, take up the lever and raise it as it
goes.
5. Pull the thread down to the thread guide.
6. Pull it through the lower thread guide.
7. Thread the needle.
B. THREADING THE LOWER PART OF LOCKSTITCH SEWING MACHINE/ or

TREADLE SEWING MACHINE
STEPS:
1. Remove the bobbin case by pulling on the
bobbin case latch.
2. Remove the bobbin from the case and wind the
thread.
3. Put the bobbin back to the bobbin case and pull
the thread through the little slot at least 4
inches.
4. Be sure that you hear the bobbin case inside the shuttle.
5. Start the mechanism by rolling the balance wheel forward to get the thread of
the bobbin through the needle.
6. Pull the upper and lower thread together by 4 inches.
As you enjoy using your sewing machine , problems cannot be avoided , but
knowing its causes is another challenging skill to develop. How can you classify these
problems or troubles?
CLASSIFICATIONS OF SEWING MACHINE TROUBLES
If the sewing machines in your laboratory are kept in good condition and are
carefully adjusted and properly threaded , not too many things can go wrong. But there
are certain difficulties that occur during an operation so often , so you should know
these minor and common problems and their causes and remedies. There are two
classifications of sewing machine troubles, namely :
1. Minor sewing machine trouble
This refers to problems that arise involving incorrectly attached
accessories or supplies , unadjusted tensions , or that requires a little
dusting or oiling.
2. Major sewing machine trouble
This involves replacing or removing damage spare parts that made
the sewing machine not totally functioning
COMMON SEWING MACHINE TROUBLES
Machine Troubles Causes Remedies
Machine Troubles Causes Remedies
1. Machine runs noisily ● insufficient oil ● oil the sewing

● loose screw machine
● thread or dust ● tighten loose screw
clogged in the ● clean the shuttle
shuttle race. race before oiling
2. Machine rotates ● too tight belt ● change belt if

heavily ● insufficient oil already old
● bearings or shuttle ● oil the arm shaft
race is clogged with ● clean the shuttle
dust or thread race and bearing ,
then oil
3. Needle thread breaks ● improper threading ● check the threading,

● tight tension change the texture
● thread too coarse of thread and attach
● needle blunt set the needle properly
incorrectly to the needle bar
● presser foot not (flat side of the
properly adjusted needle should face
● poor quality thread the needle bar) .
● seam maybe too ● use correct presser
thick or heavy foot, check if
● bobbin case turns presser foot is
● fabric is pulled secured and
forcibly properly fastened
● needle may be bent ● if seam is too heavy
● size of needle change needle to
● tension correct size
● check the position of
the bobbin case,
reset the shuttle
race assembly
● change the bent
needle
● to avoid needle
bending, pull the
upper and lower
threads toward the
rear of the presser
foot after stitching
and cut the threads
● don‘t force the
fabric, just guide it
● change the size of
needle
● adjust tension
4. Stitches skip ● bent needle , dull ● change the needle

needle or wrongly or correct
attached needle positioning
● unmatched size of ● change needle size
needle or thread to and thread
the texture of fabric ● increase pressure
● no enough pressure on the presser foot
on the presser foot ● check the threading
● threading maybe
incorrect
5. Stitches loop ● dull needle ● use blunt needle

● improper threading check the threading;
● unbalance tension if loops appear
of the upper and under the fabric,
lower threads check the upper
● defective thread threading; adjust the
take up lever upper tension
regulator; if the
loops appear on top
of the fabric, check
the lower threading;
the thread may be
inserted in the
tension groove of
the bobbin ; check
also the latch spring
of the bobbin case.
● balance the tension
of both threads
● change the thread
take up lever spring
6. Upper thread breaks ● Improper threading ● correct threading

● Improperly attached ● attached the needle
needle correctly
● Bent or dull needle ● change to blunt
● Tight upper thread needle
● poor quality thread ● reset the upper
● unmatched needle tension regulator
● use good quality
thread and thread
size or texture
7. Lower or under thread ● improper winding ● winding the thread

breaks of the thread in the in the bobbin
bobbin uniformly
● bent or dull needle ● change the needle
● poor quality thread ● use good quality
incorrectly set feed thread
dog ● lower the feed dog if
● bobbin does not the fabric is thin;
freely turn raise the feed dog if
● too tight bobbin the fabric is thick
case spring ● check if bobbin is
clogged with dirt or
thread
● loosen the adjusting
screw of the bobbin
case or adjusting
the tension of the
upper thread
8. Seams Pucker ● too long stitch ● adjust stitch

length for the fabric regulator to correct
● tension is too tight length
● size of needle and ● adjust the upper and
thread do not match lower tension
● too high feed dog regulator
adjustment ● use appropriate size
● too heavy pressure of needle and
on the presser foot thread
● adjust the height of
the feed dog
depending on the
thickness or
thinness of the
fabric
● lessen pressure on
the presser foot
9. Fabric does not move ● feed dog not in ● adjust the feed dog
proper sewing to proper sewing
position position
● stitch regulator not ● adjust stitch
set on zero regulator to desired
● too tight pressure on stitch length
presser foot ● add pressure to
presser foot by
adjusting the
pressure regulator
screw
10. Fabric jams in ● Needle may be too ● Change the size of

machine big needle
● Throat plate ● Needs round hole
plate
STANDARDS FOR SEWING MACHINE OPERATIONS
Observe while using / running the sewing machine and list the things that you
have noticed. By following correct procedures you will make your work easier, more
interesting and challenging. Here are some pointers that you have to follow in the
manipulation of your sewing machine:
1. Start with the right tools and supplies. Have your needle, thread, screw
driver, pins and scissors ready for use. With tools at hand, you can
start working continuously on your machine.
2. Always maintain good working posture. Sit on your back slightly

leaning forward. It can prevent body pains after working on your
machine.
3. Thread the sewing machine correctly. You can follow the guide
book if you have one. This will save your time to get a correct
threading. Refer to someone to check if you have threaded it
properly.
4. Be sure that the needle is properly set according to the

directions for specific models. A properly attached needle will
do your work without any trouble.
5. Set the stitch regulator according to project specifications and test
the stitches for possible adjustments.
6. Check tension dials and adjust according to project

requirements of the stitches. A correct adjustment on the
tension dials will make a perfectly sewn garment.
7. Turn power off (for motorized/electric machine) when the sewing

machine is not in use. This will save electricity and avoid
possible minor accidents.
8. Keep sewing tools. Dust the sewing machine then put a little
amount of machine oil in slots. This will make the sewing
machine available for the next user
Note:
The control of the sewing machine lies on your feet not in your hand so learn to
start and stop the sewing machine instantly at a given point using this control. Lower
the presser foot while sewing but be sure to insert a piece of paper or fabric swatches
so that the feed dog will not be worn out.
Getting to stitch
Before you start, make sure the two threads are back between the two toes of the
presser foot .
CHARACTERISTICS OF GOOD STITCHES
1. The length of stitch is proportioned to the texture of the fabric.

2. The stitches are the same in length.
3. The stitches appear the same on both right and wrong sides of the fabric.
4. The stitching follows the intended line smoothly and accurately.
5. There are no skipped or broken gaps in stitching.
6. When retraced, it appears as one line of stitching.
7. The stitching has no tangles.
HOW TO MAKE ADJUSTMENT ON THE MACHINE
There are two tension adjustments on the sewing machine: the upper and the
lower. The upper tension controls the thread from the needle, while the lower tension
controls the thread from the bobbin case. These tensions must be adjusted to suit
various fabrics. If the tensions on both threads are properly adjusted, the threads will
lock at the center of the material and form a correct stitch.
The size of the stitches varies with the type of work being sewed. Thin materials
require a short stitch, a light thread, a fine needle, and a tight tension. Heavier materials
require a longer stitch, a coarser thread, a larger needle, and less tension.
Sewing machine needles become dull through hard usage and also through
ordinary wear; sometimes, they become bent by improper use. The condition of the
needle should be checked when sewing difficulties occur. A defective needle should be
replaced by a new needle of proper size. A dull needle will show a flat shiny spot at the
very tip when rotated between the fingers. The straight of a needle can be tested by
rolling the larger end on a flat surface; bent needles will wobble and straight needles will
roll true.
A. HOW TO ADJUST TENSION ON THE NEEDLE THREAD
The stitch tension control determines the amount of tension on the thread as they
pass through the machine.
1. Correcting a Loose Top Stitch

When the needle thread tension is too tight, the thread will lie straight
along the upper surface.
● Lower the presser foot
● Turn the small thumb nut at the front of the tension discs to the left ( counter
clockwise ) to decrease the tension.
2. Correcting a Loose Bottom Stitch
When the needle tension is too loose , the thread will lie along the
underside of the material.
● Lower the presser foot
● Check to make sure that the thread is between the tension discs.
● Turn the small thumb nut at the front of the tension disc (clockwise )
to increase the tension.
● Check the stitch on pieces of scrap material.
B. HOW TO ADJUST TENSION ON BOBBIN THREAD
1. Checking Bobbin Case

● Remove the bobbin from the bobbin case.
● Clean the inside of the bobbin case. Remove all particles of lint and dust
with a small point stick.
Note : If the tension spring is bent away from the bobbin case , or if the
ends of the spring near the delivery eye are damaged, they should be
replaced. Consult your teacher if defective parts are discovered.
2. Adjusting Tension Spring on Bobbin Case
● The tension on the bobbin thread is controlled by adjusting the tension
spring on the outside of the bobbin case. It is seldom necessary to
change this adjustment once the tension has been properly set . The
operator will usually be able to correct the stitch by varying the tension on
the needle thread a. Correcting a loose bobbin thread If the tension
on the bobbin thread is too loose, the needle thread will lie straight along
the upper surface of the material. Tighten the tension Turn the
regulating screw in the tension spring to the right. Test the tension.
Thread the bobbin case. Hold the end of the thread and allow the case to
hang freely. Check stitch on pieces of scrap material b. Correcting a
Tight Bobbin Thread If the tension on the bobbin thread will lie straight
along the underside of the material. Loosen the tension. Turn the
regulating Screw in the tension spring slightly to the left. Thread the
bobbin case and test the tension. Check stitches on pieces of scrap
material.
HOW TO REGULATE THE LENGTH OF THE STITCH
The length of the stitch is regulated by the stitch regulator on the front side of the
head.
● Move the stitch regulator downward to lengthen stitch

● Move the stitch regulator upward to shorten stitch.
● Check the length of stitch on pieces of scrap material.
Note: For normal stitching, set the regulator at 10 to 12 stitches per inch,
or at the number 3 for metric scale machines.
HOW TO REGULATE THE PRESSURE ON THE MATERIAL
The pressure on the material is regulated by adjusting screws on the top of the
machine.
● Turn the adjusting screw to the right to increase the pressure.

● Turn the adjusting screw to the left to decrease the pressure.
● Check the pressure by stitching on pieces of scrap material of the same
weight
Note: A pressure that is too heavy will cause the machine to run hard
and will leave the print of the feed on fine materials.
Learning Outcome 2
● Clean and lubricate machine
● Regular cleaning of machines is observed.

● Safety procedures in machine cleaning are followed.
● Regular maintenance schedules are observed and recorded.
Materials
- Sewing machine
- Damp cloth
- Machine oil
Care of Sewing Machine

How to Clean and Oil Your Sewing Machine
Cleaning and oiling your sewing machine is basic maintenance that bits of lint,
thread, dust and even fabric can get stuck in your machine. These make work harder
and can even jam your sewing machine. Cleaning your machine to fix these helps the
machine to last longer and perform more smoothly. If you sew regularly, problems and
use sewing machine oil to help the moving parts function smoothly. You should clean
and oil your machine after finishing any large project as well as any time you suspect it
is having a problem.
INSTRUCTIONS:
1. Prepare the needed tools and supplies in cleaning the sewing machine.
2. Remove the needle if there is any. This will prevent the cleaner from pricking
fingers during the cleaning process.
Face Plate (presser bar, needle bar, thread take up lever, lifter).
● Unscrew faceplate and keep it in the drawer while cleaning.
● Brush dust away then put a little amount of oil while rotating the balance wheel
to inner parts that can be accessed.
● Put back the Face Plate in place.
Cleaning and oiling your sewing machine is basic maintenance that can help the
machine to last longer and perform more smoothly. If you sew regularly, bits of lint,
thread, dust and even fabric can get stuck in your machine. These make work harder
and can even jam your sewing machine. Clean your machine to fix these problems and
use sewing machine oil to help the moving parts function smoothly. You should clean
and oil your machine after finishing any large project as well as any time you suspect it
is having a problem.
UPPER TENSION ( DISC SPRING AND DIAL )

● Remove the outer bolt , tension dial , discs and disc spring.
● Lay each part in your front table following its disassembling for easier
assembling.
● Brush dust and wipe with absorbent cloth with oil.
● Assemble by following the laid parts in your table.
LOWER MECHANISM ( ROTARY OSCILLATING HOOK )
● Remove the bobbin case.

● Fasten sides of oscillating hook.
● Remove dust with a lint brush.
● Put a little amount of machine oil on moving parts.
● Return spare parts in place.
OTHER MINOR PARTS
● Remove entangled threads between head and balance wheel.

● Brush accumulated dust in the treadle joints connecting the band wheel.
● Clean gummy dust on the band wheel.
● After all parts are dusted, lubricate all joints and oil slots with good quality
oil.
● Wipe off all surplus oil then put a piece of absorbent cloth under the
presser foot for dripping oil.
Note : When the machine has thoroughly cleaned and oiled, run it slowly for
several minutes to allow the oil to work on its moving parts. Place a scrap of fabric
under the presser foot and lower the needle to absorb excess oil.
OCCUPATIONAL HEALTH AND SAFETY PROCEDURE IN SEWING

MACHINE MAINTENANCE
Cleaning and lubricating a sewing machine is quite a messy task.
Personal care should be observed during this activity. The following health and
safety precautions should be practiced at the shop or at home.
1. Wear personal protective equipment. This prevents your clothing from

being tarnished by oil and dirt .Be sure to wear gloves to avoid accumulation of
oil and dirt in your nails and palms. ( Wearing of protective eye glasses is
optional ).
2. Remove the upper belt or turn power off before oiling the sewing machine.
3. When a chemical or small spare parts gets into your eyes, call the attention of
your teacher at once.
4. Do not remove any safety device from any machine.
5. Be sure that all screws are well-lightened before starting the machine.
6. Make sure that no screws or tools are left on the floor to avoid slipping
7. Wipe dry spilled oils on the floor to avoid accidents.
8. Assign colored tags for a newly maintained sewing machine
9. Provide a small bin for your garbage when performing this job.
10. Have a separate cabinet or storage for tools and supplies for sewing
machine maintenance.
11. Always refer to the sewing machine service manual for accurate
application of procedure.
Note: A sewing machine is an equipment that needs care and cleaning. Keep it
dusted and lubricated at least once a week or more often if the machine is in constant
use.
LESSON 05: PRACTICE OCCUPATIONAL SAFETY AND HEALTH
LEARNING OUTCOMES: At the end of this Lesson you are expected to do the
following:
LO 1. Identify and evaluate hazards and risks; and
LO 2. Control hazards and risks;
DEFINITION OF TERMS
Biological - bacteria, viruses, insects, plants, birds, animals, and humans, etc.
Chemical - depends on the physical, chemical and toxic properties of the chemical.
Environment – The circumstances or conditions that surround one
Ergonomic - repetitive movements, improper set up of workstation, etc.,
Exposure – the condition of being exposed, especially to severe weather or other
forces of nature
Health - The overall condition of an organism at a given time.
Industry – a specific branch of manufacture and trade.
Injury - Damage or harm done to or suffered by a person or thing
Harmful – Causing or capable of causing harm
Obligations – The act of binding oneself by a social, legal, or moral tie
Physical - radiation, magnetic fields, pressure extremes (high pressure or vacuum),
noise, etc,
Protective – giving or capable of giving protection
Psychosocial - stress, violence, etc.,
Responsibility – the ability or authority to act or decide on one's own, without
supervision
Safety – Freedom from danger or risk of injury
Textile - A cloth, especially one manufactured by weaving or knitting; a fabric.
Workplace - A place, such as an office or factory, where people are employed
Acronyms
PPE – Personal Protective Equipment
OSH – Occupational Safety and Healthy
RADHAZ - Radiation Hazard
HERP - Hazards of Electromagnetic Radiation to Personnel
HERO - Hazards of Electromagnetic Radiation to Ordnance
HERF - Hazards of Electromagnetic Radiation to Fuel
Learning Outcome 1
Identify and Evaluate Hazards And Risks
Workplace hazards and risks are identified and clearly explained
Materials
- Safety pins or needle

- Plastic knife - Cigarette toy
- Chemicals (ask the help of your guardian)
- Instructional manual of sewing machines
What is a hazard?
A hazard is any source of potential damage, harm or adverse health effects on
something or someone under certain conditions at work.
Basically, a hazard can cause harm or adverse effects (to individuals as health
effects or to organizations as property or equipment losses).
Sometimes a hazard is referred to as being the actual harm or the health effect it
caused rather than the hazard. For example, the disease tuberculosis (TB) might be
called a hazard by some but in general the TB-causing bacteria would be considered
the "hazard" or "hazardous biological agent".
What are examples of a Hazard?
Workplace hazards can come from a wide range of sources. General examples include
any substance, material, process, practice, etc that has the ability to cause harm or
adverse health effects to a person under certain conditions. See Table 1.
As shown in Table 1, workplace hazards also include practices or conditions that

release uncontrolled energy like:
● an object that could fall from a height (potential or gravitational energy),

● a run-away chemical reaction (chemical energy),
● the release of compressed gas or steam (pressure; high temperature),
● entanglement of hair or clothing in rotating equipment (kinetic energy), or
● contact with electrodes of a battery or capacitor (electrical energy).
What is Risk?
Risk is the chance or probability that a person will be harmed or experience an

adverse health effect if exposed to a hazard. It may also apply to situations with
property or equipment loss.
For example: The risk of developing cancer from smoking cigarettes could be
expressed as "cigarette smokers are 12 times (for example) more likely to die of lung
cancer than non-smokers". Another way of reporting risk is "a certain number ,"Y", of
smokers per 100,000 smokers will likely develop lung cancer" (depending on their age
and how many years they have been smoking). These risks are expressed as a
probability or likelihood of developing a disease or getting injured, whereas hazards
refer to the possible consequences (e.g., lung cancer, emphysema and heart disease
from cigarette smoking).
Factors that influence the degree of risk include:
● how much a person is exposed to a hazardous thing or condition,

● how the person is exposed (e.g., breathing in a vapor, skin contact), and
● how severe are the effects under the conditions of exposure.
What is a risk assessment?
Risk assessment is the process where you:
● identify hazards,
● analyze or evaluate the risk associated with that hazard, and
● determine appropriate ways to eliminate or control the hazard.
The OSH Answers Risk Assessment has details on how to conduct an assessment and
establish priorities.
What is an adverse health effect?
A general definition of adverse health effect is "any change in body function or

the structures of cells that can lead to disease or health problems".
Adverse health effects include:
● bodily injury,
● disease,
● change in the way the body functions, grows, or develops,
● effects on a developing fetus (teratogenic effects, fetotoxic effects),
● effects on children, grandchildren, etc. (inheritable genetic effects)
● decrease in lifespan,
● change in mental condition resulting from stress, traumatic experiences,
exposure to solvents, and so on, and
● effects on the ability to accommodate additional stress.
Will exposure to hazards in the workplace always cause injury, illness or other adverse
health effects?
Not necessarily. To answer this question, you need to know:
● what hazards are present,

● how a person is exposed (route of exposure, as well as how often and how much
exposure occurred),
● what kind of effect could result from the specific exposure a person experienced,
● the risk (or likelihood) that exposure to a hazardous thing or condition would
cause an injury, or disease or some incidence causing damage, and
● how severe would the damage, injury or harm (adverse health effect) be from the
exposure.
The effects can be acute, meaning that the injury or harm can occur or be felt as soon
as a person comes in contact with the hazardous agent (e.g., a splash of acid in a
person's eyes). Some responses may be chronic (delayed). For example, exposure to
poison ivy may cause red swelling on the skin two to six hours after contact with the
plant. On the other hand, longer delays are possible: mesothelioma, a kind of cancer in
the lining in the lung cavity, can develop over 20 years or more after exposure to
asbestos.
Once the hazard is removed or eliminated, the effects may be reversible or irreversible.
For example, a hazard may cause an injury that can heal completely (reversible) or
result in an untreatable disease (irreversible).
Types of Hazard
1. Chemical - A chemical hazard is any substance that can cause harm, primarily
to people. Chemicals of all kinds are stored in our homes and can result in
serious injuries if not properly handled. Household items such as bleach can
result in harmful chlorine gas or hydrochloric acid if carelessly used. Gasoline
fumes from containers for lawn mowers or boats can result in major health
hazards if inhaled.
2. Electrical - An electrical hazard can be defined as a dangerous condition where

a worker could make electrical contact with energized equipment or a conductor,
and from which the person may sustain an injury from shock; and/or, there is
potential for the worker to receive an arc flash burn, thermal burn, or blast injury.
Working near an electrical hazard is dangerous and can be fatal. Any work on or
near energized equipment must be done only when measures are in place to
provide protection from electric shock and burn. With adequate safety measures
in place, every electrical injury and fatality can be prevented. An electric hazard
is considered to be removed when protective measures are put in place at the
source (remove hazard or de-energize), or along the path (place electrical
insulation/barrier between the worker and the electrical hazard). Where PPE is
relied upon for worker protection, an electrical hazard is considered to remain
and it is still necessary to address safety requirements for other workers in the
area.
3. Ergonomic - Ergonomic hazards impact employers and workers and their

families. Poor workplace design, awkward body mechanics or postures, repetitive
movements, and other ergonomic hazards induce or contribute to a staggering
number of cumulative trauma disorders. 2. Cumulative trauma disorders (CTD)
affect hands, wrists, elbows, arms, shoulders, the lower back, and the cervical
spine area. Structures involved include tendons, muscles, bones, nerves, and
blood vessels. One can plan strategies for abatement by learning to recognize
the hazards that contribute to CTD. 3. OSHA has published the Ergonomic
Program Management Guidelines. OSHA has also given Advance Notice of
Proposed Rulemaking for an Ergonomic Standard that will affect all industries. 4.
A company wide ergonomic assessment should be developed, followed by a well
written ergonomic plan. Ergonomic abatement will decrease the costs associated
with CTD and ultimately impact the corporate "bottom line."
4. Psychological - The psychosocial hazard has recently been acknowledged in

legislation as a workplace hazard. This type of hazard relates to mental health
and behavioral disorders.
5. Radiation - Radiation Hazard (RADHAZ) describes the hazards of

electromagnetic radiation to fuels, electronic hardware, ordinance, and
personnel. In the military these hazards are segregated as follows:
1) Hazards of Electromagnetic Radiation to Personnel (HERP)
2) Hazards of Electromagnetic Radiation to Ordnance (HERO)
3) Hazards of Electromagnetic Radiation to Fuel (HERF)
6. Biological - A biological hazard, or biohazard, is anything coming from living

organisms (i.e. pollen, fungi, animals, insects, bacteria and viruses) that could be
a threat to someone's health. It is represented by ☣, the biohazard symbol,
which is used everywhere in the world. When people see this sign they know to
take precautions, and to follow proper conduct for science labs.
7. Physical - Physical hazards are those substances which threaten your physical
safety. The most common types of physical hazards are:
● Fire
● Explosion
● Chemical Reactivity
Hazards may be encountered when using the sewing machine include :
● Cuts and injuries from sharp edges , knife blades, scissors and pins -
● Finger injuries while sewing
● Back injury from poor posture and improper lifting procedures -
● Eye strain from poor lighting
Safe operating procedure in using the sewing machine
1. Do not use a machine unless you have instruction and training in its safe use
and operation.
2. Teacher permission must be given to operate the sewing machine .
3. Read and understood the instruction sheet, completed the safety test with 100
%score ,and demonstrated competence and safe use.
Pre- operational Safety
1. Always check that the sewing machine and its cord are in good working order.
2. Check all adjustments and settings carefully before commencing any sewing
operation.
3. The workplace should be clean and free of equipment ,rubbish and other
obstacles.
Operating Safety Precautions
● Make sure all other students keep away from the workplace at all times.
● One person only has to operate a sewing machine at any time .
● Do not touch a sewing machine while another person is sewing.
● Do not wear loose clothing ,especially long sleeves and neck ties.
● Turn the power off when making adjustments to the sewing machine such as
changing the presser foot and needle .
● Never race the sewing machine at high speed .
● Take care not to machine over pins .
● Make sure the take- up lever is in the upper position before pulling out the fabric
and cutting threads.
● It is important to keep the machine as free of lint as possible .
● Do not push or pull the fabric while sewing. Let the machine do the work –your
hands should guide the fabric without forcing it.
Learning Outcome 2
● Control Hazards And Risks
● Occupational Health and Safety (OHS) procedures for controlling hazards and
risk are strictly followed.
Materials
- Sample of hazardous materials (ask your teacher)

ORGANIZATIONAL SAFETY AND HEALTH AND PROTOCOL
Will exposure to hazards in the workplace always cause injury, illness or

other adverse health effects?
Not necessarily. To answer this question, you need to know:
● what hazards are present, how a person is exposed (route of exposure, as well
as
● how often and how much exposure occurred),
● what kind of effect could result from the specific exposure a person experienced,
● the risk (or likelihood) that exposure to a hazardous thing or condition would
cause an injury, or disease or some incidence causing damage, and
● how severe would the damage, injury or harm (adverse health effects) be from
the exposure.
The effects can be acute, meaning that the injury or harm can occur or be felt as soon
as a person comes in contact with the hazardous agent (e.g., a splash of acid in a
person's eyes). Some responses may be chronic (delayed). For example, exposure to
poison ivy may cause red swelling on the skin two to six hours after contact with the
plant. On the other hand, longer delays are possible: mesothelioma, a kind of cancer in
the lining of the lung cavity, can develop over 20 years or more after exposure to
asbestos. Once the hazard is removed or eliminated, the effects may be reversible or
irreversible. For example, a hazard may cause an injury that can heal completely
(reversible) or result in an untreatable disease (irreversible).
Hazards and risks in the textiles sector
The textiles sector contains many hazards and risks to workers, ranging from exposure
to noise and dangerous substances, to manual handling and working with dangerous
machinery. Each processing stage — from the production of materials to the
manufacturing, finishing, coloring and Occupational safety and health in the textiles
sector packaging —poses risks for workers, and some of these are particularly
dangerous for women‘s health.
Exposure to chemical agents
Many different groups of chemical substances are used in the textiles sector, including
dyes, solvents, optical brighteners, crease-resistance agents, flame retardants, heavy
metals, pesticides, and antimicrobial agents. They are used in dyeing, printing, finishing,
bleaching, washing, dry cleaning, weaving, slashing/sizing, and spinning. Respiratory
and skin sensitizers can be found in the textiles industry, for example textiles fibers,
reactive dyes, synthetic fibers, and formaldehyde. The textile industry has been
evaluated as a sector with an increased carcinogenic risk. Several studies have shown
an increased risk of nasal, laryngeal and bladder cancer in women.
Exposure to dusts and fibers
The exposure of workers to dust from material such as silk, cotton, wool, flax,
hemp, sisal, and jute can occur during weaving, spinning, cutting, ginning, and
packaging. Division of tasks along gender lines may mean that women are exposed to
organic dust more than men, with respiratory diseases being diagnosed more often in
women than men.
Exposure to fibers and yarns may cause nasal or bladder cancer .
Exposure to biological agents In some activities, such as carding and willowing,

workers may be exposed to biological agents such as anthrax, clostridium tetanus (the
causative agent for tetanus), and coxiella burnetti (which causes Q fever). Exposure to
biological agents can result in allergies and respiratory disorders.
Exposure to physical agents
Workers may be exposed to noise and vibrations, for example during weaving, spinning,
sewing, twisting, and cutting. Exposure to loud noise can result in permanent hearing
damage such as noise-induced hearing loss and tinnitus. Exposure to vibration,
particularly together with risk factors for MSDs, can lead to long-term harm.
Electromagnetic fields may also be found in some workplaces in the textiles sector.
Accidents in the textiles sector. The textiles sector has many hazards that can cause
injury to workers, from transport in the workplace (lift truck), dangerous large work
equipment and plant, to the risk of slips from a wet working environment. Workers being
struck by objects, such as moving machinery parts and vehicles are a significant cause
of injury in the sector. There also exists the risks of fire and explosions, for example
from heating plants used for vapor generation.
Psychosocial issues in the textiles sector. Work-related stress has been defined as
being experienced when the demands of the work environment exceed the workers‘
ability to cope with or control them. Work-related stress may be an issue in some areas
of the textiles sector, being associated for example with repetitive and fast paced work,
and where the worker has no influence on how the job is done.
Hazard Management
One of the most important duties required by OHS law of all workers, including
volunteers, is to keep the workplace as safe as possible. A good way to do this is to use
the 4 ‗SAFE‘ steps:
S - Spot the hazard

A - Assess the hazard
F - Fix the hazard
E - Evaluate the result
CONTINGENCY MEASURES AND PROCEDURES
Safety in the Sewing Room
Note: This is an excellent article on sewing room and craft room safety with some
wonderful ideas for safe storage along with guidelines on how to use common tools and
items found in your sewing and craft room.
Sewing involves lots of opportunities for injury. Some of these are obvious, but some
are less so. Sewers can injure their bodies in almost imperceptible ways.
The most obvious injuries are those caused by sharp implements, such as needles and
cutting tools. In addition to puncture wounds, sewers are at risk for slicing wounds (from
scissors and rotary cutters) and burns (from irons). Taking basic precautions will reduce
the risk of injury in the sewing room.
How to Avoid Injury Using a Sewing Machine
Sewing machines make quick work out of piles of mending, but many people
take for granted that a sewing machine is a potentially harmful instrument! Each year
people accidentally harm themselves at home or at work while sewing on a machine.
Here are a few guidelines to minimize your chance of injury.
1. Examine the sewing machine to make sure that it is fully assembled and well
maintained. Depending on your model of sewing machine or serger, the
manufacturer has guards on various parts of the machine. Make sure that these
guards are fully in place before using the machine.
2. Evaluate the ergonomics of your workspace. Is your chair ergonomically correct
in terms of height, tilt, back support, etc.? Do you need a footrest? Does your
chair or stool adjust? Proper furniture can go a long way in combating repetitive
stress disorders such as carpal tunnel syndrome.
3. Clear your surroundings of clutter and debris. Besides the psychological stress of
a cluttered workspace, sewing machines can overheat. Extra flammable
materials in your work area increase the danger. Also, extra threads, scraps, etc.,
can become lodged in moving parts, causing jams or unpredictable operation.
4. Turn on a light. Eyestrain is a common injury for anyone performing the fine detail
work of sewing. Good lighting also helps reduce the chance of unwanted material
being drawn into the machine.
5. Follow the instructions! Take some time to familiarize yourself with the sewing
machine, as well as the manufacturer's recommended best practices.
6. Wear protective eyewear. You could accidentally sew over a pin or break a
needle. Why take the chance of an eye injury?
7. Learn how to sew correctly. Improper habits such as sewing over the same area
repeatedly can lead to needle breakage or trip other hazards.
8. Avoid using fingers to feed fabric into the machine. Develop healthy habits of
keeping fingers away from the feeder, as well as using chopsticks to hold fabric
up close.
Employer OHS obligations
Employers and management have responsibilities to:
● provide a safe environment to work in, for example, safe equipment , Materials
and safe ways to work
● provide information, instruction, training and supervision to employees as
needed to ensure they can work as safely as possible
● identify unsafe situations before problems arise, and take corrective action to
make them as safe as possible
● take action to investigate any accidents, and to prevent them from happening
again
● ensure that the work done does not cause harm to any person
Your OHS obligations
Employees have duties that support the employer, and provide responsibility for things
they have control over.
Employees have responsibility to:
● obey all reasonable safety instructions

● take reasonable care of their own health and safety, and for the safety of others
in the workplace
● report any dangerous situation
● work with the employer to improve safety at the workplace.
Safety Groups
Most workplaces have people or groups of people with specific roles relating to
Workplace Health and Safety. For example there may be:
● Health and safety representatives

● Supervisors
● Safety Officers
● Health and Safety Committees
1. Health and safety representatives

Health and safety representatives are the important links between
employees and employers. Health and safety representatives are people
elected by co-workers to act on their behalf, telling employers about
safety and health concerns and cooperating with employers to implement
and maintain workplace health and safety.
2. Supervisors
Supervisors need to make sure that the people they are looking
after are given the safety instructions they need, and are able to perform
their jobs safely. Portfolio record - OHS organizations If you are planning
to apply for RCC you need the information gained from the learning
activities you undertake. Wherever you see this icon there will be an
action needed in the Work Record Portfolio. Complete OHS organizations
in the Work Record Portfolio.
3. Safety Officers
Safety officers are trained people who are hired by the employer to help
with the management of health and safety at the workplace. Some of the
tasks Safety Officers may do are:
● organize OHS trainings
● investigate accidents
● provide first aid
● do risk assessments at the workplace.
4. Health and Safety Committees

Health and safety committees bring together workers, managers and
representatives of other important groups to help improve safety at the
workplace. Health and Safety Committees can assist with health and
safety planning, and in the development of safety plans, procedures and
documentation. They can also serve as a good place for discussion, and
can recommend solutions to more complex OHS problems. Safety
committees can be formed at the request of the employees at the
workplace, or an employer can organize to help form one.
What are the legal requirements for personal protective equipment (PPE)?
PPE should be provided to workers wherever there are health (or safety) risks
that cannot be adequately controlled in other ways. PPE can reduce or prevent a
worker's exposure to a health hazard in the workplace and can include
respirators, hearing protectors, protective clothing, footwear ,face and eye shields.
PPE is also required in specific situations and dealt with in regulations
made under OHSA.
How can the risks posed by health hazards be controlled?

The best methods of controlling exposure to a particular hazard will
depend on what it is. In general, methods of control can be placed in four categories:
Engineering controls are methods of designing or modifying plants, processes

and equipment so as to minimize workers' exposure to the hazard. They are
preferred because they work independently of workers.
● Work and hygiene practices are on-the-job activities that reduce the potential for
exposure.
● Administrative controls are things like job rotation schedules, work-rest cycles
and timing of maintenance procedures, which can be used to limit the amount of
time an individual is exposed to a hazard.
● Personal protective equipment includes items like respirators, hearing protectors,
safety clothing and protective clothing. It can reduce a worker's exposure but
must be used properly to be effective.
Employers
Employers have the duty to provide appropriate protective wear. There are
some exceptions, for instance some soft-toe protective footwear and prescription
safety glasses, which the employee may be expected to provide. The employer must
ensure that the PPE is clean and fit for purpose. She must ensure that it is replaced if it
is worn or damaged. If the employee needs to be trained to use it, she must ensure that
he is given this training.
Employee
The employee has a duty to wear PPE correctly when she is required to do so.
She should report any damage to it, though she should not have to pay for this. She
should also attend any training provided on how to correctly wear or use PPE.
CONTINGENCY PLAN
A contingency plan is a plan devised for an exceptional risk that, though
unlikely, would have catastrophic consequences. Contingency plans are often
devised by governments or businesses. For example, suppose many employees of
a company are traveling together on an aircraft which crashes, killing all aboard. The
company could be severely strained or even ruined by such a loss. Accordingly, many
companies have procedures to follow in the event of such a disaster. The plan may also
include standing policies to mitigate a disaster's potential impact, such as requiring
employees to travel separately or limiting the number of employees on any one
aircraft.
LESSON 06: PRODUCTION OF SLEEPING GARMENT PT. 1
LEARNING OUTCOME 1: Draft and cut pattern for sleeping garments

1.1. Plan garment design
1.2. Take client’s body measurement
1.3. Draft basic/ block pattern
1.4. Manipulate Patterns
1.5. Cut final Pattern
Principles of Design
The principles of design are essential to the development and production of What's In,
What’s New, What is It of clothing used by individuals and families around the world.
Each principle has a specific role in creating an visually pleasing garment or
ensemble.The principles of design include:
● Balance implies that there is an equilibrium or

uniformity among the parts of a design. According to
this principle, from the center of the dress, design
should be identified on both sides and may be
achieved by:
● Symmetrically or the formal balance - is described as

having equal " weight" on equal sides of a centrally placed
like a see saw .
● Asymmetrically or the informal balance – refers to the structure decoration

and accessories are different both sides from the center of the design.
● Proportion refers to the pleasing relationship of all parts of the object with one
another.
● Emphasis means that the part of the dress is the emphasis on the center of
interest.
● Harmony means a relationship of different portions of a design.Harmony Should
be achieved through judicious use of color, shape, andtexture to give a feeling of
oneness.
● Rhythm refers to the smooth movement repeated again and again. It is created
by repeated use of the design that the eye would move easily from one part to
the other.
Rhythm can be created in three ways in a design:
❖ Repetition of lines, colors, or accessories. Parallel lines are formed by the
use of seams, buttons, embroidery, lace, etc. which helps uninterrupted
eye movement.
❖ Radiation Rhythm can also be created by the radiated lines. These Lines
are created by gathers Eyes can move easily from one part to the other on
the small lines created by gathers.
❖ Gradation Rhythm can be created by gradual change of lines, shape &
shade of the color.
Elements of Design
● Line creates a visual dimension of length and width. When lines meet, space is
enclosed and a shape is defined. Lines direct the eyes to a certain path of vision,
or it can draw the eyes away from an undesirable area of the body. It defines a
shape or silhouette and conveys a mood of character.
● Color is a radiant energy loosely termed light that produces sensation in our
eyes. The color of the dress easily attracts the client’s attention and becomes her
basis in choosing her apparel. It is the most powerful element.
Types of Fabric
Kinds of Fabric Uses ( Home or apparel ) Characteristics Care
Vegetable Fibers
A. Cotton Good for items that need to be The world's most Special for durable press
washed often like sheets and popular fabric. It is Maybe machine
pillows, school clothes, and work cool to wear and easy laundered Avoid risk of
clothes. to wash and sew. It is mildew
versatile, durable and
comfortable.
Inexpensive but
shrinks and wrinkles
easily.
Kinds of Cotton Fabrics
1. Canvas Used for crafts, home decorating Tightly woven heavy

(curtains cushions and outdoor duty cotton
gear)
2. Cotton For elegant garments (blouses, A finely woven

Batiste baby dresses, and underlinings) lightweight cotton Use
straight stitch/ jeans
presser foot and 60/8
or 70/10 machine
needle
3. Broadcloth Perfect for shirts. Fantastic, closely

woven cotton that has
slight rib
4. Cotton For home decorations (curtains Needs special fabric

Chintz and cushions) 100 percent treatment that leaves
cotton. it shiny and smooth
22 5.
5. Cotton The most common fabric used in Medium weight cotton
Pique the tie and waistcoat of white tie fabric that has raised
nubby surface
6. Cotton Voile Pajamas and boxers. Lightweight 100-

percent cotton that
makes fantastic
menswear shirts
7. Cotton Cotton voile Mostly used in soft Crisp lightweight

Shirting furnishing such as curtains, cotton used for
mosquito nets, and also in garments.
dressmaking.
8. Denim Great for work clothes, jeans .One of the most

and jackets heavy-duty cottons
9. Seer sucker Used to make clothing for spring This falls into the
and summer wear category of cotton
crinkles which have
surface texture.
10. Terrycloth Used for robes, towels, Thick, absorbent
beachwear and home cotton
decorating.
B. Linen Women’s and children’s dresses Very strong, cool to Iron at high temperature.
and blouses Summer dress wear, and usually Avoid pressing in sharp
Table linens and other more expensive than creases.
cotton. Easily
wrinkled unless a
special finish is
applied.
Animal Fibers
1. China Silk Used almost exclusively for A very lightweight silk

lining
2. Brocade Luxurious fabrics made into Textured silk with

clothing or wall hangings, some stiffness
3. Chiffon Can be used in all sorts of .This is the fabric that

garments Lightweight, very goes with the flow.
drapery silk
4. Charmeuse Works well as a 1940s redux A slinky, satiny,
dressing gown, dresses and supple silk
blouses
5. Crepe de For making a full range of A light to medium

chine garments weight silk and comes
in two-ply, three- ply,
and fourply (the
heaviest) weights.
6. Dupioni For making Capri pants or a A stiffer and crisper

fancy room divider silk that has telltale
slubs and raised yarn
on the fabric; easy
to-sew silk that adds
a lot of fashion flair
7. Georgette Used for blouses, dresses, Lightweight silk and

evening gowns, and trimmings barely visible
8. Raw silk woven into textiles Rough-looking silk

with a dull finish made
from short silk
filaments discarded
as waste but easy to
sew and has a
distinctive look
9. Washed silk A great travel fabric The washing process
makes this silk
creamy and soft.
10. Shantung For special occasion uses Especially crisp and

shiny silk
11. Tafeta for special occasion clothing A crisp silk that

wrinkles and swishes
upon movement
Wool - made from Perfect for tailoring blankets Outerwear Dry cleaning is preferred; will
the sleets of sheep and upholstery Medium-weight shrink and felt in presence of
clothing Springs moisture and heat and can be
back into shape attacked by insects
Requires little
pressing; with great
versatility in fabric
and with insulating
capacity
Kinds of Wool Fabric
1. Boiled For blankets and jackets Made in similar

fashion as felt, but
much richer and
more supple.
There’s no need to
finish the seam
edges.
2. Boucle Perfect for soft shaping in Has a distinctive
coats and jackets sweater-like nubby
surface created
with little loops
3. Challis Perfect for all types of Medium to

garments lightweight, it is
hand washable and
doesn’t wrinkle
much
4. Crepe. for scarves, shawls, and Can be composed

bonnet trimmings of wool, silk, cotton,
Perfect for Making shirts or synthetic. It
varies in quality and
it is expensive. It is
a beautiful fabric
that drapes well
and is extremely
wearable.
5. Gabardine Works well on tailored and A twill-weave

constructed garments fabric, hand
washable and do
not wrinkle
6. Melton Used for coats Thick and bulky
wool with a soft
napped surface but
too thick to handle
7. Merino widely used in the textile A very fine,

industries expensive,
closely-woven wool
made from Merino
sheep’s coats.
8. Worsted Used for tailoring jackets, Lustrous wool in a

skirts and pants. variety of weights
Types of Sleeping Garments
Types of Sleeping Garments Suggested Fabrics
Adult Jumpsuit or footed Pajamas Usually made of cotton and marketed under a
number of different brand names.
All-in-one footed sleep suits worn by adults but
similar to an infant one size or children's blanket
sleeper
Blanket Sleeper A warm sleeping garment for infants and young
children.
Usually made of cotton and marketed under a

number of different brand names.
Baby Doll The garment is often trimmed with lace, ruffles,

appliques, marabou fur, bows, and ribbons;
optionally with spaghetti straps.
Sometimes it is made of sheer or translucent fabric
like nylon or chiffon or silk. A short, sometimes
sleeveless, loose-fitting nightgown or negligee for
women, generally designed to resemble a young
girl's nightgown
Chemise Skimpy chemises pieced from a narrow piece of

rough cloth, some have voluminous chemises
pieced from thin, smooth fine linen. It is a delicate,
usually provocative, loose-fitting, sleeveless,
shirt-like lingerie, similar to a baby doll, but tighter at
the hips.
Negligee or négligée Usually made of sheer or semi-translucent fabrics

and trimmed with lace or other fine material, and
bows
From the French: négligée, literally meaning
"neglected", loose, sensuous nightwear for women
Nightgown Typically made from cotton, silk, satin or nylon. A

loose hanging nightwear for women
Nightshirt Usually made of cotton fabric A garment somewhat
longer than most regular shirts, reaching down to
the thighs or below the knees while leaving some of
the legs uncovered. It is generally loosefitting to
avoid restricting the wearer's movement while
sleeping.
Nightcap Ideally made from cotton fabrics A warm cloth cap

worn while sleeping, often with pajamas or a
nightgown. It is similar to winter 'beanies' worn in
cold climates. They were common in northern
Europe before central heating was available.
Women's night caps usually consist of a long piece
of cloth wrapped around the head. Men's nightcaps
were traditionally pointed with a long top and
usually accompanied by a small ball similar to a
scarf. They keep the neck warm as wrapped around
but not so tight to become a choking hazard.
Pajamas They may be made from cotton, silk, satin or

synthetic materials made of soft fabric, such as
flannel;[6]
Loose fitting two-piece garments for women, men
and children. Traditional pajamas consist of
jacket-and trousers. The jacket element usually has
a placket front and its sleeves have no cuffs. For a
number of reasons (increased freedom of
movement, aesthetic appeal, etc.), many men opt to
sleep or lounge bare chested in just the pajama
trousers.
Dressing gown or bathrobe. Made of chiffon, silk or cotton fabrics

A long outer garment for women is usually sheer.
They are usually sold with a matching nightgown,
negligee or panties
Characteristics of a Sleeping Garment

○ They Should not Exceed the Maximum dimensions specified for the
regulations of the chest, waist,seat, thigh, upper arm, wrist or ankle;
○ They should have no fabric ornament or trim, such as lace or ribbon,
which extends more than ¼ inch from the point at which it is attached to
the garment;
○ They should have sleeves that taper from the shoulders to the ends of the
sleeves;
○ They should have pant legs that taper from the thighs to the ends of the
legs;
○ If they are 1-piece, they should taper from the chest down to the waist and
from the seat up to the waist;
○ If they are 2-piece,
■ The upper piece should tapers from the chest down to the bottom
of the piece,
■ If the upper piece has fastenings it should be located within 6
inches of the bottom of the piece.
■ It has a lower piece that tapers from the seat to the bottom
○ They should bear a permanent label stating the size of garment;
○ They should bear a hang tag alerting buyers that the garments are not
flame resistant and should be worn snug fitting because loose fitting
garments are more likely to catch fire
Project Plan of Sleeping Garment

○ Construction of sleeping garments is just like cooking a recipe for a party
that requires careful planning. In every task or project you have, it should
be accompanied with a project plan. This serves as a guide in making any
kind of project. It contains the materials and tools to be used, design and
procedure in making the project and the criteria for evaluating the finish
output coupled with rubrics designed by the teacher and students.
Components of a Project Plan

1. Project Plan No. – reflects the number of projects
2. Date Begun – date when the construction of the project will starts
3. Date Finished – the exact date when the project will be completed
4. Name of the Project – a specific description of the job/ project.
5. Objectives - states the purpose why a project should be done. This is usually
stated in three learning domains: the cognitive, psychomotor and affective.
6. Word Study – unlocks the terms used operationally and conceptually
7. Tools and Equipment – list of tools and equipment in the accomplishment of the
job
8. Materials and Supplies Needed – the itemized list of tools and supplies needed
to produce a project.
a. Quantity suggests the amount needed.
b. Unit is the unit of measure of the quantity.
c. Description refers to the features and characteristics of the materials and
supply needed.
d. Unit Cost is the selling price per quantity and unit of the materials
e. Total Cost is the total amount needed per quantity of supply and material
needed.
f. Total is the over-all total cost of all the supplies and materials to be used.
9. Design Specifications – the photographic representation of the project in two to
five views: front, back, right, left and top views.
10. Procedure – the chronological steps or operations involved to accomplish the
project. This is divided into two stages:
a. Preparation stage – depicts the preparation to be done before the actual
execution or performance of the operations.
b. Performance stage – the actual procedures involved in the actual making
of the project where all tools, supplies, materials and equipment intended
to make the project are ready.
11. Evaluation – the process of assessing the finished project with its given criteria
prepared during planning and evaluating.
Tools, Materials and equipment needed
TOOLS
● Tape Measure L-Square ● Weights
● Curve Rule ● French Curve ● Dressmaker Shears
● Pins ● Tracing Wheel ● Pencil
MATERIALS
● Pattern Paper ● Tailors Chalk ● Carbon Paper

● Thread ● Cloth ● Interfacing Materials
● Fasteners
EQUIPMENTS
● Ironing Board ● Cutting Table ● Sewing Machine
Measurements needed in sewing sleeping Garment

○ Shoulder Width - Measure from the tip of the left shoulder to the tip of
right shoulder with the tape measure passing over the prominent bone
○ Back Across Width- Measure from the left shoulder arm joint to the
opposite sic approximately 4 to 5 inches down from the tip of the shoulder
○ Back Figure Length- Measure from the nape to the waistline on the cord.
Allow the tape measure to hang freely
○ Chest Width - Measure from the left (front) armhole seam to the right
(front) armhole
○ Bust Circumference - Measure around the fullest portion of the bust with
the tape measure passing over the shoulder blades running on the same
level in front
○ Waist Circumference -Measure around the smallest portion of the torso.
Measure from the shoulder neck junction with the tape measure
○ Front Figure Length - passing over the highest part of the bust down to
the waistline.
○ Bust Height - Measure from the shoulder neck junction to the highest
point of the bust Measure around the base of the arm with the tape
measure
○ Armhole Circumference closes at the tip of the shoulder
○ Sleeve Length - Measure from the tip of the shoulder to the desired
length of the sleeve.
○ Arm Circumference This measurement is taken around the arm where
the sleeve length falls.
○ ( 1st Hip )Hip1 Circumference - This measurement is taken 5 inches
below the waistline measured around the hip level. This measurement is
taken 7 to 8 inches below the
○ (2nd Hip ) Hip2 Circumference waistline - Measure around the fullest
part of the buttocks with the tape measure closest at the side
○ Thigh Circumference • Measure around the fullest part of the thigh with
the tape measure closest at the side.
○ Bust Distance - Measure from the highest point of the bust to the
opposite side.
○ Crotch/seat/rise - This measurement is taken in two ways. For male
customers insert a ruler on the rise and measure from the waistline to the
upper edge of the ruler.For female customer allow her to sit on a flat chair,
and measure at the side from the waistline to the surface of the chail
○ Skirt's Length Measure from the waistline to the desired length
○ Full Length - Measure from the waistline down to the desired length of
the shorts pants.
Procedures in drafting basic/block pattern for sleeping garments
○ Front Blouse Garment
Draw a construction line by tracing the outer

edge of the L-square and mark the corner A.
● A-B is 3 inches downward on the

construction line
● A –C is 6 inches downward on the

construction.
● A –D is ½ of the armhole
circumference.
●
● A–E is the bust height.

● A-F is the front figure length.
● Square out points B, C, D, E & F
● A-G is 2 ½ inches
● Shape front neckline from point G to B

with a French curve
● A-H is ½ of the shoulder

measurement
● C-J is ½ of the chest width of ½
shoulder measurement minus ¾ inch.


● D-K is ¼ of the bust circumference plus

½ inch for allowance
● Shape the front armhole from points I,

J and Kwith a French curve.
● F-L is ¼ of the waist circumference plus

1 inch for the front dart and ½ inch for
the allowance
● Connect point L-K with a straight line.
● E-M is ½ of the bust distance
● Square down point M to line FL.
● Mark the intersection of points M and F

as N
● N–O is ½ inch towards point F

● N-P is ½ inch towards point L
● Connect points O and M with a straight

line
● Connect points P and M with a straight

line.
● L–Q is ½ inch upward on line L
● Connect point Q to point N with a slight

curve
● Cut front bodice patternalong line B –C-D-E-F-O-N-P-Q-K-J-I-G-B.

B. Back Blouse Garment
● Draw a construction line by tracing the

outer edge of theL-square. Mark the
corner A. Draw construction line by
tracing the outer edge of theL-square.
Mark the corner A.
● A-B is ½ inch downward on the

construction line.
● A-C is 5 inches downward on the

construction line.
● A-D is ½ of the armhole circumference
● A –E is the back figure length
Square out point B -C –D and E

● A –G is ½ of the shoulder width
● G-H is 1½ inches down
● Connect points F and H with a straight line
● C –I is ½ of the back across width
● D-J is ¼ of the bust circumference
● Shape the back armhole from points H-I-J

with a French curve.
● E-K is ¼ of the waist circumference plus
1 inch for the back dart
● Connect points J-K with straight line
● E-L is 7 inches upward on line AE. Square

out point L
● E-M is 3 ¼ inches on line EK square M

up
● Mark intersection of line LM as point N
● M –O is ½ inch towards point E

● M-P is ½ inch toward point K
● Connect pointsN toO and points N to P

with a straight line
● K-Q is ½ inch upward on line KJ
● Connect point Q to point M with a slight

curve
● Cutback bodice pattern along lines B-C-D-L-E-N-M-O-Q-J-I-H.
Pattern Symbols
○ Sewing will be easier if you know how to read patterns. Immediately
transfer symbols to the fabric after cutting, It's not fun to look for these
symbols after removing the pattern.
These guides help the sewer put together and sew the piece of garment
easily. Figure 1
● Straight Grain The selvage is the finished edge of fabric. It usually has a
different color or texture. Sometimes it has little holes.
Every woven fabric is made crosswise and lengthwise.

They are called the grain threads.
When the fabric yarn does not cross at exact right angles
, the cloth is off grain. But if the lengthwise and crosswise
yarns cross each other at right angle , the fabric is grain
- perfect.
● Pleat This symbol marks the beginning and ending of a pleat.

The arrow indicates which way to fold.In this example,
you would pleat from left to right.
● Notches These will help you match the pattern pieces. In sewing
garment pieces, the front and
Back notches should be aligned.These are the V-shaped
symbols or triangles along the cutting line.
● Dot They are used to mark important parts of the patterns

such as dart points or pocket placement .
● Slash Lengthen or shorten. This is the part of the pattern where

you can safely adjust the length. Avoid doing this before
or after the pattern shape could change
● Cutting These vary depending on the pattern company but

Lines they’re usually marked with a dark line or dotted line.
● Button Holes The mark is placed where the buttonhole is made. They
are indicated by a solid line having a short line at right
angles to one end.
● Buttons This is where to sew the buttons
● Stitching Lines Not all pattern pieces include stitching

line. If they are included then there is a broken line,
indicating the areas that will be stitched
together. These are the guides so you can see where the
line of stitching intersects and where you will not be
stitching. It is not recommended that you mark every
stitching line on to your garment. This would result in
excess handling of your fabric.
● Fold Line This line indicates that the edge of the

a pattern piece must be placed on a fold fabric. The edge
of the pattern piece is usually indicated as a broken line,
to remind you not to cut on that edge. If you cut this
edge, there is no seam allowance and trying to join these
will change the way the pattern fits, as well as how other
pieces will join to this piece
● Centerfold This indicates that the edge of the pattern must be

placed on the folded part of the fabric. This is when
cutting two sides of the garment parts as left and right or
back and front parts.
Manipulating basic/block pattern

In manipulating basic patterns, it is always based on the previous pattern such as
making blouses from bodices and skirts.
Steps in Manipulating Pattern

1. Determine the design needed in sleeping garments.
2. Prepare the basic patterns for the:
a. Blouse
b. Sleeve
c. Pockets
d. Pants
3. Determine parts, needs, subdivisions and extensions calls by the design.

4. Pin and trace basic patterns in a pattern paper.
5. Transfer points needed in design manipulation
a. Blouse
b. Sleeve
c. Pockets
d. Pants
6. Work on the design based on the project plan.
7. Provide seam and hem allowances.
8. Transfer seam and hem lines and other symbols needed.
Cutting the Final Pattern

Final patterns consist of all the necessary symbols, number of pieces per part
and garment design that will guide the fabric cutter and the sewer.
Final pattern is cut at the allowance provided for seams and design.
Techniques in cutting Final Pattern
Before cutting out , sort out all the pattern pieces that are required for the item you
are making. Check them to see if any have special cutting instructions. If there are no
more alterations to be made, just trim patterns to your size.
1. Identify which size to be used for different areas of your body. Use a
colored pen and trace the cutting lines.
2. Use a sharp pair of scissors in cutting the pattern. If you slip and make a
cut where you shouldn’t have, simply shape it back into place. The
important thing is that the shape is retained and that you can still read the
markings. Cut carefully along the cutting lines.
3. Check for the seam allowances. Notice the grain lines. The
word“directional” means moving with the grain. In cutting garment pieces
from fabric, look at the pattern piece. You will notice that by cutting from
wide to the narrow part of a piece, you cut with less pull on the grain of the
fabric. This is called directional cutting.
4. Use long, even strokes about 1 inch from the end of the blades of the
shears. If you close the blades with each stroke, the result cut edge will be
choppy and uneven.
5. As you come to the notches (diamond-shaped marks) on the cutting
line,cut them around away from the pattern.
6. Trim multi-size pattern pieces. Single-size pattern pieces do not need to
be cut to shape; just cut around them roughly if there is excess tissue
LEARNING OUTCOME 2 : Prepare and cut materials for sleeping garments
2.1 Prepare materials
2.2 Lay- out and pin patterns on fabrics
2.3 Cut fabric
Fabric care & Characteristics of fabrics
Type of Fabric Characteristics Care
Cotton The world's most popular fabric. It is Special for durable press Maybe
cool to wear and easy to wash and machine laundered Avoid risk of
sew. It is versatile, durable and mildew
comfortable. Inexpensive but shrinks
and wrinkles easily
Silk Strong and luxurious fabric with natural Dry cleaning is preferred. Maybe
luster; moderately resilient and resists hand washed in mild suds. Avoid
wrinkling More expensive than man over exposure to light. Can be
made (filament) silky yarns attacked by insects.
Wool Outerwear Medium-weight clothing Dry cleaning is preferred; it will

Springs back into shape Requires little shrink and feel in the presence of
pressing; with great versatility in fabric moisture and heat and can be
and with insulating capacity attacked by insects.
Man Made or Synthetic Fabrics
Type of Fabric Characteristics Care
Rayon Soft, cheap and comfortable fabric Hand washing to dry cleaning. Tends
absorbent; lacks resilience; wrinkles to shrink and stretch unless proper
easily. Not easy to sew as plain chemical finish is applied.
cottons.
Polyester Strong and durable synthetic fabric; Can be washable or dry clean.
dries quickly, with sharp pleat and Remove oily stains before washing.
crease retention. Needs little ironing or pressing. Use
steam iron in a warm setting.
Nylon It was first developed as a substitute Remove oily stains before washing.
for imported silk. With exceptional Washes easily; wash with care to
strength, excellent elasticity; retains maintain whiteness. Press at low
shape. Woven fabrics feel temperatures. Dry clean only.
uncomfortable in contact with skin.
Rubber Stretch and recovery rate is high Frequent washing in mild suds; avoid
Damaged by oils and light With constant overstretch at high
discoloration temperature
Spandex Stretch and recovery rate is high May be machine laundered with
Resists abrasion and body oils With warm water Dry on lowest heat,
discoloration shortest cycle.
Acrylic Resists wrinkling High bulking power Remove oily stains before washing.
Wool-like texture Very resistant to Washable or dry cleanable Medium
effects of sunlight iron temperature.
Marking tools
● Marking tools are used to transfer the pattern symbols onto the fabric. It is
essential to transfer these symbols for correct fitting and sewing. Below are some
tools used to transfer the pattern markings onto the fabric
1. Tracing wheel is available in a serrated or smoothedge. The serrated
edge is used to make a dotted line marking in most fabrics. The smooth
edge makes a solid line marking and is used for delicate fabrics such as
silk and chiffon
2. Dressmaker’s carbon/tracing paper is used to transfer the tracing
wheel’s line to the wrong side of the fabric. Select a color close to your
fabric which is visible enough to see.
3. Tailor’s chalk can be used to mark directly onto the fabric. It does not
need sharpening like a chalk pencil. Great for dark, heavy fabrics where a
traditional water soluble marking pen may not appear
4. Chalk pencil is filled with chalk at one end of the pencil and a brush at the
other end to remove chalk marks.
5. Liquid marking pens are used to mark tucks,darts, pleats and pockets.
One type disappears after about 48 hours. Another type washes off with
water
PRINCIPLES OF LAYING OUT PROPORTIONS
● PATTERN LAYOUT
Laying Pattern Pieces over the fabric in an economical way is called pattern
layout. This prevents wastage of fabric.
Principles of Pattern Layout:

● Some of the principles to be followed while laying patterns:
a. Press the fabric as well as the pattern pieces flat before laying the
pattern on the fabric.
b. Use a large table or any hard flat surface for accommodating the
work.
c. If an open layout is used, place the fabric right side up on the table.
For all other layouts fold the fabric right sides facing and wrong
sides out.
d. Deciding on the best way to fold your cloth will depend on the width
of the cloth, width of your pattern pieces, the type of cloth and
design of the garment (whether left and right haves are identical.
Whether many pieces have to be cut on fold the garment
e. (whether left and right halves are identical, whether many pieces
have to be cut on fold etc.)
The common methods of folding the cloth for laying out pattern pieces are the following.
● Lengthwise centerfold:
a. Here the fabric is folded down the middle parallel to the selvedge
so that the selvedges come together. This is the most frequently
used fold. The layout for a simple frock on this type of fold is
illustrated in the figure.
● Off center lengthwise fold:
a. This is used when narrow pieces have to be cut on a fold. To
ensure that the fold is parallel to the selvedge, mark points
measuring the required distance (width of the half pattern including
seam allowance) from the selvedges at regular intervals and fold
along the markings. The layout for a child's panty on this type of
layout is illustrated in the figure.
● Crosswise centerfold:
a. This is suitable for materials that are too narrow to accommodate
the width of pattern pieces when folded lengthwise.
● Off center crosswise fold:
a. When only a part of the material is required to cut pattern pieces
that are too wide for lengthwise fold layout, this type of fold is used.
● Combination fold:
a. Here lengthwise fold and crosswise fold are combined.
● Open layout:
a. In this type of layout, the fabric is not folded at all. This is used
especially for designs which regain right and left halves to be cut
separately.
Make a trial layout by keeping weights or two pins per pattern, to make sure
that cloth will be sufficient. Rules 6 to 9 must be borne in mind while making
the trial layout.
➢ Laying out pattern pieces
When positioning pattern pieces with straight arrows, keep the arrows parallel to
the selvage so that the fabric will be straightened when cut. Pieces with a straight
line and bent arrows should be cut double on the fabric. For a fabric with a nap,
the lay out must run in the same direction and so a pattern piece can be
reversed, placed printed side down, and cut on a single layer
Folded pieces of Fabric
Single Layer of Fabric
Layouts for Fabric with Nap or One-Way Design
Fabrics with a nap or one-way design

must be laid out in one direction.
Decide on the “top” of the fabric, and
follow this direction when placing the
pattern pieces, so the nap will run in
one direction. One-way designs are
arranged on the fabric according to
the pattern or the garment design.
Crosswise Fold
There are two reasons for a fabric to be folded crosswise
at the layout stage. Often, this type of fold is made to
accommodate the widest pattern pieces. Alternatively, it
may be needed to fit those pattern pieces with a complex
shape onto the fabric area.
Crosswise Fold with Nap
When a crosswise fold cutting layout is used with a fabric

that has a nap, it requires a special layout method. The
fabric is folded with wrong sides together, and cut into two
pieces along the folds. The top layer is then turned
around so that the nap runs in the same direction on both
layers of fabric.
Partial Fold
The fabric is folded part ways for this layout,
so that one section of the fabric forms a
double layer on a fold and the other forms a
single layer. If a pattern piece is to be cut
from a single layer, cut out only the piece
from the single fabric layer.
Pinning a Pattern on the Fabric

Before pinning the pattern pieces to fabric, fold the
fabric in half lengthwise with the right side together,
unless the cutting layout shows otherwise. Each pattern
piece has a straight grain line arrow or a bent arrow for an
edge placed on the fold. Straight grain line arrows must
be parallel to the selvage or fold. Pin the pieces to the
fabric
Check the distance from each grain line arrow end to the selvage has the same
measurement. Check also if the fold edge of the pattern pieces aligns with the fabric
fold, otherwise the piece will be smaller or larger than the correct size. Pin each of the
arrow ends to the fabric, and pin around the pattern pieces.
1. The fabric is laid out and folded according to the

pattern directions.
2. The selvage is lined up along the corner and
along the table’s edge (or T-square).
3. If not square, trim the CUT side (not selvage)
until both sides are square and lines are up to
the table’s edge.
4. Two sides of most tables could be used in a
pinch.
a. Line up one end of the ruler on a set of
straight parallel lines outside the
fabric.
b. Find the grain line on the pattern. In exhibit B the ruler’s edge is lined up on
the pattern grain line.
c. Adjust pattern if necessary. When both ends line up, pin in place starting
with a pin in the grain line.
➢ Transferring pattern marks and symbols onto the fabric

Transferring Pattern Marking and Symbols on the Fabric
Transferring pattern markings to the cloth must be done accurately so that the finished
garment will look peculiar. You are now familiar with the tools used in transferring
pattern markings. Now, remember these pointers for accurate markings on your fabric.
Kate’s words of wisdom: Never mark fabric with something that won’t come out in a
place where it can be seen!
Pointers to remember:
1. The pattern details should be marked on the wrong side of garment pieces.
2. The tracing paper and tracing wheel will make following markings easy. *.
3. Mark once along one line with the tracing wheel.
4. Protect the table with cardboard.
5. Avoid marks that can be seen outside
● Guidelines in cutting fabric

As Bailey and Draper stated in their book, Steps in Clothing Skills, our hands are very
important when we sew. “Teach” our hands to work for us. They are as important to
beautiful sewing as pianist’s hands are to beautiful music.
They emphasized that before cutting the garments, ask the teacher first to approve your
layout. Then study your layout and decide on the order in which to cut. Where should
you start? How should your fabric be placed on the work surface? Where should you
stand?
Here are some of the important reminders when cutting the final pattern.
1. Practice using the shears on a piece of cloth to have a smooth cutting line.
2. Cut along the pattern so that the other hand rests on the pattern.
3. Start cutting at an edge within your reach.
4. Do not let the blades of the shears slant toward the table.
5. Do not lift the fabric.
6. When you reach a notch, cut directly towards it. Close the points at the exact
stopping place.
7. Close the points of the shears to an exact stopping point only.
LESSON 07: PRODUCTION OF SLEEPING GARMENT PT. 2
LEARNING OUTCOME 3. Assemble sleeping garments parts

3.1 Prepare cut parts
3.2 Sew and assemble sleeping garments parts
Welcome to the next journey in producing sleeping garments. After you

completed the lay-outing and cutting the fabrics, now in this face you are going to
prepare cut parts for sewing and assembling your sleeping garments. This is intended
to furnish you with vital knowledge, skills and attitude, so you can stride to achieve the
given learning competencies on assembling garment parts that you will need in your
career as a dressmaker in the near future
Pre-assembling procedure
The quality of clothes that we are wearing is affected by the way they are
constructed. Understanding the construction process will help us choose quality clothes.
There are various standards on how they are being constructed either for ready-to-wear
or custom-sewn clothing
○ Sorting/Bundling Sorting or Bundling is the process of matching

patterns according to size and design. The sorter makes bundles of
patterns. This step requires much precision because making bundles of
mismatched patterns can create severe problems. On each bundle there
are specifications of the style, size and the marker is attached with
○ Sewing/Assembling- The sorted bundles of fabrics are now ready to be
stitched. Large garment manufacturers have their own sewing units but
some give the fabrics under contract to other contractors. Stitching
in-house is preferable because one can maintain quality control during the
processing. Else, if contractors are hired, keeping an eye on quality is
difficult unless the contactor is the one who precisely controls the process.
There are sewing stations for sewing different parts of the cut pieces. in
this workplace, there are many operators who perform a single operation.
One operator may make only straight seams, while another may make
sleeve insets. Yet another two operators can sew the waist seams, and
make buttonholes. Various industrial sewing machines, too, can make
different types of stitches. These machines have different configurations of
the frame. Some machines work sequentially and feed their finished step
directly into the next machine, while the gang machines have multiple
machines performing the same operation supervised by a single operator.
Pressing techniques
Have you already experienced ironing your clothes? Of course, you had! Here in
dressmaking, when you sew, you must also learn how to use the iron in a new way.
Have you heard the word "Press"? Right! Pressing and Ironing are two different uses of
electric iron. Pressing is lifting and placing the iron on the garment. Ironing is pushing
and using pressure to iron out the wrinkles of the garment. You must learn to press as
you sew. It is a good habit to press every detail in your garment while assembling it and
as you finish.
● Seam Imprints. To avoid seam imprints on the right side of the fabric, place a
strip of brown paper bag between the seam allowance and the garment before
pressing.
● Rub Out Scorch Marks. If you scorch wool fabric by using an iron that is too
hot, rub a nickel on the scorch mark and it will disappear. Be careful to use a
clean nickel on light colored fabrics
● Press as You Go. Always press the seams as you go. This will make sewing
easier and will improve the quality of hanging of your finished garment.
● Ironing vs.Pressing. Ironing is done by using a back and forth motion. Pressing
is done by using an up and down motion. Ironing can stretch the fabric out of
shape and can cause wrinkling and puckering on finished garments. Always
press
● Cool It. To keep freshly pressed fabrics and garments from getting wrinkled.
allow them to rest and cool down on the ironing board for a couple of minutes
before moving them. If you are in a hurry or just impatient, use a fan directed at
the ironing board to cool down the fabric and set the press
● Setting and Removing Creases. A solution of one-part water and one part
distilled white vinegar will remove an old crease and/or set a new one. Dampen
a press cloth with this mixture and press hard as the fabric allows. Press until
the press cloth is dry. The vinegar smell will dissipate as the fabric dries.
● Cleaning Your Iron. Irons get dirty and accumulate color from the fabric dye
Clean your iron periodically especially when sewing and pressing light colored
fabric. The best way to clean the soleplate of your iron is with a commercial hot
iron cleaner, sold at fabric and sewing supply stores. This product is very easy
to use.
● Seam Roll. A seam roll can be used to press areas that are hard to lay on a flat
surface, like a sleeve. They also provide a curved surface for pressing seams
without leaving imprints from the seam allowance If you do not have a seam roll,
roll up a newspaper or magazine and cover with a terry towel or insert in a wool
sock
● Clapper. Use a clapper to flatten seams after pressing. A clapper can reduce
bulk and make fabric lay flat. Steam presses the seam area. Press the clapper
over the area to seal in the heat and moisture. After about a minute, the fabric or
seam will lay perfectly flat.
Kinds of seams and seam finishes
Seams Finishes
A. Plain Seam
This is the most widely used seam which is pliable and
inconspicuous It is used on all types of fabrics except on very
transparent kinds and is suitable for firm fabrics that do not
ravel and will not be subjected to hard and frequent
laundering This is used for side seams, under arm seams ad
armhole seams. Place the two pieces of fabrics to be joined
together right sides facing Work a line of tacking stitches on
the seam " and machine
B. Lapped Seam
This seam is commonly used for
joining a gathered or unaltered section to a straight edge as
in a yoke. Take the part of which is to be laid on top and turn
its seam allowance to the wrong side. Place this piece on the
top of the second piece, right sides facing and matching the
fold to the seam line.Tack in position and machine close to
the folded edge
C. French Seam
This is a ridge seam and is used on transparent and light
weight fabrics, especially on baby clothes and delicate
blouses. It is a neat and durable finish as the raw edges are
completely enclosed. The two pieces of materials to be joined
are placed together with the wrong sides facing. Work a row
of stitching 1/8 inch. Press the seam and turn the work so
that the right sides are together. Crease the first row of
stitching so that it is directly on the edge Tack and stitch
along the seam line about 1/8 inch from the fold
D. Flat and fell Seam

This is a flat durable seam used on men's sports shirts, work
clothes and children's clothes and pajamas. Place the pieces
to be joined on the wrong sides facing and stitch on the seam
line. Press both seam allowances together in the same
direction and trim the under seam to 1/8 inch and the upper
one to 3/8 inch . Turn under the raw edge of the wide seam
allowance so as to make a smooth fold ¼ inch wide. Machine
stitches close to the folded edge on the right of the garment.
The right side of the seam will show two rows of stitching and
the wrong side will show only one row of stitching.
E. Bound Seam
This seam is formed by folding a separate binding strip over
one or more plies of material and seaming the strip with one
or more rows of stitches. They are frequently used as an
edge finish at necklines, hems and sleeve plackets.
F. Slot Seam
This is a variation of lapped seam and is often used down the
center front or center back of skirts, coats and dresses. This
gives a decorative effect when a different colored fabric is
used for the backing piece stitched in between the two pieces
of fabric, which are lapped on to it. Machine is based on the
seam line, leaving long threads at each end. Press open the
seam. Cut a 1 12 inch wide underlay of same or contrasting
fabric. Center it under seam and baste
Factors when selecting a seam and seam finishes

● Fabric
○ Is it tightly or loosely woven?
○ Is it a single knit or double knit?
○ Does the fabric travel, curl or roll?
○ What is the weight of the fabric: light, medium, or heavy?
○ Is it sheer?
● Use of garment
○ Is it sportswear or evening wear?
○ How often will it be worn?
● Care of garment
○ Will it be machine washed, hand -- washed, or dry cleaned?
● Location of Seam and Seam Finishes
○ Is it curved or straight?
○ Will it be exposed as in an unlined skirt?
○ Will it be enclosed as in a collar seam?
● Sewing Ability and Skill
○ Are you a novice or an experienced sewer?
● Equipment
○ Do you have only a straight - line stitching sewing machine?
○ Do you have a serger?
Preparing parts for sewing

In garment factories, the sorter sorts the patterns according to size and design and
makes bundles of them. This step requires much precision because making bundles of
mismatched patterns can create severe problems. On each bundle there are
specifications of the style, size, and the markér attached with it.
For beginners/learners in school the following steps may be adopted.
1. Put these in a bag
2. Fuse a piece of fabric large enough for all your interfaced pieces then cut.
3. Tie all the pieces together in a Check seam allowances in all garment parts.
4. Use 1/8" nips to mark your notches. Don't waste time cutting diamond shapes
Nips are more accurate and less likely to fray or weaken the seam
5. Check parts if cleanly cut.
6. Match cloth to the patterns and check number of pieces needed
7. Check and remove unnecessary pins
8. Check pattern marks if properly transferred to the garment parts
9. Collect all things you'll need to sew the sleeping garment: zippers, thread,
buttons, snaps, hook and eye, and garter bundle with the pattern and put in a
bag
Unit method of assembling sleeping garments
Method of Assembling Sleeping Garments

One method used today in sewing is the unit method of construction. It makes
sewing is easier because of the systematic procedure used in the construction.
The unit method of construction has the following advantages:
1. Each part of a garment is sewn completely before it is attached to the other parts.
2. Every piece that you are going to sew is not handled too much so that the cloth
does not become too wrinkled
3. The needed marks in constructing the blouse are carefully checked
4. The time consumed in sewing will be shorter
Parts of the Garments to be constructed
1. Back and front bodice

a. Join the shoulder seams using French seam
b. Over lock the raw edge of the armhole to prevent raveling
c. Join the side seams using French seam
2. Sleeves
a. Overlock raw edges of the armhole
b. Join the side seam using the French seam
c. Fold and machine sew 1/8 hem allowance
d. Fold on the hem line and press
e. Slip stitch the hem
f. Facings
g. Join the shoulder seam
h. Fold and machine sew 1/8 the raw edges.
i. Connect the facing to the neckline
j. Sew facing hem using slip stitch
3. Facings
a. Join the shoulder seam
b. Fold and machine sew 1/8 the raw edges.
c. Connect the facing to the neckline
d. Sew facing hem using slip stitch
h
4. Patch Pocket
a. Fold the upper part of the patch pocket.
b. Sew using plain stitch
c. Fold both sides and bottom then baste
LESSON 8: Produce Children’s Wear Pt.1
LEARNING OUTCOME 1: Draft and cut pattern for children’s dress

1.1 Plan garment design
1.2.Take client’s body measurement
1.4. Manipulate Pattern
DESIGNS OF CHILDREN’S WEAR

In choosing the designs for the children’s dress, there are special sewing hints that we
must always remember. Special sewing hints for children’s dress
1. For durability, substitute machine for hand stitches wherever it is practical and not
unsightly to do so baste down facings.
2. For extra strength, stitch areas of strain, such as armholes, twice.
3. For ease in handling really small garments, attach the sleeves before closing the
underarm seam.
4. For ease of care, choose fabric that is washable; also check the care requirements of
white or pastel colors. Although cottons and synthetic blends are usually the first
choices for children’s garments, washable wools are also suitable.
5. To please the child, pick bright colors and lively prints. Large designs can be
overwhelming. 6. For convenience, always provide a pocket or two. Children like places
to keep small possessions.
7. A good safety precaution is to have reflective tape strips to outer garments, especially
if they are dark in color.
8. To make handed-down garments different for the younger brother or sister, add a
special appliqué, pockets or monogram. Also consider changing the garment style;
could a dress with sleeves be made into a pinafore for the new owner?
Characteristics of a Well-fitted Children’s Wear Selection
When selecting clothing for young children, toddlers’ and preschoolers’ always consider
the physical characteristics and the comfort they give to the children.
A. Toddlers
1. Look for soft, unstructured styles that allow maximum freedom of movement,
such as one-piece garments that fall from the shoulder. These are also practical
because toddlers wear diapers and have not developed a waistline.
2. Leg openings with snaps on toddlers’ pants help make changing diapers easier.
3. For necklines, select collarless styles or flat collars, such as Peter pan and
convertible collars.
4. Avoid collars that may bind or restrict movement, such as a high button collar.
5. When toddlers are first learning to dress, pull-on garments with large neck and
armhole openings are the easiest to manipulate. Because the toddler is always
on the move.
6. Design features should be functional as well as decorative. For example,
shoulder straps should crisscross in the back to prevent them from sliding off
shoulders.
7. Shoulder tabs on shirts are another way to secure straps.
B. Preschoolers
1. Look for styles that allow preschoolers to move and jump about freely.
2. . Pockets are important features because preschoolers need places for the
treasures they collect.
3. Shoulder tabs on shirts are still valuable.
4. When selecting a garment with long sleeves, avoid buttoned cuffs that restrict
movement.
5. Jumpsuits are practical garments for preschoolers because they allow for
mobility and will maintain a neat appearance.
6. Preschoolers can also wear pants and skirts with elasticized waists because their
waistlines have become more defined.
SPECIAL FEATURES
a. Growth features - are important because children grow rapidly.
Children tend to grow faster in height than in width; therefore, the length of waist, arms,
and legs will change more quickly than the width of shoulders, chest, and hips. Select
clothing that allows for growth. Look for features such as one-piece garments without a
waistline; raglan, kimono, or sleeveless designs; adjustable shoulder straps; and
elasticized waistlines. Two-piece outfits and wrap styles will also allow room for growth.
● To promote self-dressing and prevent bathroom accidents, closures should be on

the front of garments so children can see the fasteners and manipulate them
easily.
● Select or adapt closures that are easy for young children to manipulate.
● Zippers can be easy for a child to operate if a charm or string is added to the pull
tab.
● Buttons that are large or have a shank are easier to grasp. Many types of
decorative buttons are available to add interest to children’s clothing. Avoid
buttons with irregular edges as these are more difficult than smooth, round
buttons to manipulate.
● Hook and loop fastener tape is easy to manipulate and can be used in place of
buttons or snaps. It is available by the centimeter or inch, in pre-cut shapes, and
in a variety of colors.
● Gripper snaps are easier to manipulate than regular snaps. Safety features
should also be considered when selecting clothing for children.
● Avoid styles with long, flowing skirts; tie belts; drawstrings; or very full sleeves
that may cause children to trip or get tangled.
Types of Fabrics Suited for Children’s Dress

Children’s safety and comfort is best considered when buying and choosing the
clothes they wear. Some people, especially mothers, prefer to buy fabrics for their
children because they think it is cheaper and they can choose the best quality fabric for
them. There are varieties of fabrics to choose from.
1. Seersucker - A thin, all-cotton fabric, commonly striped, used
to make clothing for spring and summer wear, suits, slacks and
children’s clothing.
2. Cotton - A soft, staple fiber and brings comfort to children

because it is breathable.
3. Rayon - Usually colorful and easy to e.g. blouses, dresses,

jackets, lingerie, linings, scarves, suits, ties, hats, socks)
4. Pique - A medium weight, cotton-blend fabric which is

characterized by raised parallel cords or fine ribbing that resembles a
check.
5. Linen - A textile made from the fibers of the flax plant. . It is

very absorbent, but wrinkles easily unless blended with
manufactured fibers.
6. Organza - A thin, plain-weave, sheer fabric is traditionally

made from silk, the continuous filament of silkworms.
7. Silk - A natural protein fiber, some forms of which can be
woven into textiles. Silk is smooth, glossy and beautiful. It is also
strong and vulnerable to fading and stains.
8. Tulle and Netting - A lightweight, very fine netting, which is

often starched. It can be made of various fibers, including silk, nylon
and rayon. Tulle is most commonly used for veils, gowns and ballet
tutus.
9. Challis - A type of plain-weave fabric, usually made from

cotton, wool or rayon, often printed with a design, often floral. Used
to make dresses, skirts and other articles of clothing.
10. Chiffon - A lightweight, plain-woven, sheer fabric. Chiffon is

most commonly used in evening wear. Like other crepe fabrics,
chiffon can be difficult to work with because of its light and slippery
textures. It should only be hand-washed.
TYPES OF SLEEVES
Sleeves are part of the garments that cover the arm. It may be worn short or
long. Sleeves may be cut together with the bodice or cut separately. The pattern and
design of the sleeve connotes fashion in dress. Kinds of Sleeves:
1. Kimono sleeves are a type of sleeves cut together with the

bodice. There is no seam joining at the armhole.
2. Raglan Sleeves are patterned and cut that extends to the
shoulder neck junctions and cancels the armhole seams.
3. Set-in Sleeves is the foundation of all types of sleeves and

usually cut to fit the armhole to the desired length.
4. Puffed Sleeves Comes in three variations:

a) full at the top and bottom,
b) full at the top fitted at the bottom, and
c) fitted at the top full at the bottom.
5. Butterfly sleeves is a type of sleeve that flares out over the

shoulder resembling like the wings of the butterfly.
6. Angel sleeves either gathered or plain at the shoulder tip and

tapers down to the arm.
7. Bell sleeves are usually fitted at the shoulder and slightly

tapers out like a bell at the bottom. Can be worn short or long in
length.
TYPES OF COLLARS
Collar is a part of a shirt, dress, coat or blouse that fastens around or frames the neck.
Standing or stand-up, fitting up around the neck and not lying on the shoulders.
Turnover, standing around the neck and then folded or rolled over.
Flat or falling, lying flat on the shoulders.
Kinds of Collars
1. Sailor collar (from midshipman), a flat collar comes in several

shapes in front and almost covers the back of the wearer.
2. Peter Pan Collar - A flat, round-cornered collar, named after

the collar of the costume worn in 1905 by actress Maude Adams in
her role as Peter Pan and particularly associated with little girls'
dresses.
3. Convertible Collar - A collar designed to be worn with the

neck button either fastened or unfastened.
4. Flat collar – is sewn on the neckline either for front only

or front and back of the neckline.
5. Bertha Collar - A wide, flat, round collar, often of lace or
sheer fabric, worn with a low neckline in the Victorian era and
resurrected in the 1940s
6. Mandarin collar - is a short unfolded standup collar style on

a shirt or jacket. Mandarin collars start at the neckline and typically
rise vertically two to five centimeters.
TYPES OF SKIRT
Skirt is a part of the garments worn around the waist
1. Bubble Skirt is gathered at the waist and provided with

lining to hold the hem and gather inward the hem ends to have
a full effect.
2. Flared /Balloon or Semi-Balloon Skirts- Actually Flared

skirts are A-line skirts, but they have extra flare which
beautifully covers the fat over hips and thighs. Women who
are thin can also try this out in large prints as it will give a
voluptuous appearance.
3. Pencil-Cut Skirts - Hugged to the body from the waist to just

above the knee, these skirts come in stretch material and with a
back slit at times. Such skirts go only with slim and skinny figures as
they emphasize the hips and the derriere.
4. Pleated Skirts - Pleated skirts appear best in short length, just
above the knees. The flare of this skirt is reduced by plates and it fits
the waist. It looks nice on both, slim and a little plump figures.
5. Sheared or gathered skirt cut straight fabric gathered to fit the

waistline of the wearer.
6. Peplum Skirt - a skirt cut fitted from the waist to hip1 or hip2 then
combined with flared or pleated fabrics below to give fullness from hip
down.
Types Facings and Interfacings

Facings are pieces of cloth attached at the edge of the garment to prevent ravelling, for
reinforcement, for decoration, and for special purposes.
Types of Facings
Bias facing is a piece of cloth cut 45 degrees angle and attached

at the edge of the garment especially in the curved parts like
necklines and armholes. This can be used in straight edges for
decorative purposes and reinforcement of fabric edges.
Fitted facing is cut in the same shape as the part to be used.

Either worn inside or outside of the garment
Straight facing is specifically cut for straight edges for smoother result.
Types of Pockets
Pocket is a pouch that has a closed end and is usually stitched on a garment or even
inside the garment. Pockets can be both functional and decorative. Pocket helps in
holding and small articles temporarily. It is important that pocket size, shape, and
placement should complement the design of the garment.
● Types of pockets - Children’s wear

○ 3.1. Patch*
○ 3.2. Seam*
○ 3.3. Welt* 4.
A pocket is a bag or envelope-like receptacle that is either fastened to or inserted in an

article of clothing to hold small items. It is an indispensable part of men and
women’s garments. It is functional. It serves as a container for small objects aside from
being a decoration. In the construction of long or short pants, different kinds of
pockets are used.
1. Patch Pockets. These pockets are external and can be

decorative. They can be made from the same fabric as the
garment or from a contrasting fabric.
Unlined patch pocket is one of the most popular types of pockets, it can be
found on garments of all kinds. On medium and heavier fabrics, it is advisable to
apply a fusible interfacing. 1. If needed, apply an interfacing to the pocket fabric
.
1. Mark the fold lines with tailored tacks.
2. Fold the top of the pocket down, as indicated by the
tailor’s tacks.
3. Use the zigzag stitch to neaten the edge.
4. Sew down the sides of the turned-down top
5. Sew down the sides of the turned-down top.
6. Sew a long stitch through the corners. This will tighten

the curve.
7. Trim away the fabrics in the seam allowance of the curve.
8. Remove the top corner.
9. Turn the top edge over to the wrong side. Press.
10. Pull up the stitches in the curves to tighten. Press.
11. Turn under the curved edges.
12. Baste through the bottom edge and curves to secure.
13. Hand sew the top edge with a herringbone stitch to the wrong side of the
pocket.
14. Press. The pocket is now ready to be attached.
Attaching Patch Pocket.

To attach a pocket well, accurate pattern chalk marking is essential. It is best to
do this by means of tailor’s tacks or even trace basting. If you are using a checker or
striped fabric, the pocket fabric must be aligned with the checkered or stripes on the
garment.
1. Mark the pocket placement lines on the garment
with tailor’s tacks.
2. Take the completed pocket and place it to the
fabric, matching the corners with tailor’s tacks.
Pin in position.
3. To make sure the pocket remains in the correct position, baste
around the edge along the sides and bottom. Keep the basting stitches
close to the finished edge of the pocket.
4. Sew approximately 1/32 in (1mm) from the edge of the pocket.
5. 5. Remove the basting stitches. Press.
6. Alternatively, the pocket can be hand sewn in place, using a hem stitch
into the underside of the pocket seam. Do not pull on the thread too
tightly or the pocket will wrinkle.
2.Inseam Pocket
In seam pockets are sewn along the side seams of the garment. These pockets are
made on the left side of the garment. These pockets are generally stitched in boy’s
shorts, girl’s pants, pajamas, and kurtas. It can be cut as part of the garment front and
back or it can be cut from a separate pattern piece and stitched to the seam. If the
outer fabric is bulky or heavy, the pocket pieces can be cut from lining fabric.
3. Slash Pocket
Slash pocket is a pocket suspended on the wrong side of the garment. A
finished slit is seen on the right of the garment. It serves as a pocket
opening. There are three types of slash pockets namely, bound pocket,
welt pocket and flap pocket.
Procedure in taking body measurement for Children’s Wear

1. Chest/Bust Measure around the fullest part of the chest/bust. Do not draw the
tape too tightly.
2. Center Back Neck–to-Cuff With arm slightly bent,

measure from back base of neck across shoulder
around bend of elbow to wrist.
3. Back Waist Length Measure from the most prominent bone at base of neck to the
natural waistline
4. Cross Back Measure from shoulder to shoulder.
5. Sleeve Length With arm slightly bent, measure from armpit to cuff.
6. Upper Arm Measure around the widest section of the upper arm located above
the elbow.
7. Armhole Depth Measure from the top outside edge of the shoulder
down to the armpit.
8. Waist Measure your waist at the smaller circumference of your
natural waist, usually just above the belly button
9. Hip Measure at the widest part of your lower hip
10. Head For an accurate head measure, place a tape measure across the forehead
and measure around the full circumference of the head. Keep the tape snug for
accurate results .
11. Sock Measurements The following measurements are for
crew-style or dress socks, which usually come several inches
above the ankle and below the calf.
a. Foot Circumference: To determine the foot circumference,

measure around the widest part of your foot.
b. Sock Height: To determine the height of the sock, measure from where
you start to turn for the heel shaping to the top of the sock.
c. Total Foot Length: To measure the total length of your foot, place a ruler
or tape measure on the floor. Position the back of your heel at the
beginning of the tape and the measure to your longest toe
● Body Measurements for Children’s wear

These charts show Chest, Center Back Neck-to-Cuff, Back Waist Length, Cross Back,
Sleeve Length, Upper Arm, Armhole Depth, Waist and Hip. THESE ARE ACTUAL
BODY MEASUREMENTS FOR BABIES, CHILDREN, WOMEN, and MEN in both
inches and centimeters.
When sizing sweaters, the fit is based on actual chest/bust measurements, plus
ease (additional inches or centimeters). The chart entitled “Fit” recommends the amount
of ease to add to body measurements if you prefer a close-fitting garment, an oversized
garment, or something in between.
Fit Chart Very-close fitting: Actual chest/bust measurement or less

Close-fitting: 1–2"/2.5–5cm
Standard-fitting: 2–4"/5–10cm
Loose-fitting: 4–6"/10–15cm Oversized: 6"/15cm or more
The Length Chart provides average lengths for children’s, women’s and men’s
garments.
Length Chart
WAIST LENGTH HIP LENGTH TUNIC LENGTH
CHILD Actual body 2"/5cm down from waist 6"/15cm down from waist
measurement
WOMEN Actual body 6"/15cm down from waist 11"/28cm down from waist
measurement
MEN Men’s length usually varies only 1–2"/2.5–5cm from the actual “back hip length”
measurement (see Man Size Chart)
Both the FIT and LENGTH charts are simply guidelines. For individual body differences,
changes can be made in body and sleeve lengths when appropriate. However,
consideration must be given to the project pattern. Certain sizing changes may alter the
appearance of a garment.
Procedure in drafting basic/block pattern for children’s wear
BASIC BODICE FRONT AND BACK Bodice pattern (Fig.5.1)
For children, the back and front pattern can be drafted within the same rectangle
because it is not necessary to make the font larger than the back.
Construct rectangle ABCD with the following measurements:

● AB = ¼ (bust + 5" ease allowance) = ¼ bust + 1 ¼" = 7 ¼",
● AD = BC = back waist length + ½".
● Mark AG = ½ back width = 5 ½",
● AF = 1/12 chest = 2",
● AH = 1",
● AJ = 1/12 " chest + ¼" = "AF + ¼" = 2 ¼" and GK = 1".
● Connect HF with a bold line as shown. This is the back
neckline. (Fig.5.1)
● Connect JF with a dotted line as shown. This is the front
neck line.
● Connect FK with a straight line. This is the shoulder seam.
Mark BL = ¼ chest = 6".
● Draw GO parallel to and equal to BL.
● Mark KX = 1/3 KO and XY = ½”.
● Connect KXL as shown with a bold line. This is the back armscy line.
● Connect KYL as shown with a dotted line. This is the front arms cycle line.
● Mark CM = ½”. Connect LM. This is the side seam.
For dart, mark DN = ½ DM—½" and NP=CL -1". Mark R and S. ½" on either side
of Nand connect RP and SP
Components of Project Planning - Children’s Wear

1. Project Plan No. – reflects the number of projects
2. Date Begun – date when the construction of the project will starts
3. Date Finished – the exact date when the project will be completed
4. Name of the Project – a specific description of the job/ project.
5. Objectives - states the purpose why a project should be done. This is usually
stated in three learning domains: the cognitive, psychomotor and affective.
6. Word Study – unlocks the terms used operationally and conceptually.
7. Tools and Equipment – list of tools and equipment in the accomplishment of the
job
8. Materials and Supplies Needed – the itemized list of tools and supplies needed
to produce a project. This includes Quantity, Unit, Description, Unit Cost, Total
Cost and Total is the overall total cost of all the supplies and materials to be used
9. Design Specifications – the photographic representation of the project in two to
five views: front, back, right, left and top views.
10. Procedure – the chronological steps or operations involved to accomplish the
project. This is divided into two stages: Preparation stage andPerformance stage.
11. Evaluation – the process of assessing the finished project with its given criteria
prepared during planning and evaluating.
Techniques in cutting final Pattern

In cutting the final pattern, there are always standard procedures to be followed
to avoid mistakes in cutting the pattern which would affect the style of the garment.
Before cutting out, sort out all the pattern pieces that are required for the item
you are making. Check them to see if any have special cutting instructions. If there are
no more alterations to be made, just trim patterns to your size.
Cut pattern pieces just along the cutting lines. Use sharp shears and avoid
cutting the inside part of the cutting lines otherwise the actual measurements will be
affected
1. Identify which size to be used for different areas of your body.

2. Use a sharp pair of scissors in cutting the pattern. If you slip and make a cut
where you shouldn't have, simply tape it back into place. The important thing is
that the shape is retained and that you can still read the markings. Cut carefully
along the cutting lines
3. Check for seam allowances.
4.
A. Cutting Final Bodice Pattern

LEARNING OUTCOME 2: Prepare and cut materials for children’s dress
2.1 Prepare materials

2.2 Lay- out and pin pattern on fabric
2.3 Cut fabric
Accessories and Accents for Children's Wear
Accessories are articles that can be added to make the outfit attractive, perfect
and beautiful. In putting or choosing accessories for dresses, always consider the art
principles and elements of design. Choose accessories that will equate and go with the
age of children.
Different Accessories used in Dresses
Bands - strips of fabric, ribbon or bias applied to edges or

set into garments to finish or decorate
Bracelet - ornamental chain for wrist and arm.
Brooch - a large ornamental pin placed in front or shoulder

arm
Fan - a flat unit permanently mounted on the frame
Handkerchief - a piece of cotton fabric, linen or silk that is

typically square and adorned with lace and embroidery.
Hat - a shaped head covering, having crown and brim.
Hosiery - consist of hose and stockings.
Shoes flat - closed or high-heeled footwear fitted for style,

comfort, and freedom.
Trimmings - are the ornamental decoration and addition to the bare fabrics or a
finished garment. This is also used to improve or emphasize the apparel's beauty.
Common Trimmings Used in Dresses
Frog - loop fastening made of braid or cording.
Appliqué - a separate design for petals, leaves or figures

which is cut and applied to another surface.
Binding - a strip of bias used to decorate an edge.
Buttons - pieces of metals, bones, glasses with shanks or

holes of various shapes and sizes.
Collar - bands attached over necklines, sometimes they are

cut as part of the front bodice.
Embroidery - an ornamental needlework consisting of

designs, work on fabric by hand or machine.
Gathers - fullness shirring consists of three or more rows of
gather.
Lace - is a delicate fabric made of thread or yarn in an open

web like pattern, made by hand or by machine.
Loop - a fastening which extends beyond the finish edges

used on closings with no lap.
Pocket - fabric piece used to shape a pouch on a dress.
Ribbons - a thin fabric of silk or velvet used for trimming.
Rickrack - a flat woven zigzag braid in mercerized cotton or

rayon
Ruffles - strips of cloth gathered together or pleated as a

trimming to finish edges
Scallop - an edge finish made up of a series of semi- circles
PREPARING THE MATERIALS
It is the first step in the process of laying-out and pinning the pattern pieces on the
fabric.
TOOLS AND MATERIALS NEEDED:

1. CUTTING TABLE
2. FABRIC
3. PATTERN PIECES
4. PINS
GUIDELINES IN LAYING-OUT AND PINNING PATTERN PIECES ON THE FABRIC:
It is the process of arranging the pattern pieces of fabric laid on a flat smooth surface of
the table.
In doing this,the pattern pieces should be properly aligned on the surface of the fabric
parallel to the selvage so that the fabric will straighten when cut. You must also
consider the design in laying out the pattern and maximizing the materials to
avoid wasting.
It is also important to remember that the largest piece of the pattern should be laid out
first down to the smallest pieces.
Note: Before proceeding in laying-out your fabric, make sure you press/iron the whole
fabric to remove the wrinkles because wrinkled fabrics cannot be cut accurately. Check
also if the fabric’s wrong side is in the outside part.
BLOUSE and COLLAR:
1. Lay large pieces of pattern first on the cloth

2. Check that the centerfold symbol falls on the
folded edge of the fabric.
FLARED SKIRT:
1. Fold the fabric in 45°, warp and weft meeting
SET-IN SLEEVE:
1. Sleeve patterns may be laid open or close to the fabric.
WAISTBAND:
1. Lay-out *waistband pattern.•Waistband pattern –width = waist measurement + 3
inches, height = 3 inches, connect the lines then make a rectangle
PREPARING THE BIAS FACING:

1. Fold the fabric 45°. Determine the facing needed and mark directly on the cloth.
● Bias facing width = ½inchWaist measurement + 3”3”
PINNING PATTERN PIECES ON THE FABRIC:
Sewing pin is a tool used in pinning the pattern onto the fabric. It is the process of
holding two or more fabrics together. There are only three ways of pinning the pattern
pieces; vertical, horizontal, and diagonal.Techniques in pinning the pattern pieces to
fabric:
1. Check the folded edge of the pattern pieces aligns with the fabric fold, otherwise,
the pattern pieces will be smaller or larger than the correct size.
2. Check the distance of the pattern pieces before pinning them.
3. Start pinning the corner of the pattern pieces diagonally to hold more the pattern
and to make it flat.
4. Put only enough pins, too many pins may twist the edge of the pattern and fabric.
5. Place the pins on the seam allowances, 2.5 cm or 1 inch away from the edge of
the fabric or pattern pieces. The distance of each pin is at least 12.5cm or 5
inches away from the other pins.
Note: Always minimize the pin holes if possible, most especially on a delicate
fabric.
Refer to the illustrations below:
TOOLS AND MATERIALS NEEDED FOR MARKINGS:

1. Tracing Wheel
2. Dressmaker’s carbon paper (or carbon paper will do)
3. Tailor’s Chalk
4. Ruler
GUIDELINES IN TRANSFERRING PATTERN MARKS ON THE FABRIC:

Transferring pattern markings to the cloth must be done accurately so that the finished
garment will look peculiar. You are now familiar with the tools used in transferring
pattern markings. Now, remember these pointers for accurate markings on your fabric.
1. The pattern details should be marked on the wrong side of garment pieces.
2. Place a piece of cardboard or newspaper under the fabric to prevent you from
marking the table.
3. Remove the pins from the part where the marks are to be transferred.
4. Trace the seam line into the fabrics.
Refer to the illustrations below:

Hints in Folding the Fabrics
1. Where selvages meet, they should match exactly. Shifting of slippery or soft
fabric can be prevented by pinning selvages together every few inches.
2. If the material was folded at the time of the purchase, make sure the fold line is
accurate and press it again if necessary.
3. When no fold is indicated, lay fabric right side up.
Guidelines when Laying out Pattern Pieces on Cloth
Here are the guidelines when laying out patterns on cloth:
1. Patterns must be checked before laying them on the cloth.
2. Examine all the necessary pattern symbols.
3. Choose the longest cutting table to prevent the fabric from hanging over its edge.
If long cutting table is not available, fold the fabric to prevent it from hanging.
4. When laying each pattern piece, check the following:
a. lengthwise grain position
b. the centerfold
c. if it is to be duplicated
d. if it is to be sectioned to be cut singly, or not through two layers
e. Fold the material with the right sides facing and selvages together
f. Lay out the largest pattern piece first before the smaller ones.
g. Lay each pattern piece so that grain line marking is parallel to fabric selvage.
h. Let the seam allowances touch each other whenever possible.
PINNING PATTERN PIECES

1. Pins used in dressmaking are made of steel or brass with a tin
coating. The types of pins used in dressmaking are:
● Dressmaker's pin is of medium size and is 1 1/16 inches long.
● Lace pin or silk pin is 1 inch long, finest size with sharp
points and used for lightweight fabrics.
1. Most patterns will have a suggested pattern layout. Place your pieces and
pin them accordingly.
2. Using the correct pin can mean no snags or holes are left when they are
removed.
3. Pin all your pattern pieces to the fabric before you start cutting. This way
you
will make sure you are using the minimal wastage of fabric.
FACING PATCH POCKET
CUTTING FABRIC
Cutting is the most important and risky step in garment construction. For a little mistake,
fabric is wasted.
Sharp cutting tools make clean cuts and well-defined notches. Furthermore, they do not
damage fabric. On the other hand, dull tools slow the cutting process, and make your
hand and wrist tire easily. Sewing cutting tools should not be used for other household
tasks. Cutting tools must be sharpened regularly and the joints oiled occasionally for
better us
We're at the final step in learning how to cut fabric! The actual cutting fabric takes far
less time than all the pinning and preparation.
Carefully cut around the pattern pieces with sharp shears to get a nice accurate clean
edge. Try to follow the pattern piece as closely as possible.
Sometimes you may want to rough cut around the pieces first and then go back and cut
properly. This allows you to turn the pieces for the best direction to cut. When you have
several pieces laid out on your table, it can initially be a little awkward until they are all
separated.
Don't forget to cut the notches. I generally cut the notches outwards as there is less
chance of accidentally cutting into the seam allowance.
Precautionary Measures While Cutting the Fabric

1. Work with clean hands.
2. Handle cutting tools carefully
3. Never play with your cutting tools.
4. Keep the working area clean and orderly.
Guidelines in Cutting out Fabrics

Cutting with precision contributes to the final success of the garment. Here are the
guidelines when cutting the fabric:
1. Gather all the equipment needed for the cutting process. Be sure to have an
exclusive table for cutting in a suitable place.
2. Use a pair of sharp cutting shears.
3. Place one hand on the pattern close to the cutting line.
4. Cut first the large pieces, then the small ones.
5. Cut straight edge with long even strokes and curve edge with short strokes.
6. Cut notches away from the seam allowance. Notches help to match sections
during construction.
7. As you cut, walk around the table instead of pulling the materials.
LESSON 9: PRODUCE CHILDREN’S WEAR PT. 2
LEARNING OUTCOMES 3: Assemble garment parts for children’s wear

3.2 Sew and assemble children’s wear
PREPARE PARTS OF CHILDREN’S DRESS
Children’s clothing are ones that kids wear, fit for play and rest. Nowadays,
children’s wear is heavily influenced by trends in adult fashion. Fabric choices, dress
style, skin tone, and comfort are just a few considerations that a young
dressmaker like you must learn. This quarter will open your horizons on drafting, cutting
and sewing your own children’s wear. A pinafore dress is a simple dress just right
for you to work on. It is a sleeveless, collarless apron-like garment worn by
young children. In the past, it was worn as an apron or worn over a blouse, sweater or
jumper. In the modern times pinafores are already a decorative garment and fashion
statement. Get ready to indulge!
The process of making patterns for children’s wear is the same for adults. Pattern
sizing is a separate issue. Get ready with your drafting tools for we shall start with
drafting the pattern of a pinafore dress. Here are the things you should need:
● Pattern Paper
● Pencil Ruler
● Tape Measure
● French Curve
● Scissors
PROCEDURE:
FRONT BACK
From the top of your paper, measure 5”
down. A to P is 1”
Begin from the left edge of the paper and Connect using a French curve.
measure 1” extending it to the right. E to Q is 2”
Mark the intersection A. F to R is 2 “
A to B is 2 ½” O to P is 2 “
A to C is 5” Form a curve.
A to D is 20”
Extend points A, C and D. Add ½ inch as allowance on the sides
A to E is 2 ½ “. Connect B to E using a except for the fold. Be careful in
French curve. cutting your pattern.
A to F is 4 ½ “
F down to G is ½ “
Line AF is equal to line CH. Connect F to Remember: An inch is represented by the
H. symbol (“).
C to J is 6 ¼ “
CJ is equal to DK. Connect J to K.
K to L is 3”
L to M is ¾ “
E to N is 1”
G to O is 1 “
Form a curve.
PROCEDURE:
Start with the back part of the pattern.
Lay it on a lengthwise folded cloth. Pin
the pattern on the cloth and transfer the
marks on the cloth using a tailor’s
chalk.
Do the same procedure on the other

cloth.
Pin the front pattern on the cloth.
Transfer marks and do the same on the
other cloth.
Cut the cloth. Remember the tips in

cutting the fabric. After following the
steps, you will come up with 2 Front
bodice patterns and 2 back bodice
patterns.
ASSEMBLE GARMENT PARTS FOR CHILDREN’S WEAR
PREPARE PARTS OF CHILDREN’S WEAR
Children's clothes are a relatively recent invention. From the rudimentary

beginnings of clothing all the way to the nineteenth century, children wore miniature
versions of adult costumes. There were a few minor exceptions. Children's clothes often
had leading strings sewn in them so the child could be tethered out of harm's way, but
the costume itself was still a small copy. For many manufacturers, more care goes into
the production of children's clothes than into adult lines. Fabrics and decorations must
be chosen for safety as well as appearance, and details like overstitched seams add to
comfort for young wearers.
Steps on Sewing Reversible Pinafore
1. Lay (2) front bodice and (2) back

bodice fabrics on the table.
2. Match the front and back bodice of
each fabric.
3. Sew together one side front and

back together. Do this on the other
side too. Then press opening the
seams.
4. Sew the shoulder lines, armhole,

necklines and hems together using
backstitch. (tahing pabalik in Tagalog
as backstitch results in durable stitches.)
5. Trim edges leaving ¼ seams. Make

notches on curve edges.
6. Flip the fabric showing the right

sides of the fabric. Remember both
the outer sides are not sewn. Only the
necklines, shoulder lines, armholes and
hems and inner side of the dress are
sewn together.
7. Align 4 sides which were not sewn.
Pin the fabrics together except the top
fabric.
8. Flip such that the sides match

together to finish the garment.
9. Sew the remaining unstitched hem.

Leave a portion at least 4 inches so
that you have room to flip upside.
10. Press to flatten the surfaces.
11. Connect shoulders. You can use

buttons as decoration.
12. Congratulations! You have done a

great job on your reversible pinafore
dress!
Methods of Preparing the Fabrics before Cutting
The importance of fabric preparation is to preserve the fit of the finished garment after
washing. The methods in preparing the fabrics before cutting are as follows:
Techniques in Preparing the Fabrics for Cutting:

1. Straightening. If the cloth gets out of shape, straighten it by stretching it
diagonally. Stretch and pull gently but firmly until the edge and selvages are even
when the material is folded in half lengthwise. This process is to draw the thread
or grain of the material of the uneven crosswise or lengthwise edges to make it
straight.
How to Straighten the Ends of the Fabric

1. Clip the selvage on the shortest edge of the fabric.
2. Pick-up loose crosswise threads and pull it out slowly.
3. Pull the thread all the way across the selvage.
4. Cut along a pulled thread.
Stretching the grains of fabric

The process of pulling the cloth diagonally from one corner to the opposite
corner thus making the cloth lengthwise to be right angle.
How to stretch the Grain of Fabric

1. Grasp opposite diagonal corners and pull.
2. Check to see if the fabric has been straightened.
3. Keep on pulling until the selvage comes together.
4. Smooth the material on the table and check if the fabric ends lie even.
2. Shrinking / Soaking. The fabric by laundering and drying. Pre-shrunk washable
fabric to remove any sizing and to prevent shrinkage later.
Procedure in Shrinking Fabric

a. Fold the fabric lengthwise.
b. Immerse and soak the fabric in cold water in a large basin.
c. Let it stand for 30 to 60 minutes.
d. Remove it from the water.
e. Avoid wrinkling the fabric.
3. Hanging and Drying. After soaking the fabric, unfold it and hang it on a clothesline
to dry. Do not wring the material so as to prevent wrinkles.
4. Pressing/ Ironing. The process of removing wrinkles and creases in fabric by using
the flat iron. The general rule is to press on the wrong side of the cloth in the lengthwise
grain. Pressing may enlarge or shrink the fabrics.
Cautions:
The iron is very hot. Do not touch the silver side or you may burn. Always hold the iron's
handle.
Keep moving the iron up and down. Do not linger too long, or you may burn your fabric.
Fabric Grain
The fabric grain is important because it determines how your garment should be cut and
whether or not your garment will hang correctly on your body after it's sewn.
Fabric grain is straight when the cross grain is at a right angle to the straight grain.
Make Sure Your Fabric Is On Grain

Before I get into the fabric grain, let's look at some of the terminology when it comes to
fabric.
Terminology
Here are a few terms you need to familiarize yourself with when it comes to fabric:
Straight Grain: refers to the threads that run the length of the fabric (referred to as
warp threads and are the longest threads) and parallel to the selvage.
Cross Grain: refers to the threads that run the width of the fabric (referred to as weft
threads and are the shorter threads) and perpendicular to the selvage.
Bias Grain: 45 degree angle to the straight and cross grain. Woven fabric stretches on
the bias.
Selvage: the self-finished edge of the fabric, which is done by the manufacturer to stop
it from unraveling. Some fabrics have fraying after the self-finished edge, but the
self-finished edge keeps the fraying in that area so it doesn't affect the rest of your
fabric. The selvage is on each side of the fabric length when it is unfolded.
Cut Edge: the edge that was cut to separate your yardage from the rest of the fabric
yardage on the bolt. I know this is pretty obvious, but included it just in case.
Now, check out the diagram below to see what the above terminology has to do with
your fabric.
PATTERN LAYOUT
The placement and arrangement of pattern pieces on the materials for marking and
cutting is called pattern layout. Before laying out the patterns on cloth, be sure that you
fold the fabric on its wrong side to keep the right side free from markings. Below are
some tips to identify the right or wrong side of fabric.
RIGHT SIDE WRONG SIDE
1. Prints are more visible and bright on the right side.

2. Right side has a smooth and finished appearance.
3. Right side selvage is smoother than the wrong side.
4. Wrong side has loose thread ends.
5. Wool, silk and most nylons are folded or rolled with their right sides in.
FABRIC FOLDS
There are four kinds of fabric folds:
1. Lengthwise centerfold
The fabric is folded lengthwise at the center with the selvage together.
2. Crosswise centerfold
The fabric is folded crosswise with the raw edges together.
3. Off-center lengthwise fold

The fabric is folded lengthwise with the selvage meeting at the center.
4. Off-center crosswise fold

The fabric is folded crosswise with the raw edge meeting
at the center.
LEARNING OUTCOME 4: Apply finishing touches on children’s wear
4.1 Apply finishing touches
4.2 Alter completed garment
4.3 Press finished garment
4.4 Pack finished garment
Techniques in Pressing Children’s Wear

Draper said that iron should be as important as our sewing machine. Why? It is
because, as we sew, we are pressing our garment. Like in the previous lesson,
sewing the sleeping garment, the procedure employed in it is the same as in
sewing the children's wear. Pressing the parts of the garment is important. The
seams you sew give your garments their shape. Proper pressing molds this
shape and it gives our sewing a finished look. Wrinkles and creases in the fabric
must be pressed out to save time, plan your stitching and pressing in units.
Remember not to sew across a seam until it is pressed. Never press over a pin,
and press at a lower temperature.
Techniques in Pressing Seam

1. Press the seam flat along stitching
line to blend stitches
2. Press the seam allowances open

or to one side, as indicated in the
pattern structions
3. Press the seam or detail area from

the right side. If necessary, protect
the fabric with a press cloth.
Pressing Equipment Needed
Flat Iron
Sturdy ironing board with a clean, padded

surface
Fabric guide for choosing the proper

temperature setting
Seam roll for pressing seams open on

long cylindrical sections
Press cloth is a piece of fabric used when

applying more heat than you usually
would to protect your fabric from direct
contact with a hot iron to prevent
scorching the fabric
Hams and sleeve rolls are very firmly

packed pillow type curved objects
commonly used if you will be sewing
clothing and pressing baby clothes or doll
clothes.
Presser bars are sticks of wood with a
flattened end. They work well to hand
press small seams on craft objects or
when an area is very impossible to reach
with an iron
Application of heat and pressure on children’s wear

There are different types of fabric. applying Heat and pressure depends on how thick
the fabric is. In using a thick fabric a high amount of heat is applicable. However, thin
fabrics need a small amount of heat and pressure otherwise the fabric will be damaged.
Characteristics of a well-fitted children’s wear
Characteristics of a Well-fitted Children’s Wear

When selecting clothing for young children, toddlers’ and preschoolers always
consider the physical characteristics and the comfort they give to the children.
1. Toddlers
○ Look for soft, unstructured styles that allow maximum freedom of movement,
such as one-piece garments that fall from the shoulder. These are also
practical because toddlers wear diapers and have not developed a waistline.
○ Leg openings with snaps on toddlers’ pants help make changing diapers
easier.
○ For necklines, select collarless styles or flat collars, such as Peter pan and
convertible collars.
○ Avoid collars that may bind or restrict movement, such as a high button
collar.
○ When toddlers are first learning to dress, pull-on garments with large neck
and armhole openings are the easiest to manipulate. Because the toddler is
always on the move.
○ Design features should be functional as well as decorative. For example,
shoulder straps should crisscross in the back to prevent them from sliding off
shoulders.
○ Shoulder tabs on shirts are another way to secure straps.
2. Pre-schooler
○ Look for styles that allow preschoolers to move and jump about freely.
○ Pockets are important features because preschoolers need places for the
treasures they collect.
○ Shoulder tabs on shirts are still valuable.
○ When selecting a garment with long sleeves, avoid buttoned cuffs that
restrict movement.
○ Jumpsuits are practical garments for preschoolers because they allow
mobility and will maintain a neat appearance.
○ Preschoolers can also wear pants and skirts with elasticized waists because
their waistlines have become more defined.
SPECIAL FEATURES
A. Growth features - are important because children grow rapidly. Children tend to
grow faster in height than in width; therefore, the length of waist, arms, and legs
will change more quickly than the width of shoulders, chest, and hips. Select
clothing that allows for growth. Look for features such as one-piece garments
without a waistline; raglan, kimono, or sleeveless designs; adjustable shoulder
straps; and elasticized waistlines. Two-piece outfits and wrap styles will also
allow room for growth.
To promote self-dressing and prevent bathroom accidents, closures should be on the

front of garments so children can see the fasteners and manipulate them easily.
Select or adapt closures that are easy for young children to manipulate.
Zippers can be easy for a child to operate if a charm or string is added to the pull tab.
Buttons that are large or have a shank are easier to grasp. Many types of decorative
buttons are
available to add interest to children’s clothing. Avoid buttons with irregular edges as
these are more difficult than smooth, round buttons to manipulate.
Hook and loop fastener tape is easy to manipulate and can be used in place of buttons
or snaps. It
is available by the centimeter or inch, in pre-cut shapes, and in a variety of colors.
Gripper snaps are easier to manipulate than regular snaps.
Safety features should also be considered when selecting clothing for children. Avoid
styles with
long, flowing skirts; tie belts; drawstrings; or very full sleeves that may cause children to
trip or get tangled.
Evaluation of finished children’s wear
Evaluation- the process of assessing the finished project using the identified criteria
during planning and evaluating using the prepared scoring rubrics.
RUBRICS FOR EVALUATING THE CHILDREN'S WEAR

INDICATORS PERFECT SCORE STUDENT’S SCORE
1. Material used (20

points)
a. Is the cloth soft and 5

absorbent enough
to provide comfort
for which it is
intended to be
used? Is it
colorfast?
b. Is the fabric design 5

suitable for
children’s wear?
c. Do the thread and 5

the fastener match
the color of the
fabric?
d. Was the material 5

preshrunk?
2. Workmanship (30
points)
a. Are the stitches 8

straight or neatly
curved in
accordance with the
edges on which they
are applied?
b. Are the seams flat 8

and straight?
c. Are the pencil skirts 7

and blouses of
equal length?
d. Is the skirt and 7
blouse flat and
smooth?
3. Fit (30 points)
a. Does the waistline 10

fit comfortably?
b. Is the hip loose 10

enough to permit
ease in movement?
c. Is the length 10
adequate?
4. General Appearance (20

points)
a. Do the blouse and 20

pencil skirt look neat
and feel comfortable
when worn?
TOTAL 100
Labeling the Garment
Labels are not a functional component of a garment but essential for many reasons.
Seven common labels that are found in garments are Brand label, Size label, Care
label, Flag label, Manufacturer code, Line mark label, and special label. Each label has
a specific purpose and gives information.
1. Brand or Main Label

Main labels indicate the Brand name or Brand Logo of
the company that originates and sells clothes. Brand labels
play a big role to customers because customers know the
brand and they buy the branded one. A brand label is
associated with the product‟s quality, durability, and
feel-good factor. We prefer to buy Levis jeans and Tommy
Hilfiger shirts and Polo shirts, Zara for dresses.
2. Size Label
Size label defines a specific set of body measurements. These
Size labels may be printed only later to denote a specific
size. Such as S for Small, M for Medium, and L for Large size
garments.
3. Care Label
This label includes care and ironing instructions. For details
of wash care instructions. This refers to garment care symbols.
Care labels are attached at the side seam The purpose of care
labels is to warn wearers on what not to do while washing,
drying, and ironing to maintain color, specifically printed
designs, after wash shrinkage and color blending issues. A care label
includes a few other information such as:
a. Fiber contents are also included in care labels. i.e. 40% Poly and
60% Cotton
b. Country of origin: The name of the country that manufactured the product
is also written on the care label. Like, Made in India, Made in the
Philippines.
4. Flag Label
A small label attached outside the seam. Flag labels are normally
made of brand logos and are used as design features.
5. Manufacturer Label
This label includes the manufacturer’s code given to buyers.
Most international buyers purchase garments from countries. In case
buyers need to track the manufacturer of a particular product, they
look for this code.
6. Batch Mark Label

A label that indicates which sewing line or batch had
made the particular garment. This label is not asked by
buyers or brands.
7. Special Label
100% Cotton, Organic Cotton is an example of such a special
label. Special labels are normally attached to draw
customer attention at the time of purchasing.
9. Kinds of packaging materials
Polybags - These are thin plastic bags

that are commonly used to pack
children's clothing items such as t-shirts,
shorts, and socks. They are lightweight,
flexible, and can be easily sealed to
protect the clothing from moisture, dust,
and other contaminants.
Boxes - Boxes are sturdy and rigid

containers that are commonly used to
pack larger items such as children's
jackets and coats. They provide better
protection against damage during
transport and storage and can be stacked
for easier handling.
Hangers - Hangers are used to display

children's clothing items in stores. They
are typically made of plastic or metal and
can hold different types of children's
clothing, including shirts, pants, and
dresses.
Pouches - Pouches are small, flexible

containers that are often used to pack
accessories such as children's hats,
gloves, and scarves. They are lightweight
and easy to store, and they can be easily
attached to other packaging for
convenience.
Tubes - Tubes are cylindrical
containers that are commonly used
to pack children's socks and other
small clothing items. They are easy
to handle, stack, and store, and
can be made of different materials
such as paper, cardboard, or
plastic.
Procedure in packing of children’s wear
Procedure in Packaging Garments
Finishing Department: Checkpoints in the finishing department consist of the

following:
1. Initial finishing inspection: Checking done before pressing the garment at the
finishing room is known as initial finishing.
2. Final finishing Inspection: After pressing, garments are double checked and
passed for tagging and packing.
3. Internal final audit: After the garments are packed up to a certain quantity, the
quality control team audits package garments. This process is carried out to
ensure handing over shipment to the buyer.
LESSON 10: PRODUCTION OF LADIES TROUSERS PT. 1
LEARNING OUTCOME1: Draft and cut pattern for ladies skirts
1.1. Plan garment design

1.2. Take client’s body measurement
1.4. Manipulate Pattern
● Designs of ladies trousers

Trousers are basically office wear worn by corporate women. They are made up
of cotton, polyesters and wool and look great with a formal blouse and shirt.
As fashion changes, the lengths of slacks or trousers vary now from very short to
knee length, to just below the knee, and on down to the ankle and just below it. The legs
of trousers may be slightly flared, straight, or tapered. Careful construction of them will
enable us to construct a pair of trousers which will be well-tailored and contribute to a
neat appearance regardless of specific style or design.
To come up with the best trousers that would complement your body, is
to understand one’s body type or shape, the posture of the body and the type of fabric
used in making the trouser.
There are six main body shapes that will guide you in choosing the best
style of trouser to wear: Hourglass, Triangle, Inverted Triangle, Rectangle,
Diamond and Rounded shape
1. For Triangle shape. It is best to wear trousers with the straight leg.
2. For Inverted Triangle shape. A peg trouser, with pleats on the top, and has a
waistband. Wide leg linen trouser is also good for this body shape.
3. For Rectangle shape, Low rise, skinny trousers, and wider leg is best for this
shape. Avoid big flares and cargo pants and silky flowing trousers for office or
night out.
4. For Hourglass shape. High-waist and wide-legged trousers underline the
curvaceous body are great style options.
5. For Oval or Diamond shape. Trousers should be in classic style with flat
fronts, and no extra from zips, pleats or gathers. Low rise trousers should
not be worn, and waistbands should not be too tight. Boot cuts are best
suited for this shape and if tall enough, straight cuts or palazzo is of great
choice.
6. For Apple or Rounded shape. A pair of boots- cut jeans will help this body
shape look slimmer and create a line waist down. Skinny jeans or trousers should
be avoided.
Another factor to consider is the type of posture that a wearer has. Posture type can be
classified into three categories:
1. Average. When the wearer stands
fairly straight and the side seams of
pants fall straight and are lined up with
the ankle, she has average posture.
2. Forward-tilted hip. When the wearer
stands in somewhat slouched manner;
fairly flat, low seat, and has high
prominent roll below the front waist or
high prominent hip bones
3. Backward-tilted hip. When the wearer
stands with the tummy lowered and
posterior out and up and the pants hike
up over the seat. Here, the pattern crotch
length is not corrected.
Styles of Trousers
Styles of Trousers
1. Straight Leg Trousers. This style of trousers can fit any

body type. It can be found in different designs and best for
business meetings and in casual workplace.
2. Gaucho trousers- are like Capri pants except that they
have wider legs with a flare at the bottom. These are ideal for warm
weather. The short breathable legs keep the woman kool and the
wide and flowing legs can have a similar appearance to a skirt
depending on the amount of fabric used and the amount of flare.
3. Boot Cut Trouser - have similar design to straight leg

trousers except that these have slight flares at the bottom so that
they can easily fit over a pair of boots. These work well with any
body type.
4. Cropped Trousers are best suited during summertime.

These are not as short as capri pants, instead these have a hem
that fall between the ankles and the calves. These have straight
legs but do not hug the legs too closely. Women with shorter
stature should avoid cropped trousers with cuffs because they
will make women shorter than they already are. These are best
suited for casual or business casual occasions.
5. Skinny Trousers are the style for women who have skinny,
straight legs and slim figures. Skinny trousers hug the legs and the
hips very closely and make the lower half of the body look small.
It is important that the top half of the body is in proportion. Leggings
are usually skintight and are made up of denim, cotton, and lycra.
6. Wide Leg Trousers have straight legs that are wider and more
flowing than straight leg trousers. Tall, slender women are wearing
these kinds of trousers because these can make the bottom appear
larger than the top half. When paired with the right shoes, wide leg
trousers can help elongate the legs and slim the figure down. These
types of trousers are available as part of a women's suit or as a
casual pair of trousers for any occasion.
Types of Waistband Trousers
1. Super High Rise. Waistband is more than 1 inch above your waist.
2. High Rise Jeans. Waistband is 1 inch above your waist.
3. Medium Rise Jeans. Waistband is located precisely on the waist.
4. Medium to Low Rise Jeans. Waistband is located typically 2-3 inches below the
belly button. The most popular rise in most denim brands, especially for Women.
5. Low Rise Jeans. Waistband is very low, 3-5 inches below the belly button.
6. Ultra Low Rise Jeans or Brazilian Low Rise Jeans. Brazilian jeans are growing
in popularity and are renowned for their daring sexy cuts, high quality, and
original embellishments.
Types of fabrics suited for ladies trousers
Suitable Fabrics for Ladies’ Trousers

In choosing the best fabric suited for ladies’ trousers, choose fabric which is
firmly woven to hold its shape and would complement more to your body shape. Texture
and design should be properly examined to avoid scratchy feeling when it is used.
There are also fabric types which require lining to prevent undergarments and seam
allowances seen through. Choose medium-weight blended fabric for trousers.
Gabardine - is a light wool (or cotton once in a Polyester - has the same characteristics as the
while) twill weave that's best for Spring and cotton but may not easily get dirty as cotton.
Fall.
Denim - is a heavy-weight fabric with very little Cotton - has an elegant appearance for women
drape or stretch. but for women with lots of activities, this is not
appropriate because it snags easily and is hard to
clean and care for when it gets dirty.
Attaching Patch Pocket.

To attach a pocket well, accurate pattern chalk marking is essential. It is best to
do this by means of tailor’s tacks or even trace basting. If you are using a checker or
striped fabric, the pocket fabric must be aligned with the checkered or stripes on the
garment.
7. Mark the pocket placement lines on the garment
with tailor’s tacks.
8. Take the completed pocket and place it to the
fabric, matching the corners with tailor’s
tacks. Pin in position.
9. To make sure the pocket remains in the
correct position, baste around the edge along
the sides and bottom. Keep the basting stitches
close to the finished edge of the pocket.
10. Sew approximately 1/32 in (1mm) from the edge of the pocket.
11. Remove the basting stitches. Press.
12. Alternatively, the pocket can be hand sewn in place, using a hem stitch
into the underside of the pocket seam. Do not pull on the thread too
tightly or the pocket will wrinkle.
2. Inseam Pocket
In seam pockets are sewn along the side seams of the garment. These pockets are
made on the left side of the garment. These pockets are generally stitched in boy’s
shorts, girl’s pants, pajamas, and kurtas. It can be cut as part of the garment front and
back or it can be cut from a separate pattern piece and stitched to the seam. If the
outer fabric is bulky or heavy, the pocket pieces can be cut from lining fabric.
3. Slash Pocket
Slash pocket is a pocket suspended on the wrong side of the garment. A finished slit is
seen on the right of the garment. It serves as a pocket opening. There are three types of
slash pockets namely, bound pocket, welt pocket and flap pocket.
Types of Facing and Interfacing

Facings are pieces of fabric sewn to the garment edge, turned to the inside, and
sewn in place by hand or machine. Garment edges that are commonly faced are
necklines, collars, cuffs, and sleeveless arms. There are two styles of facings
that are common to the costume shop, fitted and bias facings.
1. Fitted Facings are pieces of fabric that match the area to be faced in shape and
grain.
2. Bias Facings utilize the stretch of the bias to shape the facing to the edge being
faced. The stitch of bias is limited and is restricted on the curvature possible on
the edge to be faced.
Interfacing is a supporting fabric that is used to give body, shape, and

reinforcement to particular areas of a garment, and is hidden between plies of
fabric.Body measurements for ladies trousers
Tips in Taking Body Measurements for Ladies Trousers

1. Use a clear and correctly numbered tape measure.
2. Start from number one when taking measurements.
3. Never take your own measurements
4. Stand straight when being measured
5. Empty the pockets and remove the belts when measurements are being taken.
6. Follow the correct order of taking the body measurements.
7. Measurements should never be too tight or too loose.
8. Record all measurements immediately.
Needed Measurements
A. Vertical Measurements
1. Pant Length -Taken from the waist down to the desired
length, this measurement is taken at the side with a tape
measure.
2. Rise- Taken from the waist down to the crotch with the use
of a tape measure.
B. Horizontal Measurements
1. Waist- Taken around the smallest part of the torso or body with a tape
Measure.
2. Seat or Hip- Taken around the fullest part of the second hip or buttock with a
tape measure.
3. Thigh- Measured around the fullest part of the thigh in line with the crotch.
4. Width of knee- Taken from the back creases line to the front crease line at
the knee line of the pants.
5. Width of bottom- taken at the bottom of pants desired length.
C. Rise Measurement
Techniques in taking the rise measurement
1. Crotch length (Standing)- from waistline in front under crotch to

waistline in back. Indicate front to center and center to back
measurements.
2. Crotch depth (Seated) - follow contour of body from waistline to

hip, hold tape straight from hip to chair.
PROCEDURES IN DRAFTING LADIES TROUSERS
LADY’S PANTS SLOPER

A. Pants measurements
1. Waist: taken around the smallest part of the waistline.
2. Hip II: 20 1/3 cm below the waistline, measured around the hip
with the tape measure over the fullest part of the buttocks.
3. Length of the pants: from the waistline to the ankle.
4. Crotch: with the individual seated, measured around from the
waistline down the seat
B. Sample measurements
● Waist = 28
● Hip II=38
● Length=37
● Crotch=10
● Knee=18 standard
● Ankle=16 standard
1. A is the starting point

2. A to B is equal to crotch measurements.
3. Divide hip by 2.On the other long side/arm of the square, look for 19 under 1/3
division and place B; mark 19 under ½ division C ; mark under1/6 division D; and
mark 19 under 1/12 division E and mark corner F
4. F to K is 1 ¼ cm; E to G is 1¼ cm. L
LESSON 11: PRODUCTION OF LADIES TROUSERS PT. 2
LEARNING OUTCOME 3. Assemble garment parts for ladies trousers

3.2 Sew and assemble ladies trousers
You have come to the final stage in assembling the garment parts for Ladies’ trousers.
There are standard procedures on how to assemble the parts systematically, but
nowadays, dressmakers or sewers have their own standard and own technique in
assembling and sewing the garment parts based on their convenience and
preferences.
Pre-Assembling Procedure for Ladies Trousers
Preparing for the first fitting
1. Baste darts, outseams, and inseams, in that order.

2. Put one leg inside the other, right sides of fabric facing, to baste the crotch seam.
Do not baste through the seam allowances at the crossing of the inseam and
crotch seams.
3. Pin the fitting band to the inside of the garment with the lower edge of the band
on the stay stitching. Match the markings on the band to the garment at the
center front, center back, and out seams. Place pins on the garment side.
Fitting
1. Check the grainlines, ease, balance, and position of all seams when fitting the
garment.
2. Start at the seven-inch grainline first and fit the front, then the back. The
crosswise grainline at the seven-inch hipline must be kept parallel to the floor.
The creases in each leg must be perpendicular to the floor. Pants have four
centers, whereas skirts only have two.
3. Adjust the darts before fitting the out seams. The darts may be shifted to the area
where they are needed.
4. Mini darts, about two inches long, may be used between the large darts and the
side seams.
5. A slight garment bias in the center back seam is acceptable. Sometimes it is
impossible to match plaids at the inseams. Just remember these are the least
noticeable seams in the garment.
Pressing Techniques for Ladies Trousers
● Pressing
Tip: If you worry about shine what you can do is use a piece of thin cloth over the
top of your trousers before pressing. Be sure to use a cloth that does not leave
bits of fluff.
● What you will need:

1. An ironing board
2. An iron
3. A bristle brush with a backing/handle that is flat, wooden, and
unvarnished.
Select an iron temperature and settings consistent with the pant fabric. Steam works for
most fibers, tested on a small hidden area such as the pocket bag or waistband inside
before pressing the entire pants. Some fabrics may require the use of a press cloth to
prevent shine when pressing on the right side. Press on a long flat surface, preferably a
padded ironing board.
Procedure in Assembling Ladies Trousers
Assembling the Trousers

1. The crotch seam and all leg seams are made before the pocket and placket are
constructed.
2. The outside leg seams, pocket, and placket are constructed before the inside leg
and the crotch seams are made. The first method is common and will be the one
that is employed in our slacks.
● Front of Trousers
1. Stay stitch waistline and side edges, inside leg seam edges, and front
crotch seam edges.
2. Machine based darts and tucks; do not machine stitch until after first
fitting.
● Front Crotch Seam

1. Determine the type of seam to be used. A flat-fell seam is strong
and appropriate. A plain seam is satisfactory if a finish is used that
helps strengthen it, such as binding its edges or turning under and edge
stitching the seam allowances.
2. Stitch permanently after the first fitting.
● Back of Trousers
1. Stay stitch back sections of slacks and machine baste darts in the front.
● Back Crotch Seam

1. Use the same type of seam in the center front. If a flat-fell seam is used,
be sure it is made in the same direction as the front.
2. Baste seam, but do not stitch or complete seam until after fitting.
● Pinning for Fitting

1. Pin inner and outer leg seams, wrong sides together.
2. Try on slacks, and pin tape snugly at the waistline for fitting.
3. Adjust seams and darts as necessary, allowing hip, thigh, and crotch to fit
with enough ease for freedom of movement, enough so that slacks
do not droop awkwardly.
4. Fit in sitting and bending positions.
5. The fit waistline fits in the same manner as for a skirt. Mark corrects the
hemline.
6. Remove the garment and adjust pinning to prepare for stitching. If plain
seams are to be used, remove pins from seams, slipping them into a
single thickness of garment to show any alteration inseam line.
7. Turn the garment on the right sides together and pin-basted a new seam
line for stitching.
8. If a flat-fell seam is to be used, leave seams on the wrong sides together,
and pin-baste for stitching.
● Joining Front and Back Units
1. Stitch and press any darts or tucks and crotch seams. Stitch and press
inner leg seams with crotch seams and two inner leg seams exactly.
2. Clip seams on curves and trim seam allowances where seams cross.
3. Leg seams may be reinforced with narrow cotton twill tape extending
2” to either side of the crotch seam. Finish seams in the same manner as
crotch seams.
4. Stitch and press outer leg seams from hem to crotch, leaving the right side
open above the pocket marking, and the left seam open for the placket.
Pocket Inside Seam
The pocket is placed in the right side seam. The pocket in a seam will not open if there
is sufficient ease allowance in the fitting of the slacks at the waist and the upper
hemline.
Instructions:
1. Cut Out Two Pocket Pieces

Fold your pocket fabric in half and cut to make two pocket
pieces, using your template as a guide.
Good to know although you can make your pocket out of

the same fabric as your garment (unless that fabric is extra
bulky), this is a great time to use up scraps of fabric or
play around with color. If you set your pocket correctly, no
one’s going to see what it looks like. It will be your fun little secret.
2. Mark Your Pocket Placement

Using notches, a fabric pen, or chalk, mark the
placement of each pocket on the front and back pieces
of your garment. This is where the top of the pocket
will sit. If you’re adding the pocket to an existing
garment, try the item on and use a mirror to determine
where the pockets should go.
3. Pin Your Pockets
Take one of the pocket pieces and place it, right sides
together, on your garment. Match the straight side of the
pocket to the edge of the garment and the top of the pocket
to the notch, pin in place. Repeat with the other pocket
piece.
4. Start Stitching
Stitch the pocket in place with a ⅜” seam allowance.
Using a slightly smaller seam allowance guarantees the
pocket will not show.
5. Turn Out Your Pockets

Turn the pocket pieces out and press.
6. Pin and Sew the Side Seams

Place the right sides of your garment together, with the
pocket pieces turned away from the garment. Pin the
side seams together and around the pocket pieces.
Sew the side seams, as usual, following along the curve of

the pocket.
7. Press and Flip

Press the side seams of your garment toward the front and
turn the garment right side out. Your pocket should lay neatly
inside. Finish the seams of the garment and pocket. You
are done.
Bar Tack on Side-Seam Pocket
In sports clothes, the side seam pocket should be strengthened at the upper and
lower ends of the opening by working a bar tack across them.
1. Take several stitches ¼” long across the seam at the lower end of the pocket
opening, using a buttonhole twist or embroidery thread to match the garment.
2. Cover ¼” stitches with tiny overhand stitches close together, catching a few
threads of the fabric at the same time. Work across ends with tiny overhand
stitches.
3. Repeat at the top of the pocket after the waistband has been applied to a
garment.
● Bar Tack (1) - Several stitches of thread are being sewed across the end
of the opening.
● Bar Tack (2) - These stitches are now being covered with overhand
stitches close together, picking up a few threads of the fabric at the same
time.
● Bar Tack (3) - The ends have been finished with small bar tacks.
● Placket
Insert zipper as directed for side zipper.
● Waistband
Construct and apply waistband, using either top-stitched application given
for the gathered skirt or the directions of the skirt which feature the
invisible stitching and the longer underlap, as well as interfacing. The latter
waistband may be topstitched along all edges for a more tailored
appearance if desired.
● Hem for Trousers
Women’s and girls’ slacks are usually finished with a plain hem rather than
cuffs. Finish cutting edge by edge stitching or apply seam tape; turn up
hem at the desired length, press fold, pin-baste, and slip stitch to a
garment. Be sure the edge is even before edge stitching or applying seam
tape
● Fasteners
Attach hook-and-eye fasteners to the waistband as directed for a skirt.
● Pressing
Give trousers a final pressing, matching inside and outside leg seams to
locate position for front and back creases.
LEARNING OUTCOME 4. Apply finishing touches on sleeping garments
4.1 Apply finishing touches

4.3 Press finished garment
4.4 Pack finished garment
WHAT I NEED TO LEARN?
One of the important details of a constructed garment is the inclusion of finishing

touches. Finishing touches are fine and hand-finished details are required at specific
points on a garment as reinforcement. Applying finishing touches to the garments
makes the garments more outstanding and appealing. It enhances the product
more and it makes the garments appeal more precisely.
Types of fasteners
● Buttons
Buttons are one of the oldest forms of fastening. They come in
many shapes and sizes and can be made from a variety of
materials including shell, bone, plastic, nylon, and metal.
Buttons are sewn to the fabric either through holes on their face
or through a hole in the stalk called a shank, which is on the
back. Buttons are normally sewn on by hand, although a
two-hole button can be sewn on by machine.
● Snap Fastener
Snap Fasteners are used where a lightweight fastening is
needed. They are available in a black or silver metal finish in a
range of sizes. Small, clear plastic snaps may be used on fine
fabrics.
● Hook and Eye

Hooks are versatile fasteners that can fit into both straight bars
and round eyes and are strong enough not to open under
stress. They are made in different sizes and strengths and are
frequently used on waistbands and at the top of the zipper
openings. Sew-on snap fasteners are available in a range of
sizes, and non-sew snaps provide an alternative to buttonholes on casual
garments.
● Zipper
The zipper is probably the most used of all fastenings. There
are many types available, in a variety of lengths, colors, and
materials, but they all fall into one of five categories: skirt or
pants zippers, metal or jeans zippers, invisible zippers,
open-ended zippers, and decorative zippers.
Final Touches
1. Hemming Stitches
Machine Sewing: Load your bobbin and top spool with the
same color of thread. The thread should match as closely
as possible with the original thread used on the pants.
Straight stitching is used for jeans or the lining of dress

pants. The seam side of pant linings normally faces the
seam side of the pants so that the interior and the exterior
of the pants both present the finished side.
Pant linings are usually sewn with the pants right side out, but with the pant leg
gathered toward the crotch so that the lining extends enough for sewing.
A machine blind stitch consists of three or four straight

stitches that sew the inside hem followed by a side stitch
that attaches the inside hem to the pant leg by just a thread.
This picture shows a sewing machine that uses a cam and
dial to select the sewing pattern. For cam number 1, the
dial has to be set at position B to select the blind stitch
which is illustrated in gray color on the side of the machine
under the letter B.
Folding the material for a blind hemstitch. This

photograph shows how the cut end of the pants cuff is
folded toward the inside of the ironed crease; the pant
leg is folded once more leaving a 1/8 inch offset for
machine blind stitching.
Sewing the blind hemstitch. Working with the pants
inside out, fold the hem so that the cut edge is folded
toward the crease as for the straight hem, but then fold
the final edge toward the inside of the cuff leaving 1/8
inch to start sewing.
2. Attaching hook and eye
1. Stitch around each hole on the hook, without

stitching through to the right side. Take two or
three stitches over the neck of the hook to
secure it. Finish with backstitches near the
hook.
2. Position the eye so that the loop projects over

the fabric edge by about 1/8 in (3mm). Fasten
the thread securely. Stitch around each hole.
Stitch over each side of the eye inside the
fabric.
3. Fasten the hook and eye. The finished edges of

the two parts of the garment should just
meet and lie flat, so that no part of the hook or
eye is visible on the right side of the
garment.
3. Lapped Zipper
A skirt zipper in a skirt or a dress is usually put in using a lapped technique or a
centered zipper technique.
1. Sew the seam, leaving enough of the seam open to

accommodate the zipper.
2. Secure the end of the stitches.
3. Insert the right-hand side of the zipper first. Fold

back the right-hand seam allowance by 1/2 in
(1.3cm). This folded edge is not in line with the
seam.
4. Place the folded edge against the zipper teeth. Baste.
5. Using the zipper foot, sew along the baste line to secure the zipper
tape to the fabric. Sew from the bottom of the zipper to the top.
6. Fold back the left-hand seam allowance by 5/6in (1.5cm) and press.
Place the folded edge over the sewn line of the other side. Pin and then
hand baste along a fold line.
7. Starting at the bottom of the zipper, sew across from the center seam line
and then up the side of the zipper. The finished zipper should have
the teeth covered by the fabric.
Labeling the Garment
Labels are not a functional component of a garment but essential for many reasons.
Seven common labels that are found in garments are Brand label, Size label, Care
label, Flag label, Manufacturer code, Line mark label, and special label. Each label has
a specific purpose and gives information.
1. Brand or Main Label

Main labels indicate the Brand name or Brand Logo of the company that
originates and sells clothes. Brand labels play a big role to customers because
customers know the brand and they buy the branded one. A brand label is
associated with the product‟s quality, durability, and feel-good factor. We
prefer to buy Levis jeans and Tommy Hilfiger shirts and Polo shirts, Zara for
dresses.
2. Size Label
Size label defines a specific set of body measurements. These Size labels may
be printed only later to denote a specific size. Such as S for Small, M
for Medium, and L for Large size garments.
3. Care Label
This label includes care and ironing instructions. For details of wash care
instructions. This refers to garment care symbols. Care labels are attached at the
side seam The purpose of care labels is to warn wearers on what not to do while
washing, drying, and ironing to maintain color, specifically printed designs,
after wash shrinkage and color blending issues. A care label includes a
few other information such as:
a. Fiber contents are also included in care labels. i.e. 40% Poly and
60% Cotton
b. Country of origin: The name of the country that manufactured the product
is also written on the care label. Like, Made in India, Made in the
Philippines.
4. Flag Label
A small label attached outside the seam. Flag labels are normally made of brand
logos and are used as design features.
5. Manufacturer Label
This label includes the manufacturer’s code given to buyers. Most
international buyers purchase garments from countries. In case buyers need to
track the manufacturer of a particular product, they look for this code.
6. Batch Mark Label

A label that indicates which sewing line or batch had made the particular
garment. This label is not asked by buyers or brands.
7. Special Label
100% Cotton, Organic Cotton is an example of such a special label. Special
labels are normally attached to draw customer attention at the time of
purchasing.
Functions of Packaging
1. Protects the Products and Consumer

Good packaging is designed to protect the product. For example, packages
should be designed to withstand humidity, puncture, and other types of damage.
2. Contains the Product

Containers make products easy to carry and keep separately.
3. Identity of the Product

A package would be less useful if it’s not properly identified. Usually, the contents
are identified by the label on the package. However, using a special design or
color on the package helps customers identify the contents.
4. Promotes the Product
The package is the natural place for promotion. It is part of the product which is
most visible to the customer.
5. Makes the Product Easy to Use

Cartons with spouts for easy pouring, boxes with zip-strip openings, butter
wrappers with measurement marked on them are examples of the conveniences
offered by packaging.
Packaging Materials
1. Paper and cardboard are among the most widely used packaging materials.
Paper is inexpensive, lightweight, fairly strong, and easy to print on. Cardboard
has all the advantages of paper and is heavier and stronger.
2. Wood and glass are traditional materials for sturdier or more specialized forms
of packaging. Wood makes sturdy shipping crates, which are reused many times.
Glass is used mainly to hold liquids or products containing liquids. It doesn’t leak
and is free from unwanted taste or smell.
3. Plastic is used in many forms for packaging. It is shaped into jars and bottles; it
is molded into boxes, baskets, and trays; it is processed into sheets for
packaging toys, bed linens, small articles of clothing, and a wide variety of food
products.
4. Metal is a material that has long been used to pack liquids and food products.
The most used metal container is the can. At one time, all cans were made of
steel with tin plating. Today, aluminum cans are popular, particularly for soft
drinks.
5. Metallic foil is extremely thin sheet metal, and is widely used in commercial
packaging. It can be folded and wrapped almost like paper and yet has the
strength and moisture resistance of a metal.
Packaging Forms
Some of the most familiar forms of packaging are boxes and crates, bottles and jars,
and bags and wrappers.
1. Skin packaging is the plastic film molded tightly over a product mounted on a
card.
2. Blister packaging. A plastic bubble formed in a plastic sheet. The product is
placed on a card, and the bubble is placed over it.
3. An aerosol or Dump dispenser is a container that releases its contents in
spray or foam when a valve is pressed.
4. A flexible pouch is a package formed from plastic film or paper that is filled with
the product and sealed by a heat process.
5. Shrinkwrap is a package made by placing clear film around the product itself.
6. Multipack is a special package design that groups two or more packaged
products into a unit for easier display, carry home utility, or user convenience.
7. Aseptic packaging combines many good qualities of cardboard, metal, and
glass. This container is called “aseptic” because it keeps germs out of foods that
need no refrigeration.
8. Dispensing Closure is a cap, lid, or seal through which the contents of the
container can be dispensed in a controlled manner.
Procedure in Packaging Finished Garments
Finishing Department: Checkpoints in the finishing department consist of the

following:
1. Initial finishing inspection: Checking done before pressing the garment at the
finishing room is known as initial finishing.
2. Final finishing Inspection: After pressing, garments are double checked and
passed for tagging and packing.
3. Internal final audit: After the garments are packed up to a certain quantity, the
quality control team audits package garments. This process is carried out to
ensure handing over shipment to the buyer.
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Group 2-Initial Final Project-Ict06

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ACTIVITY #03

Initial Final Project Requirement

● Lesson 01: Sewing Tools, Equipment and their uses

Altering- changing portion of a garment to fits the body

● Identify sewing tools and equipment and their uses

● Sewing tools and equipment are identified

SEWING TOOLS AND EQUIPMENT

1.1 MEASURING TOOLS

TAPE MEASURE - A flexible measuring device used in

SEWING GAUGE - A small ruler with a sliding guide and is

RULERS - A ruler measuring 12 inches or even 18

L-SQUARE-The tailor square or "L" is used to transfer

It has two arms connected perpendicularly.

FRENCH CURVE-This is used to shape the depth of the neckhole

1.2 CUTTING TOOLS

Bent-handled dressmaker’s shears

​ otary Cutter and Mat

1.3 MARKING TOOLS

Chalk Pencils/Dressmaker pencil

Liquid Marking Pen

​Dressmaker’s Carbon Paper

1.4 PINNING AND SEWING TOOL

1.6 TYPES OF SEWING MACHINE

Well-selected sewing machine is essential for achieving good results. It should

1. Lockstitch Sewing Machine - This is usually

3. Over Edging Machine. Other companies call

4. Embroidery Machine. This is used in making

5. Button Holer Machine. This is used in

6. Button Attachment Machine. This is used in attaching

7. Double Needle Machine.

Major Parts of the Lockstitch Sewing Machine

The Upper Parts is composed of:

1. Head is the complete sewing machine without

Parts of the Sewing Machine in the Arm

1. Spool Pin is the thread holder.

​Parts of Sewing Machine under the Bed

​The Lower Parts of the LockStitch Sewing Machine

Accuracy - exact measured distance or circumference

● Parts of the body are measured

Parts of body to be measured can be taken in:

Neck - Loosely measure around the circumference at the base of

Bust - Lift your arms to the side.Measure around your body

Shoulder to Bust - Measure from tip of the shoulder to the center

Front Shoulder to Waist - Measure from tip of shoulder over bust

Shoulder to Shoulder - Measure across the back of neck from

Shoulder to Neck - Measure from base of neck along top of

Down Center Back - Measure from nape of neck to natural waist.

Across Back - Measure from armhole across back to armhole

Sleeve Hole - Measure around the shoulder under the armpit.

Bicep - Measure around the fullest part of the upper arm.

Elbow - Do a fairly loose measurement around the bent elbow.

Over Arm - Measure from outer shoulder socket on outside of arm,

Upper Arm – Measure from the outer shoulder socket on the

MEN’S APPAREL ( MEASUREMENT )

Length of pants or shorts – measures along the side below

​Shoulder - taken from one shoulder point to the other.

Breast - taken around the body with the tape measure

Neck measure – taken around the neckline.

Desired Bottom or Hem Circumference or leg hole – taken

● Perform simple calculations

● English and Metric systems of measurement are identified and applied.

METRIC CONVERSION CHART

Simple calculation is a simple mathematical application used to compute the exact

otary Cutter and Mat

Dressmaker’s Carbon Paper

Parts of Sewing Machine under the Bed

The Lower Parts of the LockStitch Sewing Machine

Shoulder - taken from one shoulder point to the other.

11 Inches = 27.94 Centimeters 4 Yards = 3.6576 Meters