The American Girl's Handy Book

by Lina Beard

  How to Sew on a Button.

  Should much strain come on the button, as in little children’s clothes, first hem down a small double piece of muslin, on the wrong side of the garment, at the exact spot where the button is to be placed, and with strong thread take a stitch on the right side; then sew the button through about four times, being careful not to let the stitches spread on the wrong side; wind the thread three times around the shank of the button formed by the stitches, drawing the thread a little tight, pass the needle through and fasten the thread neatly on the wrong side; the extra piece of muslin can be omitted when not needed.

  To Mend a Kid Glove.

  If the glove is merely ripped, and there is no strain on the portion to be mended, sew the two edges together over and over on the right side with fine thread or sewing-silk matching in color the glove to be mended; if, however, there is liability of its tearing out again, strengthen the edges by first working a button-hole stitch on each; then sew them together over and over, passing the needle in and out of the loops of the button-hole stitch, so forming a narrow net-work of thread between the two pieces of kid. Should the glove need a patch, carefully cut a piece of kid out of the best part of an old kid glove corresponding in color to the one needing repairs; make the patch exactly the shape and size of the hole, and button-hole stitch all around the edge of the hole and the edge of the patch; then sew in the patch over and over, catching together the loops of the button-hole stitches this makes the mending firm, neat, and strong.

  Fig. 302.—Feather Stitch.

  Fancy Stitches.

  These are in many varieties of style; one of the most useful is known as the

  FEATHER STITCH.

  Fig. 302 gives the position of the needle and the manner of taking the stitch. Remember to make all the stitches of an exact length and the same distance apart, first one on this side and then one on that, keeping them in a straight, even line.

  CHAIN STITCH

  sometimes takes the place of braiding; it is the same stitch as that used in the old-fashioned tambouring (Fig. 303); many Persian embroideries are made in silk with the chain-stitch.

  A NEW IDEA IN OUTLINE STITCH.

  The stitch (Fig. 304) is used for outline embroidery, and when made with fine black sewing-silk resembles pen-and-ink work. We have seen figures outlined on linen with the drapery worked in colors, while the face, hands, and feet were simply in black and white; being finely outlined, the effect was novel and artistic, for in this way the features were made as true as if drawn on paper with a pencil.

  Fig. 303.—Chain Stitch.

  For filling in the solid colors take the common running stitch, but make the stitches long on the right side of the embroidery and very short on the wrong side, so as to give the appearance of the colored fabric copied.

  Use filo-silk; and English or French embroidery cottons, when colors are needed in the work. Always soak the silks and cottons in strong salt and water before using; this sets the color and keeps it from running when washed.

  Fig. 304.—Outline Stitch.

  HEM-STITCHING.

  Decide upon the width of the hem and the width of the space for drawn threads; carefully draw out the thread at one edge of the space, then the thread at the other edge; next all the intervening threads; this finished, fold and baste down the hem, allowing it to meet the edge of the drawn work, and taking five threads running lengthwise in the space, bind them together at the edge of the hem; at the same time stitch them to the hem, as in Fig. 305.

  Fig. 305.—Hem-stitching.

  Drawn Work

  always looks well and is very serviceable when made of linen. Scarfs for buffets, bureaus, or tables, and tea-cloths, tidies, or chair-backs, can be made of crash, butchers’ linen, and linen sheeting; it is better to have doylies of very fine linen.

  Fig. 306.—Fagotting Stitch.

  In making drawn work, if the article is to be fringed, first draw out a few threads to measure the depth of the fringe, and at the opening thus made hem-stitch all around the edge of the material, leaving the ravelling out of the fringe until the drawn work is finished; proceed to draw the threads wherever spaces are desired, and before working the pattern always hem-stitch both edges of the spaces. In Fig. 306 the pattern marked B shows the stitch called fagotting, made by crossing every other group of threads back over the one preceding and drawing the linen thread through in such a way as. to keep the groups twisted; the two lines marked A, in the Fig. 306, are intended more as a finish to some elaborate design than as a pattern in themselves; these are made by hem-stitching down a number of threads to each group. Fig. 307 gives a favorite pattern; for this count the threads, so that the spaces may be equal and regular; draw the threads in all the spaces running one way first; then draw the threads in the spaces crossing the first one and run linen threads diagonally across from the top of the right-hand corner to the bottom of the left, dividing each linen square into two equal parts; cross these by threads also running diagonally across from the top of the left-hand corner to the bottom of the right, again dividing the linen squares, making four equal parts; then weave threads through all the spaces running both horizontally and perpendicularly, using the fagotting stitch (Fig. 306), and when crossing the threads in the open spaces tie the centres of each in turn, as in Figs. 308, 309; finish the pattern by running a thread in and out several times around the knots in the centres of the wheels and fasten the ends by tying neatly. Another pattern is given in Fig. 310.

  Fig. 307.—Drawn Work.

  Fig. 308.—First Knot.

  Fig. 309.—Second Knot.

  Fig. 310.—Border in Drawn Work.

  Outline work is often combined with drawn work; fast colors, in either cotton, linen or silk, are used for the outline design. When the article worked is intended for daily use and must frequently be laundried, it is better to substitute in place of the fringe a wide hem-stitched hem edged with firm linen lace.

  Very dainty fancy aprons are made of common scrim with spaces drawn and narrow ribbons of different colors simply woven in and out of the threads, running crosswise through the spaces.

  Applique and Original Designs for Portières.

  The pattern in this work is cut from one material and sewed on another.

  Almost any kind of fabric can be used as either applique or foundation; velvet and plush are suitable for applique, but make poor groundwork, owing to the long nap; both materials in dark rich colors are handsome when used as a border on portières or table-covers. To applique a pattern of velvet or plush cut the design very exact and cover the wrong side with a slight coating of gum, being careful to have the gum thin on the edges so that it will not spread on the groundwork; then lay the velvet on the place it is to occupy, and after pressing it down very gently and lightly with your hand, allow it to dry; this accomplished, the edges of the pattern may be hemmed down neatly on the foundation. If a further finish is desired, outline the design by sewing all around the edge a small gold or silken cord.

  Portières.

  We give an original applique design for a portière in Fig. 311, representing Day. The foundation is of soft dark-blue momie-cloth, the sun a round piece of bright yellow or orange satin, and the rays are of gold or heavy yellow silk thread merely run in stitches of various lengths; the cloud is of light blue crape or crazy cloth, and the bird is one of those which come prepared expressly for applique by the Japanese, and can be purchased at almost any Japanese or fancy store; if possible a lark should be selected in preference to other birds. The border is a band of old gold velvet. Our other design (Fig. 312) represents Night; the foundation and band are the same as those for the “Day” portière; the star is of white silk, the moon of very pale Nile green silk, and the cloud of dark pearl gray crape or crazy cloth, much darker than the blue momie-cloth.

  Fig. 311.—Portière. Day.

  Fig. 312.—Portière. Night.

  The applique work must be done very carefully. First cut out the designs, next t
urn in the raw edges evenly and smoothly, and with a very fine thread and needle baste the edges down; then baste the designs carefully on the foundations, and, with a fine needle and sewing-silk matching in color the piece to be appliqued, hem each one down neatly, making the stitches almost invisible. The band of velvet can be sewed on the bottom edge of the momie-cloth, then turned up like a hem and hemmed down.

  Lace.

  Very beautiful lace is made by cutting out the heavy patterns which are still perfect, from old and worn laces and embroideries, and transferring the designs to new fine wash-net. After first basting them on, hem them down to the netting with a fine needle and thread; in this way the embroideries last as long again and look as well as when new.

  Ribbon Embroideries.

  We can give a clearer idea of this work by means of an example, and we will take the common white daisy as an illustration.

  Thread a long-eyed coarse needle with very narrow white ribbon, and beginning at the centre of the flower, pass the needle from the wrong side up through your material, drawing the ribbon out nearly its full length and leaving only a short piece on the wrong side to be fastened down; now take a stitch straight out the length of a daisy petal and pass the needle through to the wrong side; then, taking a very short stitch, draw the needle out through on the right side; next take another long stitch back to the centre of the daisy, thus forming the second petal; continue in the same manner, making the petals radiate out in a circle from the centre of the flower. Work the centres of the daisies with yellow silk and the stems in dark-green silk; the leaves can be either worked or appliqued. For half-blown daisies make only about a quarter of a circle of petals, and in place of the yellow centre, work a green calyx. Ox-eyed daisies can be made in the same way with soft, thin yellow ribbon, a little broader than the ribbon used for white daisies. The work is rapid and pleasing, and almost any flower can be imitated very perfectly with ribbon embroidery.

  CHAPTER XXXV.

  SCRAP-BOOK AND HOME-MADE BOOK-COVERS.

  THE fashion of collecting pictured advertising cards, so much in vogue among the children a few years ago, seems to have run its course, and dying out, it has left on the young collectors’ hands more cards than they know well what to do with. Many of the collections have been pasted in scrap-books, of which the children have long since tired. While examining one of these volumes with its row after row of cards, it occurred to me that these advertisements might be utilized in a new way by dividing and combining them. The experiment proved a success, and I will now try to show you how, with the aid of scissors and mucilage, the pictures which have become so familiar may be made to undergo changes that are indeed wonderful, and how from them may be formed a

  Mother Goose Scrap-book.

  The nursery scrap-books made of linen or paper cambric are, perhaps, familiar to most of our readers; but for the benefit of those who may not yet have seen these durable little books, we will give the following directions for making one: Cut from a piece of strong linen, colored paper cambric, or white muslin, four squares twenty-four inches long by twelve inches wide. Button-hole-stitch the edges all around with some bright-colored worsted, then place the squares neatly together and stitch them directly through the centre with strong thread (Fig. 313). Fold them over, stitch again, as in Fig. 314, and your book is finished and ready for the pictures.

  It is in the preparation of these pictures that you will find the novelty of the plan we propose. Instead of pasting in those cards which have become too familiar to awaken much interest, let the young book-makers design and form their own pictures by cutting special figures, or parts of figures, from different cards, and then pasting them together so as to form new combinations.

  Fig. 313.—Scrap-book Opened and Stitched through the Centre.

  Fig. 314.—Scrap-book Folded and again Stitched.

  Any subject which pleases the fancy can be illustrated in this way, and you will soon be deeply interested in the work and delighted at the strange and striking pictorial characters that can be produced by ingenious combinations.

  Stories and little poems may be very nicely and aptly illustrated; but the “Mother Goose Melodies” are, perhaps, the most suitable subjects with which to interest younger children, as they will be easily recognized by the little folk. Take, for instance, the “Three Wise Men of Gotham,” who went to sea in a bowl. Will not Fig. 315 serve very well as an illustration of the subject? Yet these figures are cut from advertising cards, and no two from the same card. Fig. 316 shows the materials, Fig. 315 the result of combining them.

  Fig. 315.—“Three Wise Men of Gotham.”

  Fig. 318.—“Little Jack Horner.”

  Again, the little man dancing so gayly (Fig. 317) is turned into “Little Jack Horner” eating his Christmas pie (Fig. 318), by merely cutting off his legs and substituting a dress-skirt and pair of feet clipped from another card. The Christmas pie in his lap is from still another card.

  Fig. 316.—Figures cut from Advertising Cards.

  Fig. 317.—Figures cut from Christmas Cards.

  In making pictures of this kind, figures that were originally standing may be forced to sit; babies may be placed in arms which, on the cards they were stolen from, held only cakes of soap, perhaps, or boxes of blacking; heads may be ruthlessly torn from bodies to which they belong, and as ruthlessly clapped upon strange shoulders; and you will be surprised to see what amusing, and often excellent, illustrations present themselves as the result of a little ingenuity in clipping and pasting. Another kind, which we shall call the

  Transformation Scrap-Book,

  will be found exceedingly amusing on account of the various and ever-changing pictures it presents.

  Unlike any other, where the picture once pasted in must remain ever the same, the transformation scrap-book alters one picture many times. To work these transformations a blank book is the first article required; one eight inches long by six and a half or seven wide is a good size.

  Fig. 319.—Transformation Scrap-book with Pages cut.

  Cut the pages of this book across, one-third of the way down. Fig. 319 shows how this should be done. The three-cornered piece cut out near the binding allows the pages to be turned without catching or tearing. Leave the first page uncut; also the one in the middle of the book.

  Cut from picture-cards, or old toy-books which have colored illustrations, the odd and funny figures of men and women, boys and girls, selecting those which will give a variety of costumes and attitudes.

  Paste a figure of a woman or girl on the first page, placing it so that when the lower part of the next page is turned, the upper edge of it will come across the neck of the figure where it is joined on to the shoulders.

  Cut the heads from the rest of the pictured women, and choosing a body as different as possible from the one just used, paste it upon the lower part of the next page, directly under the head belonging to the first body. Upon the upper part of the same page paste any one of the other heads, being careful to place it so that it will fit the body. Continue in this way, pasting the heads upon the upper, and the bodies on the lower, part of the page, until the space allowed for the women is filled up; then, commencing at the page left in the middle of the book, paste upon it the figure of a man, and continue in the same manner as with the woman, until the spaces are all used and the book is complete.

  Leaves from a Transformation Scrap-book.

  The combinations formed in this way are very funny. Old heads with young bodies; young heads with old bodies; then one head with a great variety of bodies, and so on.

  The first picture may represent a man, tall and thin, dressed in a rowing costume, as shown in the illustration. Turn the lower part of the next page, and no longer is he thin and tall, but short and stout, the position of this body giving the expression of amazement, even to the face. The next page turned shows him to be neither tall nor short, thick nor thin, but a soldier, well-proportioned, who is looking over his shoulder in the most natural manner
possible.

  The figures in the illustration were cut from advertising cards, and the head belongs to none of the bodies.

  A curious fact in arranging the pictures in this way is that the heads all look as though they might really belong to any of the various bodies given them.

  Instead of having but one figure on a page, groups may be formed of both men and women, and in the different arrangement of the figures they can be made very ludicrous indeed.

  A scrap-book for older girls, which might be termed more fitly

  An Album,

  can be made by mounting engravings, wood-cuts, photographs, and water-colors on pieces of thin card-board all of the same size. If any one subject be chosen, and such pictures selected as tend in some way to illustrate that subject, the book will prove more interesting in the making, and will be quite valuable when finished.