Review of Simple Modern Sewing pt. 2 : Sewing up a sample

I have to admit that I put off the rest of this review. It's hard to be so down on a book that I had so enjoyed perusing. You can read the gushing in part 1 of my review. First the positive:

The photography and layout of Simple Modern Sewing is great. The instructions are adequate for experienced sewists. The patterns are printed on sturdy white paper.

And then when you pull out the pattern sheet, this is what you get:

As you can see, nearly all the pattern pieces and sizes use the same exact black line. It would have helped to at least denote the different sizes with different line types and colors for different styles in the same way that Burda does. You have to really look carefully for notches, because they are easy to miss despite extra notations on the pieces. And in just this one snapshot of one part of the pattern sheet, there are 5 pattern pieces that overlap.

The issues with the pattern sheet are relatively minor though, especially if you are comfortable with Burda patterns. I did manage to trace everything off for the wrap blouse and dress. I had to select the large size since that matched up with my measurements best. There did seem to be some discrepancy between the measurement chart, printed finish measurements in the pattern instructions, and the actual pattern pieces. I didn't take the time the track it down and it could be just differences in how one measures. For me, it resulted in a bit more room (which was actually needed) than I expected. One good thing is that the shape of the armhole and sleeve was along the lines of what Kathleen recommends.

A bigger issue did present itself once I started checking the pattern. There is a grading error on the shoulder seam of the bodice pieces of the wrap blouse for the medium and large sizes. In order to fix the large size, you will need to pull the shoulder point of the back shoulder seam in about 3/8 inch. The other smaller sizes match up just fine. I debated whether this was indeed a grading problem because sometimes the back shoulder is eased instead of having a dart. On boxy, loose fitting styles there is no easing or dart, which is what this style is supposed to be. Since the smaller sizes matched, there could be no other explanation. No other bloggers have mentioned the same problem, so I'm not sure if it is just an anomaly on my copy.

After correcting the pattern and adding seam allowances, I proceeded to cut and sew and got this:

DH said it looked like a medical scrub, except it didn't even fit that well. The dart points in the wrong direction, which means I probably should have done a FBA or something else. The skirt part of the blouse has an extremely small gather ratio, less than 1:1.25, which makes the gathers look like a mistake. The result of all of this is that it looked terrible on.


I probably could spend the time to fix the pattern and try again.


But it would take too many iterations.


This project caused me to loose my sewing mojo. Who else hates spending time on something with such disappointing results? I think I can now understand beginning sewists frustrations.


Having said all that, I can recommend this book only for its design and styling inspiration. Go elsewhere for patterns which are similar.


I cannot recommend this book to beginning sewists at all. If you have more experience altering patterns and don't mind endless fiddling, then maybe this book is for you.

Natalie Christening Gown pt. 1 : Prep work

I am very excited to be able to join Esther's blog. As she mentioned, I am costume designer by trade but  currently have taken some time off to raise my girls. Before children, I worked as a university professor teaching costume design, theatre technology, and special effects makeup. I have recently started to dabble in tutu making and have done some freelance work in that area. Hopefully, my posts will be of interest.

So right now I am working on a Christening/blessing gown for baby #3. I decided to go the heirloom route. The pattern is from Sew Beautiful issue 135 March/April 2011, the Natalie Christening Gown. I have never done anything heirloom before except for making some 19th century women's blouses for various theatrical productions. Materials I am using are silk dupioni, French cotton laces, silk ribbon and glass beads. I haven't bought all the lace yet but will need to soon. The cost of this project is a bit on the expensive side. I think the cost of the laces will end up being the most expensive items. I goal is to have this finished by the end of the month.

Below are some pics of what I have done so far (Hopefully, you can make out the details, photographing white is tricky).

 Center Front panel traced onto fabric using pencil (This is marking cutting lines so no worries of it showing through once sewn). Center front is marked using a disappearing ink pen.

I chose to pencil mark the embroidery pattern.

Detail of finished ribbon embroidery. Still debating on adding more but will look at it when the dress is sewn together. 

Review: Simple Modern Sewing pt. 1

Simple Modern Sewing one of the new how-to sew books at my library. I was excited to review this because Japanese sewing books have a reputation for precision and design that elevate the average sewing book. The Pattern Magicand Drape Drape series of books are two notable series that pattern making enthusiasts rave about. I knew that our local patrons would not respond well to Pattern Magic or Drape Drape, but they would probably respond to Simple Modern Sewing.

This book is written by Shufu To Seikatsu Sha. The photography and styling of the designs really grabbed my attention. I personally found the designs very appealing and in this case something that I would actually make and wear. In comparison, I did not find any of the designs in the books I reviewed previously inspiring enough to put in the work necessary to make them up. The book consists of 8 simple patterns that can be used to create 25 garments. Each grouping of patterns can be mixed and matched interchangeably to create the different styles.

The book is divided up into three general sections. The first is the photography/inspiration section that shows each of the style variations. The second is general pattern and sewing instruction. The third contains detailed cutting and sewing instruction for each style variation. This includes a pattern layout, diagrams, and a list of sewing instructions.

The styles in the book are sized for the average Japanese woman. The average American woman may find some of the styles a bit on the small side. Some of the styles are intended to have a lot of wearing ease, so the largest size may fit some American women anyway. There is a size chart and finished measurements for each style, which helped me determine the correct size to trace.

Overall I really like the styles in this book. I selected the wrap blouse, shown on the front cover to sew up as a test for the dress. The biggest downfall of the book is the pattern sheet. It is nice to see the patterns are printed on sturdy white paper rather than tissue paper. But the pattern sheet is a dizzying array of overlapping pattern pieces in multiple sizes in solid black lines. All the patterns and all the sizes are solid black lines. Burda patterns are similar, but they are much easier to sort out. Each style is a different color and the sizes are differentiated by different line types.

To finish up part 1 of the review, the book is inspiring and lovely to look at. The general sewing information and detailed sewing information appear to be adequate for sewists who have some experience. The cutting diagrams and pattern prep require a bit of work. Because of the difficult pattern sheets, I don't know that I can recommend the book for beginning sewists. The styles are simple enough that one could find similar patterns from the Big 4 without the hassle of interpreting the pattern sheet.

Anyway, I've traced off the blouse and dress pieces and begun the pattern checking process. So far I've spent maybe 4 hours just in prep work. Updates as I work my through it.

Creating fabric repeats with Gimp

This tutorial, such as it is, could easily be called How to create seamless tile repeats with Gimp. If you do a google search for Gimp seamless, you will find lots of tutorials. Because of that, I won't do a detailed tutorial. This is a follow-up of my review of A Field Guide to Fabric Design.

The main difficulty I had with Gimp and creating a seamless repeat is a problem filter*.

Don't use this filter:

Filters - Map - Make Seamless

The resulting image doesn't make an attractive repeat. It overlaps the repeat with transparencies.

Instead the offset tool, which is similar to Photoshop, is located:

Layers - Transform - Offset

Finding this tool made all the difference. Conversely, I played around with the select tool and moving layers around to accomplish the same thing. The offset tool works best with the design repeat located far from the image borders and in the center of your image. For more complex repeats, manually selecting parts of the image, copy-paste into a new image and moving them in layers works better.**

I started my experiment with a vector line drawing made in Inkscape and exported as a PNG file.

Next I pulled the line drawing into Gimp, added a background color, and then applied the offset tool. After that, I filled in the blank areas. Again, detailed instructions in the book for a simple repeat and more complex repeats.

Gimp has a handy tool that allows you to test your repeat located here.

Filters - Map - Small tiles

This is how my repeat looks now.

The repeat could use a bit more work, but I think you get the idea. A Field Guide to Fabric Design has information on how to improve your repeat and also how to create a whole collection around this one design.


Of course, the real challenge is matching up the colors with Pantone.

* I tried to take screenshots of all of this but my print screen button wasn't cooperating.

** One of these days I may create a tutorial for this, but it is a bit more involved. My trial video demo took about 20 minutes.

Review : A field guide to fabric design

I hope all had a wonderful Christmas. It is during this time, the week between Christmas and New Year's, that I spend time cleaning off my desk and sorting my papers in preparation for the tax man. As depressing as it is to know that we will probably owe taxes this April, it is strangely cathartic to clear off the desk and start fresh for next year. Among the piles of papers is the book A field guide to fabric design by Kimberly Kight of the True Up blog.

Fabric design, or textile surface design, has long fascinated me. The ability to play with the color, proportion, and spacing of a design through a repeat is very intriguing. Kight briefly explores different styles, design and color fundamentals as applied to textiles. This includes a look at both digital and traditional design techniques. The meat of the book is the explanation of how repeats are created, including different repeat styles. Both digital and traditional (hand drawn) techniques are explained. Interspersed throughout the book are comments from fabric designers, both established and just starting out, from which the reader can draw inspiration. Finally, Kight presents ideas of how to print and sell your own fabric. What quickly becomes clear is that textiles fabric designing is a competitive and difficult market.

There are several instructional overviews including hand block printing, screen printing, designing a collection, and textile basics. All are comprehensive and a good foundation for further study and exploration.

The book is laid out well and is easy to read and follow. The instructions for designing repeats are clear and easy to understand. Kight strongly encourages the use of Adobe Illustrator and Photoshop because of their common usage in design work. She discourages the use of open source programs such as Gimp and Inkscape, which is unfortunate. Her primary objections to Gimp and Inkscape are the lack of Pantone color palettes*. The objection is valid because Pantone is used to ensure proper color matching. But anyone that has printed fabric knows that colors don't always work out as expected even when using Pantone**. Pantone color palettes are proprietary and that is the reason Gimp and Inkscape do not include them by default. In other words, their exclusion is entirely a legal and financial matter and not anything lacking in the software itself. But the palettes can be acquired (not easily) and added. Also, Pantone has CMYK and RGB equivalents (here is one tutorial) and if you are serious, you can buy a set of color chips and match things up. There will probably be a lot of back and forth until the correct colors are obtained, and that is probably why most designers use Illustrator and Photoshop (because there will be less of that). At the end of the day though, Gimp and Inkscape are just as robust as their commercial counterparts. In a separate blog article, I'll show how easy it is to design repeats using Gimp.

I liked this book a lot and I will reference it when I play around with designs, whether for a desktop wallpaper or for fabric I intend on printing.


*For more information google Gimp and Pantone.

**I managed to design a book cover using only free software and have it printed exactly as expected at one printer and not at another. There are a lot of variables between designing on a screen and a printer's capabilities that can't be completely solved by the use of one color matching system.