1) Press under 16" (40.5 cm) across the lower edge of the back, right sides together. If using tapes or zipper, snip the fold to mark ends of closure. Stitch 3/4" (2 cm) from the fold; backstitch at snips and bastestitch across the closure area.
Cut on fold; press seam open.

2a) Insert hook and loop` tape (a),snap tape (b) or zipper (c) according to instructions for sewing zipper here

2b) Cut back apart on 16" (40.5 cm) fold line for button closure. Press under W' (6 mm) then I" (2.5 cm) hem on each edge; stitch. On hem of shorter piece, make buttonholes 10" to 12" (25.5 to 30.5 cm) apart; attach buttons opposite buttonholes.

3) Pin cover front to cover back, right sides together. For button closure, pin the shorter piece first,lapping the longer piece over it.

4) Make tabs, Attach socket side of snaps to tabs,and ball sides to corners of the comforter. Pin a tab at each corner of the cover, edges even.

5) Stitch front and back of cover together with 1/2'' (1.3 cm) seam.
Diagonally trim bulk from comers.
Turn cover right side out. Insert comforter; snap cover to comforter at corners.

{Credit} Singer sewing for the Home (copyright 1984-1988)

Change the look of a bed with a covered comforter.
It can replace a top sheet and blanket, and the removable cover of the comforter makes laundering easy. Sew your own comforter, or use a purchased one of down or of polyester batting.

Choose a washable, lightweight, firmly woven fabric for the cover. Sheets are good fabric choices because they do not require piecing. Seam decorator fabrics together by using a full fabric width in the center of the cover, with partial widths along the sides.

Leave a 36" (91.5cm) opening in the back-of the cover for inserting the comforter. Place the opening about 16" (40.5 cm) from the lower edge on the inside of the cover so it will not show at the ends.
Use snap tape, hook and loop tape, a zipper or buttons for closure.

Cutting Directions
Cut the front of the cover 1" (2.5 cm) larger than the comforter. Cut the back of the cover according to the closure method you choose. For button closures, add 5W' (14cm) to back length. For a snap tape, hook and loop or zipper closure, add 1W' (3.8 ern) to back length.
Cut four small fabric strips for tabs, each about 2"
(5 cm) square.

YOU WILL NEED
Decorator fabric or sheets for cover, and small amount of extra fabric for tabs.
Snap tape, hook and loop tape, zipper or buttons.
Gripper snaps to hold comforter in place.

{Credit} Singer sewing for the Home (copyright 1984-1988)

Measure accurately to make a comforter and dust ruffle that fits the bed perfectly.

Comforters reach 3" to 4" (7.5 to 10 cm) below the mattress line. They have a drop length (the distance from the upper edge of the mattress to the bottom of the comforter) of 9" to 12" (23 to 30.5 em), depending on the depth of the mattress. Determine the drop length by measuring from the top of the mattress to the top of the box spring, then adding to that figure the amount of overlap desired. Take into account fabric stiffness which may cause the comforter to stand away from the side of the bed.

To determine finished comforter size, measure from side to side across the top of the mattress for width, and from the head to the foot of the bed for length. Add the desired drop length to the length of the bed, and twice the drop length to the width of the bed for finished measurements.

Batting for comforters is available in standard widths for. beds of standard sizes; select the proper size for your comforter.

For the finished dust ruffle length, measure from the top of the box spring to the floor; for the deck, measure the width and length of the box spring.

Pillow sizes are 20" x 26" (51 x 66 cm) standard; 20" x 30" (51 x 76 em) queen; and 20" x 40" (51 x 102 em) king. Pillow puffiness varies, however, so make the best-fitting shams by measuring the width and length of the pillow with a tape measure across the center of the pillow. Ruffled shams made from lightweight fabrics will droop around the edges if they are cut too large.

{Credit} Singer sewing for the Home (copyright 1984-1988)

Custom-made bed fashions such as comforters, comforter covers, pillow shams and dust ruffles can be ruffled or tailored to suit the decor. Chintzes, polished cottons and sateens are good choices for most bed coverings. Sheets are another practical fabric choice; their width makes seaming unnecessary on comforters and covers.

Permanent press fabrics with soil-resistant finishes are advisable in a child's room. Select fabrics that will launder well without fading.

 Comforters are a useful alternative to bedspreads. Make them reversible to change their look, and fill them with polyester batting as flat or as puffy as you wish. Decorator fabrics used for comforters should be pieced together with a full fabric width in the center of the comforter and a partial width on each side.

Comforter covers, also known as duvet covers, are removable for easy care. They protect new comforters, salvage worn ones, and quickly change the look of a comforter. They also eliminate the need for a top sheet and blanket on the bed.

Pillow shams are removable, decorative pillow covers. Make pillow shams plain or flanged, ruffled or trimmed, in matching or contrasting fabrics to complement the comforter and dust ruffle. Traditional pillowcases may also be trimmed with ruffles and used as pillow shams.

Dust ruffles or bed skirts are used with comforters. They may be gathered or pleated. Make them in one piece for beds that do not have a footboard. Make them in three pieces for beds that do have a footboard. Attach dust ruffles to a fitted sheet placed over the box spring or to a muslin deck, a piece of fabric which fits between the mattress and the box spring.

Fabrics for dust ruffles should be considered for their weight and draping quality, as well as suitability for the style of the dust ruffle or bed skirt.

{Credit} Singer sewing for the Home (copyright 1984-1988)

If you have to stitch two or more sections of a garment together to form a complete front or back unit, why not make decorative use of the parts and the seaming that joins them?

Use every trick in the bag: color (Fig. 78a), texture (78b), grain (Fig. 78c), topstitching (Fig. 78d), decorative applications (Fig. 78e), insertions of lace or edgings (Fig. 78f), pipings or

bandings to apply over the seam or insert in the seam (Fig. 78g), insertions of belts, bands, pockets, welts (Fig. 78h). In fact, use anything your unleashed fancy and ingenuity can devise. The sky's
me limit!

REPEAT PERFORMANCE- SIMILAR SEAMS

In design a degree of repetition makes harmony. * The eye is pleased to see a line it has met before.
In Fig. 79, each of the designs features a pair or trio of similar seam lines. One of the seams is a control seam. The other has been added for emphasis. Can you tell which carries a dart control? Yes, it is the one that comes closest to the bust point.

In Fig. 79a, the dart control appears in the lower seam. The width and shape of the band are in no way altered. The upper seam is purely decorative.
On the bodice- front sloper, draw the style lines of the band 9 (see page 110). Make them parallel. Notch both styles lines. Cut the section apart. Shift all or part of the waistline dart control to the lower seam.

The shape of the inset band is interesting by itself. Topstitching would give more importance to its line. The dress would be very effective if the three sections were in gradations of the same color (a warm beige, apricot, and orange) or in contrast colors (red, white and blue)
In Fig 79b, the inset band developed in the same way. Despite the straight appearance of the lines, they are slightly curved to conform to the shape of the body.

In Fig 79c, it is upper seam that is the control seam. This pattern is easier to plan on the bulging block than on the flat sloper.

Close the waistline dart. Sketch the band so the upper line touches the dart point. Mark notches. Cut the band away from the rest of the bodice. A tiny bit of the closed dart control remains forever
(ignored) in the band.

In Fig. 79d, the horizontal center seam of the jacket carries part of the dart control. The rest remains as un-stitched control at the waistline for the boxy design. The top and bottom seam lines merely
repeat the line of the control seam for design interest.

The forgoing discussion of control seams has with the bodice front. the principles illustrated work as well in a bodice back, in a skirt, and in a sleeve.

{Credit} Design Your Own Dress Patterns -Adele P. Margolis

1. Trace the upper portion of the skirt-front and skirt-back slopers.
Straighten the side seams (Fig. 77a).
2. Close the front, back, and side darts. Correct the waistline with a curved line. Draw the style line (Fig. 77b),
3. Cut the yoke from the rest of the skirt. Add extensions for the underlap and overlap (Fig. 77c) .
4. Complete the pattern.

The double·contour belt

The double-contour belt is composed of two contour belts, one for the bodice and one for the skirt, joined at the waistline. The directions for Fig. 77 will produce the skirt part. See directions for
the midriff yoke (Fig. 73) for the bodice part. Join at the waistline.
Close in any manner desired at the center front or center back, but be sure to make due allowance for the closing.

{Credit} Design Your Own Dress Patterns – Adele P. Margolis

41th Round1 sdc in each sdc. Repeat the last round 8 times, sl st in each of the next 2 sts to even round, drop thread, turn.
Repeat the 38th,39th and 40th rounds. Repeat the 41st round 4 times, then sl st in next 2 sts to even round.
57th Round-BEADING: Ch 6, skip 2 sts, tr c in next st, * ch 2, skip2 sts, tr c in next st, repeat from    * all around, ch 2, join in 4th st of ch.
58th Round-Ch 2, * 2 s d c in next mesh, s d c in next tr c, repeat from * all around ending with 2 s d c in last mesh, do not join. Repeat the 41st round 10 times, sl st in next    2 sts, cut thread.
Attach a single strand of Buttercup, s c in same space, * ch 2, s c in next s c, repeat from * all around, join, cut thread.

DRAW STRING: With Blue and using single strand of thread ch 5, join to form a ring, ch1    and work 1s c in each st of ch (5 s c).
Without joining rounds and picking up back loop of sts throughout, work 1 s c in each s c until string measures about 30 inches or until it stretches to 36 inches, cut thread.
Work another draw string in same manner. Lace through beading starting each string on opposite side and lacing over 2 tr c and under next 2 tr c. Sew ends together or finish with metal points as illustrated. Cut a cardboard about 6 inches in diameter. Cover with material if desired and place in bottom of bag.
 

AMERICAN THREAD COMPANY "STAR" BLEND YARN, Article 75
3 skeins Gray and
"STAR" RAYON CROCHET, Article 700 2 balls Buttercup
4 metal tips (optional)
Steel crochet hooks No.0 and No.1

BOTTOM: With Gray and
No.0 hook ch 32, sc in 2nd st from hook, I sc in each remaining st of ch, ch I, turn.
2nd Row-1 sc in each sc, ch    1, turn. Repeat the last row
29 times.
Next Row-UPPER SECTION: 3
sc in 1st sc (corner),1 sc in each of the next 29    sc, 3    sc in next
sc (corner), working along side of bottom, work 1    sc over side of each
of the next 29    rows,3 sc in last row (corner),    1 sc in each of the next 29 sts, 3 sc in last st (corner), I sc over side of the next     29 rows. Do not join or turn this or following rounds.
Next  9 Rounds-] sc in each sc, join last round, drop Gray.
When "STAR" RAYON CROCHET is used work with a double strand of thread and No.1    hook.
11th Round-Attach Buttercup in joining, ch4, tr c in sc before ch    4,` skip1sc, tr c in next sc, tr c in sc just skipped, repeat from* all around, join, drop Buttercup.
12th Round-With Gray work 1    sc in each trc.
13th Round-1    sc in each sc, join, drop Gray.
14th Round-Pick up Buttercup and work 2 sc in each sc,
join, drop Buttercup.
1 5th Round-With Gray, sc in joining, * skip 1    sc, sc in next sc, repeat from    * all around, join in    1 st sc, drop Gray.
16th Round-With Buttercup work in same manner as 11th
round.
17th Round-With Gray work same as 12th round, drop
Gray. 18th Round-Work same as 14th round.
19th Round-Same as 15th round.
20th Round-Same as 13th round.
21st Round-Same as 11th round, cut Buttercup.
22nd Round-Same as 12th round, do not join or turn this
or this or following rounds. Work 17 more rounds in sc or until
upper section measures    8 inches from beginning.
Next Round-Ch 4, tr c in next sc,* ch 2, skip    2 sc, I tr c in each of the next    2 sc, repeat from * all around,
ending round with ch 2, join in 4th st of ch (beading).
Next Round-* In next ch 2 mesh, work I sc, 3 dc, I sc, repeat from * all around, join in I st sc, drop Gray.
Next Round-Attach Buttercup and work 2 sc in each st, drop Buttercup.
Next Round-Pick up Gray and work same as 15th round. Next Round Pick up Buttercup, * 2 sc in next sc, 2 s dc
in next sc (s : thread over hook, insert in st, pull loop
through, thread over and work off all loops at one time),
3 dc in next sc,2 sdc in next sc, 2 sc in next sc,
repeat from *all around, join in 1 st sc, cut thread.
HANDLE: With double strands of Gray, crochet 2 chains
about 1yd. long. Lace 1 chain through beading. Lace other
chain starting at opposite side. Finish with metal tips if
desired or sew ends together. Make a cardboard box to fit
bottom of bag, having the sides about 41/2 inches in height.

Here is a yoke that is cut only part way from the rest of the bodice. The pattern is all in one piece.

The waistline dart control can be shifted all or in part to the partial yoke line. Like all dart control it may be used in this position as one dart, multiple darts, dart tucks, or gathers.
Since there is practically no seam allowance at the point where the slashing stops, it is difficult to sew designs like this. Here are two ways in which this can be overcome.

1.Reinforce the point with stay stitching, slash, turn to the underside, and stitch the seam tapering off the point.
2. Reinforce the point with a patch of organza stitched to the right side as a facing. Slash; turn to the underside, press. Use the organza as a seam-allowance stitching close to the previous line of stitching.

{Credit} Design Your Own Dress Patterns (book)

Adele P. Margolis

1. Fabric-the designer's medium.
2. Scissors-to cut fabric.
3. Tape measure-to measure patterns and fabric.
4. Thread-to stitch fabric.
5. Pins-to pin patterns to fabric, and pin seams together in preparation for stitching.
6. Seam ripper-to remove unwanted stitching.
7. Thread clippers-to snip threads after stitching.
8. Point turner-to get perfect angled corners on collars and cuffs.
9. Buttonhole cutter-to cut open machine stitched buttonholes.
10. Embroidery scissors-for precise cutting into a point.
11. Machine sewing needles-for stitching seams with the sewing machine.
12. Hand sewing needles-for stitching seams and hems by hand.
13. Fabric marking pen or chalk-for marking.
14. seams, darts points, and matchpoints.
15. Loop turner-for turning bias loops.
16. Pressing ham-a pressing aid.
17. Pressing cloth-to protect the fabric surface   from the iron.
18. Iron-for pressing garments.
19. Bobbin-for stitching seams; both top thread and bobbin threads are needed to stitch seams.
20. Seam gauge-for measuring the seam allowance.
21. Awl-for marking dart points and match points on the pattern and fabric.
22. Tracing wheel-for tracing the pattern line in pattern making and seamlines for stitching; can be either plain edge or serrated.

{Credit} professional SEWING TECHNIOUES FOR DESIGNERS JULIE COLE SHARON CZACHOR Buy this book from Amazon

Professional Sewing Techniques for Designers