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Construction Reference / Re: Das Knopfloch - Buttonholes
« Last post by Schneiderfrei on June 18, 2017, 11:35:06 AM »
When the Buttonhole Silk is Broken.

It sometimes happens, that when knotting up a button hole, the thread breaks.  This is very vexing, since one must now introduce a new thread that yet gives a good transition.  In such cases, we help ourselves in the following way:  The last loops are opened, until the remaining thread end is about 4 cm long.  The last loop remains open, and now we guide the needle closely next to the last stitch, and bring the new thread as usual, through the last loop.  We pull the short end of the thread and close the loop.  By pulling the new thread through, the loop lies in the correct position.  The button hole can then be finished as usual, the short end is simultaneously sewn into the new stitches.  This way is simple and yet safe. 


Abbildung 235 shows the buttonhole with the torn thread.


Abbildung 236 shows the introduction of the needle from below, to the same place at which the last stitch came out above.  The last loop is pulled up.  Then, after the needle is inserted, we pull the new stitch up, til the knotted thread end.  Then we pass the needle from behind through the loop and pull through the remainder of the old thread.


Abbildung 237. The tightening of the last loop, with which the new thread is simultaneously brought to the correct place.  The button hole is finished in the usual way.
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Construction Reference / Das Knopfloch - Buttonholes
« Last post by Schneiderfrei on June 17, 2017, 07:26:01 PM »
Another great section from the ABC des Schneiderhandwerk - this time from the Sakko construction.

Some of the problems with this translation were the terms:

1 - Vorpass - I have rendered as Core, ie the inner core of the buttonhole knots.

2 - Quispel - DZ has been a great reference for this term (see the cutter and Tailor forum), he says it was a cheaper version of gimp, a double twist of buttonhole thread.  In this article Quispel seems to be a propriety term for a product in between double twist and gimp.

3 - Loops - probably 'knots' would be a more accurate term, but I have used the more literal version.


But now we need Agreman Gimp. That is the only way to get 3D raised buttonholes. I was fiddling with the buttonholes a lot, you can stitch them narrow to the edge as much as you want the won't become narrow in the end they become wide. So you need the real gimp underneath the thread. The real gimp is Agreman Silk gimp. I have books from 1930 they talk about that special silk gimp with core inside. Any other gimp which is not like that “Silk around the Core” thread you can throw away or use it as cheap Quispel/Vorpass.  DZ

Quispel/Vorpass, there is no translation. It is like the gimp but cheaper.
Quispel is a double twisted buttonhole thread and serves as Vorpass. Now we got it.  DZ



Das Knopfloch




Many tailors consider a cleanly worked buttonhole as proof of the prowess of a colleague.  This will not always be the case, since a good buttonhole testifies merely to a skilful dexterity and flair.  As an apprentice it is in any case incomprehensible how a rough man's hand can cleanly work a buttonhole barely 2 cm in length with such fine needles.  Well — no Master has yet descended from Heaven — only practice makes the Master.

Although each of us has already worked on buttonholes, the production of the buttonhole should be shown once more in pictures.  The buttonhole has been cut at the intended place.




Abbildung 217.  The edge of the buttonhole is secured from fraying by overcasting (blanket) loops.  Thus, we take a fine needle and a finer silk machine-thread.  It has proven to be advantageous to use overcasting (blanket) stitches when edging the buttonhole.  Possibly, the fraying threads are drawn to the middle of the cloth layers, while the loose threads are lifted up by simple overcast stitching and thereby easily interfering with the looping out of the buttonhole.



Abbildung 218.  As a preliminary step, we take either, Gimp, (for hard buttonholes) or a doubled buttonhole silk (for soft buttonholes).  We have chosen Gimp, to give a better distinction to the buttonhole silk.  The preliminary step (A) is firmly anchored in the cloth and appears exactly at the beginning of the buttonhole in the upper surface of the fabric.  There we also begin with the first loop of the buttonhole silk (B).


Abbildung 219. The first loop is open. The needle is passed through this loop. 



Abbildung 220, and the hanging thread loops around the knot [bight].




Abbildung 221. we pull the thread/loop to.



Abbildung 222. At the same time we cast the resulting knot over to the left.  The first loop is therefore finished.



Abbildung 223. Thus we lay loop on loop, careful of the tight and even position of the core and come up to the awl rounding of the buttonhole.



Abbildung 224. There must be special attention to the core [Vorpass], that it not be torn from the edge, taking the loops.  Stretching of the buttonhole can be corrected by tightening the gimp.



Abbildung 225. Here we have already tightened the opposing buttonhole edges and must now lock the buttonhole.  To do this, we run the last loop exactly behind the core [Vorpass] from below.  (see arrow)



Abbildung 226. now we catch the first and last loops together with the buttonhole silk and pull the thread through to the underside, where we stitch the silk and the gimp well.  A thick overlying bar is worked by only few tailors, so we can dispense with a rough lock.




Abbildung 227. The buttonhole also deserves to be tacked together and rounded out with the awl. To do this we pierce the needle through under the loops of both edges, 



Abbildung 228, and thus, bring the two rows of loops closely together.   



Abbildung 229. Before rounding with the awl, we also flip the thread around the outside.
   


Abbildung 230. We tighten the basting thread, or buttonhole silk remainder, about twice before rounding with an awl, thereby with the straight lines of the loops are not pushed apart.



Abbildung 231. Then we sew two stitches behind and so the buttonhole holds a good shape. Here is the completed buttonhole seen from the back. 

As far as the normal buttonhole, it's production is probably best known.  But we don't want to overlook an ornamental buttonhole, often used in the past: the Gimp buttonhole.  Today, it is only worked onto silk lapels, thus Dress jackets, Smoking jackets. On the other hand it has formerly been used for suit-coats. As a core [Vorpaß] one takes tube or wire gimp, (hence the name: "gimp buttonhole"), this is a core of cotton fibres, tightly wound with silk. A fine gimpen silk is used for the loops. This has about the strength of a fine silk hand sewing thread.  In contrast to the normal buttonholes, the loops lie not on the core but next to the buttonhole incision.



Abbildung 232. The 'Blind' buttonhole.  Since it should look exactly like a cut buttonhole, it is also made in the same way (A).

The buttonhole silk is visible at B.



Abbildung 233. The laid loops are done just like normal buttonholes.



Abbildung 234. The finished 'blind' buttonhole.  Both these buttonholes were processed with overlying bars.  The threads of buttonhole silk were locked twice before the first and last loops were laid.
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Drafting, Fitting and Construction / Re: Question for sleeve lovers
« Last post by spookietoo on May 28, 2017, 03:46:47 AM »
Peterle - apparently at a normal stance with arms at rest at sides, the palms of the hands should  rest against the sides of the body. When I stand with arms at rest, my palms are to the back of me. Maybe this is what you are calling a "turned arm"?

Over the last few months, I ran across an explanation of the "rotated elbow" issue on one of the home sewist forums, but didn't realize I had the problem at the time. (Now, of course, I can't find that post!) I needed to complete my jacket nonetheless and realized rotating the sleeve helped other problems, and decided the elbow issue was of lesser importance to be dealt with later.

I'll address the shoulder and armscye first. Thanks.
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Drafting, Fitting and Construction / Re: Question for sleeve lovers
« Last post by peterle on May 27, 2017, 07:34:33 PM »
Spookietoo, what do you mean with rotated elbows? Elbows shifted more forward or more backward then usual? or something different like a turned arm?

Itīs always good to make only one alteration at the time. Especially scye and cap alterations influence the position of the elbows. ( Doing Fritzīs alteration of the second pic will shift the elbow backwards for example)
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Drafting, Fitting and Construction / Re: Question for sleeve lovers
« Last post by spookietoo on May 27, 2017, 12:20:16 PM »
Everyone, thank you for all of this info. I'm dealing with rounded back & forward head for myself and recently corrected some problems with the sleeve by pivoting as a quick fix - but I'm wanting a better end result and had planned to redraft scye and sleeve this weekend.

Thank you for all of the suggestions this should be a great help.

I also need to accommodate rotated elbows and quite frankly felt it would be easiest to sort out the scye and cap first before dealing with the elbows (working from the top down) Am I wrong in my thinking?
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Drafting, Fitting and Construction / Re: Question for sleeve lovers
« Last post by Tailor Fritz on May 27, 2017, 06:01:48 AM »
It's quite hard to explain without the proper images, but I'll give it a try.
This is a gif I made a few years ago and it shows how the crown changes when the hang of the sleeve changes.



When the arm changes position (due to stance/ posture) it also changes the armhole.
For example: An erect figure needs a longer front and a shorter back armhole, for a stooping figure it's the opposite.
Lets assume that the shape of the armhole doesn't change at all, yet you still have to change the sleeve crown.
I find the "easiest" way to do this to slash the crown roughly at half it's crown height, using the middle of the cut as a pivoting point.
For an erect figure you open the front of the crown (which closes the back)



For a stooping figure do the opposite.
Last step is to correct the run of the sleeve seams to get smooth lines.

Posaune:

Remember what they show in the Rundschau ladies book about how you are supposed to copy the shape of the lower armhole into the sleeve?
You basically do the same when you change the pitch. The distance between Äe and S (side seam) changes, same goes for the distance between Äe and the Kp (top of crown) and all the other ones in the draft.




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Drafting, Fitting and Construction / Re: Question for sleeve lovers
« Last post by peterle on May 23, 2017, 08:53:24 PM »
Well, I see...
 I think a bent back with forward neck (Witwenbuckel?) changes the posture in the following way: the arms keep the same position (due to gravity) but the body kind of rotates in the shoulder joint. So the relativ position of the body and the arms change (very similar to lifting the arm to the front).The bottom of the scye rotates backwards pulling the sleeve also backwards. Thus the sleeve gets tight at the front biceps, causing horizontal/ horseshoe folds in the front.

By altering the front and back pattern ( long back balance, short front balance, smaller chest width, wider back width) you adapted the armhole to the body, but keeping the notches for the sleevehead, also kept the relative position of the sleeve to the body. But hence the arms changed position relatively to the body, also the sleeve has to change the position. Hemline forwards, pitch point of the sleeve head backwards. ( think of a teddy bear: bending the body of the teddy and keeping the arms vertical makes the pitchpoint of the arm meet a different spot on the shoulder.)
So I think simple rotation can do the trick in this situation, and I think there was no need to change the sleeve head because you yet adapted the armhole to the specific situation.

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Drafting, Fitting and Construction / Re: Question for sleeve lovers
« Last post by Greger on May 23, 2017, 04:06:50 PM »
This book has some details about sleeves.
http://www.cutterandtailor.com/forum/index.php?showtopic=2011&hl=sytner
The link might still work.
One chapter devoted to sleeves.
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Drafting, Fitting and Construction / Re: Question for sleeve lovers
« Last post by posaune on May 23, 2017, 02:51:31 AM »
Well Peterle, the lady stands bend with the neck to the front - the back is rounded - old people.
There was a fold at middle front sleeve.  You just want to tire it up or pinch it out. The fold is worse when I do a tight sleeve, it is way better with a coat sleeve. I have pinched it out - not good. Rotating does the trick.
Now Fritz wrote
When you rotate forward (up) the undersleeve needs to be fuller to get the old shape relation back (same shape as and distance to side body). When moved backwards (up) you need to alter (hollow) the front of sleeve and hollow the undersleeve run. You also need to move the sleeve's pitches accordingly
I have done a drawing: First normal situation. second the sleeves rotated 1 cm. You see how the front sleeve comes forward (what Peterle wrote) now second Pic I have cut 1 cm away from the back sleeve and moved it to the front. Is this the way Fritz wrote?  My mind boggles (in english)
lg
posaune



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Drafting, Fitting and Construction / Re: Question for sleeve lovers
« Last post by peterle on May 23, 2017, 01:21:03 AM »
Posaune, how was the sleeve hanging before the alteration? What was the problem you solved with the rotating?

In my eyes rotating the sleeve in the armhole mainly changes the position of the elbow and lower edge relatively to the armhole. The whole elbow line and cuff line will shift forwards or backwards. This effect could also be done by shifting the elbow and hem line in the pattern.

On the other hand rotating the sleeve means to shift the highest point (and lowest) of the sleeve crown. Shifting this point can be necessary to accommodate a specific shoulder , that has a pitch point more forward or backward than usual. This effect could also be done with reshaping the crown.

In both cases I think rotating the sleeve is a quick and dirty method,  that just works in small boundaries. But due to the fact it always changes two things at once, it can have unwanted side effects.

regarding your question, I think itīs not the distance of the underarm seam to the side tip, itīs the shifted pitch point of the crown that makes the changes work (as you can see in the 4th pic)

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