fabric – Page 4

December 4, 2020

Border Prints 101

When shopping for fabric, we’re accustomed to seeing rows of bolts with an allover print. But look a little deeper and you’ll find some with unique features—border prints! Border prints are fun to work with and allow you to showcase this print feature in creative ways.

What is a border print?

Instead of a fabric having the same patterning across the full width of the fabric, border prints have a different pattern along one or both edges. The bands of distinct prints can be narrow or wide, and can extend their emphatic look across the fabric’s full width in some instances creating a beautiful graphic element.

A double border print may have the same or differing designs along each fabric edge. A common pairing is to have one narrow border and one wider one.
A border print is parallel to the fabric’s selvage, ready for showcasing in a garment, accessory or quilt and can be found on a woven fabric or along the cut edge of a knit.
Another type of fabric considered a border print has a lengthwise edge detail like scallops or fringe along one or both sides.

Working with a Border Print

The primary difference in working with a border print is that the project needs to be on the crosswise grain of the fabric, rather than the traditional lengthwise spec. The design area is best showcased along a straight edge, like a skirt or sleeve hemline, pant leg, jacket hem, etc., though it doesn’t need to be at the bottom of a garment. The border can also be used along a pocket edge, in a bodice area or even at the waistline.

If you prefer to use the border vertically instead of horizontally, think about a jacket front, wrap skirt or side-seam accent. If you choose this orientation, be sure the border design isn’t directional—for example, you probably don’t want flower stems horizontal on a jacket front, or people lying down along a wrap skirt edge. The print should really be non-directional for vertical use.

Border prints can also be used to accent small areas, like collars and cuffs, totes, etc., and are also ideal for home décor projects, like on a curtain hem, pillow or quilt border.

Like any distinct print, matching is always a good idea, so consider where you may need to match a distinct pattern before you begin cutting. A hemline border should match at the side seams to avoid breaking the visual patterning.

Pattern Adaption

Some patterns are designed specifically to be used with border prints, but most are not. Look for designs with straight edges, like a gathered or pleated skirt, if you want to feature the print along the hemline.

If the area you want to use the print in is curved, you’ll need to straighten it or risk losing part of the border to the curve.
Redraw your pattern’s grainline to reflect the new orientation on the fabric. Use a ruler to change up the standard grainline 90°. Double check the fabric width to accommodate the new orientation.
Since some border prints are close to the selvage, it may be necessary to modify a hem depth if you want to use the print along the bottom of a skirt. A narrower hem, or a faced hem, could both be options depending on the design placement.

Yardage Adaptation

The amount of yardage needed for a border print will likely differ from what was originally called for if the garment was originally cut on the lengthwise grain. After redrawing the grainline on the pattern pieces, do a test layout to refigure the fabric before purchasing. Keep in mind that it’s best to cut all the garment pieces on the same grain to avoid any variance in directional prints or shading.

The width of the fabric may limit the use of the border on certain garments, or require you to piece a garment if you’re intent on using a particular fabric.

Note that you can also trim off the border and reattach it if needed, to get the look you want in your project.

Now that you know more about them, when you see a border print fabric, think about how you can showcase it in your next project!

~Linda Griepentrog
Linda is the owner of G Wiz Creative Services and she does writing, editing and designing for companies in the sewing, crafting and quilting industries. In addition, she escorts fabric shopping tours to Hong Kong. She lives at the Oregon Coast with her husband Keith, and two dogs, Yohnuh and Abby. Contact her at .

November 20, 2020

Sewing Basics: Fabric Terms

What is the one item that you absolutely must have for every sewing project you will ever do? It’s fabric, of course! Since the fabric you choose will have a significant impact on how your finished project turns out, it can help to have an understanding of how fabric is woven so that you can meet the expectations of your finished project. While weaving is a skill all on its own, understanding weaving principles can open our eyes to a greater depth of our understanding of fabric. Let’s start by watching this 7-minute video as we see cotton and hemp woven into fabric.

Fabric Terms

Now that we have a visual of the process, let’s look at fabric terms:

Selvage: The video provides a great visual representation of selvage and why it exists. The process of shuttling the weft threads back and forth is what creates the finished edge. Now, as you think about how that thread if shuttled from one direction then the other, wrapping the edge as you turn to the other direction, selvage makes a lot more sense. No wonder it doesn’t ravel! And since it is created by wrapping those vertical warp threads, it now makes sense why the selvage is so vital to determining the grainline, as well as the most stable part of the fabric. The selvage can be included when cutting a waistband to help reduce the stretch factor that is sometimes experienced while wearing a garment. Using the finished edge of the selvage in a waistband can add strength and may eliminate the need to turn another layer of fabric inside, thus reducing a layer of bulk.

Warp: As shown in the video, warp threads are the first to be set up and run the length of the fabric. Warp threads provide the structure for the weft threads to weave through and give the fabric stability. Warp thread and grainline go together — the grainline equals the direction of the warp thread. Doesn’t it make more sense now that the grainline is the most stable direction of the fabric?

Weft: Remember the threads being shuttled from the left to the right in the video? Those vertical threads are the weft, which also defines the cross grain of the fabric. The cross grain is the second most stable direction of your fabric but since they are not held tightly in place like the warp thread, they have a bit more “give” to them. However, since they are in a straight line, they have more stability than the bias, which we will talk about next.

Bias: Think of bias as a tic-tac-toe grid and draw a line from one corner to the opposite diagonal corner. That 45-degree angle is the bias. This has the most give and the least stability of any direction in your fabric. With an understanding now of how threads are woven, you can probably visualize the tiny gap between the threads. When you pull those threads at a diagonal, there is no straight thread to pull against, thus you are pulling across that tiny open gap between the threads. Sometimes we use the property of bias to the advantage of a project. For example, a garment made with bias-cut pieces will have a greater amount of drape and will skim the body much more than the same garment made of the same fabric that was cut on the grain.

Grain: By now, just by talking about warp and weft, we have already addressed grainline. But to see a little bit more focus on the grainline, watch this 6-minute video we published in January of 2020. It addresses some of the things already discussed here with a little more information about how to identify and use the grainline when cutting out your projects.

Hand: The final term in this discussion is hand. The “hand” of a fabric refers to the “feel” of the fabric against your skin. There are many adjectives that can be used to describe the hand, or feel, of a fabric. Words like cool, slick, smooth, loose, stiff, heavy and stretchy can all be used to tell someone about the hand of a fabric.

Hand and drape are terms that are very closely related. The drape of a fabric is the way it flows over things. Stiff fabrics have less drape while fluid fabrics have more. You can feel the weight of a fabric easily by the thickness when you feel the fabric in your hand — it will feel either light or heavy.
Think back to what you saw in the weaving video about the threads used in weaving the fabric. The characteristics of those threads play a vital role in the hand and drape of the fabric. The thicker and more stable the threads, the stiffer, and more stable the fabric. Delicate silk threads will weave together to create a much different hand and drape than heftier linen or cotton threads.
Special treatments of the fabric after it is woven can also impact the hand or drape of the fabric. For example, the dying process can create a stiffer, less drapey hand based of the amount of mordant. A mordant or dye fixative is a substance used to set (i.e. bind) dyes on fabrics. Some mordants can create a stiffer hand and less drape in the final product.

We hope that diving into the art of weaving has given you a new perspective on fabric and has helped to explain the importance of understand the relationship between the fabric you’ve chosen for your project and your desired outcome.

~Sheryl Belson

June 5, 2020

Tackling Tulle

Tulle tu-tu on a little girl Whether you’re making a flirty tutu, a long flowing wedding veil or decorating for a bridal shower, it’s likely some tulle will be involved in the process.

Like its netting cousin, tulle is an openwork fabric sporting allover holes for a transparent look. Netting has larger holes than tulle and it’s usually stiffer. Both are usually made from nylon, though some other fibers are often found in specialty stores. Both netting and tulle are available in wide widths—from 54” to 108”, so it’s economical to use both for garments and home décor.

When tulle is used in garments, it’s often used either over another fabric, or it’s used in multiple layers for deeper color and modesty. A single layer of tulle is almost invisible.

Tulle has no grain so pieces can be cut any direction. It also doesn’t ravel, so edges do not require finishing, unless for decorative purposes. Trims, such as lace, are often applied over the raw edges of tulle for interest and additional weight. When used on veils or as ruffles, tulle often has serged rolled hems and fishing line can be added for undulating edges.

Tulle edges can be scratchy, especially around a multi-layered gathered waistline, and kids are the first to express their discomfort with aplomb. Waistlines of tulle skirts are easily bound with ribbon or fabric to prevent the itchy distress.

Pressing

Because of its fiber content, tulle requires extra care during pressing to remove any bolt wrinkles. It’s a good idea not to press directly on the tulle, but instead use a lightweight pressing cloth and a low-temperature iron. Before committing to a pressing method, test on some scraps.

Cutting

To cut tulle, it’s best to use a rotary cutter, ruler and mat for a perfectly straight and even edge. Cutting with scissors can leave uneven or jagged edges. Hold the fabric in place with weights or a ruler while cutting. If you’re cutting more intricate shapes (other than the most-often used rectangles), pin tissue under the fabric, then cut through both at once to maintain the shape needed.

Sewing

Seaming tulle can be challenging, as the layers may try to shift at your machine. Large, flat-head pins can help, as can spring clips to hold the edges in place. If those don’t work, then add a layer or tissue paper or water-soluble stabilizer under the area to be seamed.

Speaking of seaming, with tulle being translucent, all seams are obvious. It’s best to opt for a narrow seam with exactly matching thread, or even clear thread. However, sewing a narrow seam is not without its challenges either—often best to sew a slightly wider seam, then trim to make it narrower.

Use a small needle for tulle sewing and a longer than normal stitch length. If the toes of the presser foot tend to catch on the fabric’s holes, put transparent tape on the bottom of the presser foot, or switch to a roller foot for unhindered feeding.

Gathering can be done my machine or by hand. If you’re gathering by hand, use a large needle and a heavier thread and make even stitches through the mesh openings. Threads can easily pull out in the gathering process so be sure to knot securely at one end. Or, if your tulle project has a layer of other fabric with it, gather both at the same time for easier handling.

If you’re trying to apply a trim to a cut edge of tulle, prevent slipping by using a fabric glue stick to secure the trim in place before sewing.

Other Tulle Uses

In addition to the usual places you find tulle, it’s also a good base to use for machine embroidered laces and trims. Pair it with a water-soluble stabilizer to hold it in place for stitching, then remove once the design is completed. Look for designs specifically digitized for lace.

Tulle is also ideal for gift wrapping—you can purchase it in spooled strips of varying widths to tie up packages and wrap chairs for festive occasions. Use it as you would ribbons and scrunch and tie as desired. Strips of tulle are also ideal for making small gift bags to hold holiday treats or favors—just seam both sides and tie the top. Tulle strips can also be used to make fluffy pompoms and flowers for party décor.

January 17, 2020

Sewing Basics: Fabric Grainline

Fabric grain refers to the direction in which the threads run. It’s important for the lengthwise and crosswise threads to meet at right angles, or the project will twist or hang crooked. Do you understand fabric grain, why it is important and how to work with it? This video will tell you everything you need to know to begin building your understanding.

November 20, 2019

Learn to Sew: Knowing the Nap

Napped fabrics are normally cut so that the nap runs down the garment, from the top down toward the lower hem. This feels softer, and the fabric tends to pill less and wear better. However, when the nap runs up, the color is richer.

Short-nap fabrics, such as corduroy and velour, can be cut with the nap running up to achieve a richer, deeper color and a more interesting texture.

Outerwear fabrics with heavy and longer surface fibers, such as fleece and camel’s hair, should be cut with the nap running down, so the pile is smooth and the garment repels moisture better.

~ Thank you to www.sewing.org for this tip (reprinted with permission)