Pattern Drafting

chapter one

Essential Information for Designers When a person plans to visit a new country, it will be a more rewarding experience if that person studies maps, reads guidebooks, learns the customs and even speaks some of the language. To learn a new skill, it is wise to study the important basics instead of jumping into what may seem difficult without that information. Each individual brings prior experience to new learning, so what is essential information to one may not be for another.

This Chapter Covers: The Learning Process Without Garment Construction With Garment Construction Master Patterns Definitions of Terms Supplies Drafting Procedures The General Design Process Understanding Grain Understanding Darts Techniques for Moving Darts Using Drafting Tools and Templates Evaluate Your Learning fffff 1-1

The Learning Process for Pattern Drafting Without Garment Construction Each program of clothing studies has its curriculum covering the needs of students: the aesthetic principles of design, the art of fine clothing construction and how to design and make the patterns needed for that clothing. Many shcools teach patternmaking separately from clothing construction. Sometimes the emphasis is on drafting patterns using the charts of standard measurements. This is particularly useful to students who will be moving into the commercial market after they finish their studies. Drafted patterns can be tested by comparing them with a master set of patterns for size and details. If they are testing their patterns on dress forms, they would need to make muslin test-fittings. Note: Basic Patterns and Master Patterns are indicated with Bold Italic letters.

1.

Look at Supplies for Drafting (Page 1-6)

2.

Study Drafting Procedures (Page 1-7)

3.

a. Draft the Basic Skirt Pattern (Page 2-2) b. Refer to Using Drafting Tools and Templates (Page 1-25)

1-2

4.

Draft the Basic Bodice Pattern (Page 2-17)

5.

Practice Techniques for Moving Darts (1-18)

6.

Draft the Basic Sleeve Patterns (Page 2-57)

7.

Coordinate Basic Patterns. (Page 2-68)

8.

Create the Basic Sheath Pattern (Page 6-2)

9.

Use the Basic Sheath Pattern to design a shirt pattern with a cuffed long sleeve.

10.

Create the Dartless Basic Sheath Pattern (Page 6-27)

11.

Use Dartless Basic Sheath Pattern to design a shirt pattern with a short action sleeve.

12.

Create the Basic Pants Pattern (Page 10-3)

13.

Study the General Design Process (Page 1-10)

14.

Practice The Easing Procedure (Page 7-2 to 7-4)

15.

Create a Grading Sloper (Page 7-6, 7-7)

16.

Create a Master Pattern for a Suit (Page 7-12)

17.

Create a Master Pattern for a Coat (Page 7-12)

18.

Create a Master Pattern for Stable Knit Fabrics (7-26)

19.

Create a Master Pattern for Stretchy Knit Fabrics (7-27)

20.

Create the Basic Big Top Pattern (Page 9-2)

Pattern Drafting for fit and fashion

The Learning Process for Pattern Drafting With Garment Construction Learn pattern drafting by following this step-by-step guide that was student-tested. Most of those students mastered pattern making. They learned how to construct garments made from the patterns they drafted and stayed motivated by having new garments for their wardrobes. They learned not to depend on instructional guide sheets included in purchased patterns. Note: Basic Patterns and Master Patterns are indicated with Bold Italic letters.

1. Draft the Basic Skirt Pattern, make in muslin, fit and correct pattern as needed. 2. Add from w inch to 2 inches Internal Flare to the Basic Skirt by pivoting at Hip Level Line. Make the pivoted skirt in plain, firm, woven fabric and fit. Correct both the pivoted pattern and the Basic Skirt Pattern if needed. Measure for the Basic Bodice at the pivoted skirt fitting. 3. Draft the Basic Bodice Pattern, make in muslin, fit and correct pattern if needed. If no major changes are needed, measure for the Basic Sleeves. 4. Learn to move darts using sheets of copy paper for the exercises. Do exercises on Basic Bodice copies. 5. Draft Basic Sleeve Patterns, set muslin sleeves in Basic Bodice, fit, correct both Basic Patterns. 6. Coordinate the Basic Patterns—Skirt, Bodice and Sleeves. 7. Design and complete a pattern for a Basic Dress, make in plain, firm, woven fabric; fit and correct patterns if needed. Transfer any changes back to the Basic Patterns. 8. Create the Basic Sheath Pattern using Basic Skirt and Bodice Patterns. Make muslin, fit, correct pattern. 9. Use the Basic Sheath Pattern to design a simple shirt pattern with a cuffed long sleeve. Make in plain, firm, woven fabric, fit and correct patterns if needed. 10. Create Dartless Basic Sheath Pattern using the Basic Sheath Pattern. Make muslin, fit, correct pattern. 11. Use the Basic Dartless Sheath Pattern to design a shirt pattern. Make it up in a checked or plaid fabric and match the fabric design. Fit the shirt and correct pattern if needed. 12. Create the Basic Pants Pattern using the skirt pattern with 12 inches Internal Flare pivoted at Hip Level Line. Cut muslin for one leg and sew together, try on the one muslin leg, holding it up with a grosgrain ribbon for the waistband. Fit and correct pattern if needed. 13. Make pair of pants in plain, firm, woven fabric. Make corrections as needed to the Basic Pants Pattern. 14. Design and develop a pattern for a vest. Use the pattern to make a vest, fit, correct pattern if needed. 15. Design and develop pattern for a suit jacket. Use the pattern to make a jacket, fit, correct pattern. 16. Design and develop pattern for a kimono sleeve garment. Make the garment, fit, correct pattern. 17. Draft the Basic Big Top Pattern. Make in muslin, fit and correct pattern if needed. 18. Design and develop a pattern for a jacket using the Basic Big Top Pattern. Use pattern to make a jacket. 19. Design and develop a pattern for a garment made from a stable knit fabric. Use the pattern to make a garment. Develop the Master Pattern for Stable Knit Fabrics. 20. Design and develop a pattern for a garment made from a stretchy knit fabric. Use pattern to make a garment. Develop the Master Pattern for Stretchy Knit Fabrics.

Chapter One: Essential Information for Designers

1-3

Master Patterns A Master Pattern is developed from a Basic Pattern for a frequently used style. For example, many skirt designs start with a skirt pattern that has 12 inches of flare pivoted into front as well as back. It would be very convenient to have such a pivoted skirt pattern already at hand. In one sense, a designer can consider all the Basic Patterns as Master Patterns, so they should be kept nearby as well. If a designer is working in industry, the employer may specialize in women’s clothing featuring the Princess Line, so that pattern could be hanging available to speed up the design process. Some Master Patterns have been developed in various sections of this book so they will be listed below. All Master Patterns can be used as the basis for more advanced designs. They have no seam allowances and no added style details. Each Master Pattern has a front and a back pattern except for sleeve patterns and patterns for details such as collars and pockets. Each designer’s needs will vary but they may include: • Grading Slopers • Master Pattern for a Suit, widened 12 inches • Two-Piece Suit Sleeve widened to fit the Master Pattern for a Suit • Master Pattern for a Coat, widened 22 inches • One-Piece Coat Sleeve, widened to fit the Master Pattern for a Coat • Master Pattern for Stable Knit Fabrics • Master Pattern for Stretchy Knit Fabrics • A 12 inch pivoted skirt • Princess-line bodice • Princess-line sheath • The Basic Dartless Sheath shortened to shirt length with an easy tab front • Long shirt sleeve with a placket and cuff • Eased pants pattern • Pleated pants pattern • Frequently used collars such as a convertible collar and a mandarin collar

1-4

Pattern Drafting for fit and fashion

Definitions of Terms Basic Pattern, Sloper, Block Used interchangeably to mean a pattern that serves as a basis for other patterns. It is manipulated and traced, or copied and cut apart, observing specific rules, without changing the original fit of the pattern. Master Pattern

A pattern developed from a Basic Pattern for a frequently used style. It has no seam allowances or style details. These patterns save design time.

Styled Pattern

A complete pattern for a specific garment with all its style details. Seam allowances can be added, if desired.

Production Pattern

The complete patterns for an entire size range. All details are noted on the pattern. It has seam allowances.

Hip Level Line

A line parallel to the floor on front and back skirt patterns.

Torso Line

A line 3–4 inches below the waist, parallel to the Hip Level Line on skirt front only. It is an indicator to keep the skirt “easy” from waist to hip.

Armscye, Armhole

An opening in a bodice into which a sleeve may be inserted.

Scye Line

A line on front and back Basic Bodice Patterns. It is squared from the center lines and touches the base of the Armscye.

Chest Line

A line 1w inches above the Scye Line on Basic Bodice Patterns. It is the location for measurements of width across the back and across the chest.

Legs of a Dart

The two lines making up a dart.

Style Line of a dart or seam

The line nearest the Center Front or Center Back. It is the dominant visual line in the garment. The second dart leg or seam is the Secondary Line.

Waist Reduction

The amount by which a pattern must be made smaller to fit the waistline.

Sweep

The width of a skirt at the hem, frequently applied to flared skirts.

Sleeve Cap

The part of the sleeve that is inserted into the armhole.

Shoulder Point

Side Neck Point

Shoulder Point

Side Neck Point

Side Neck Point Side Waist Point Underarm Point

Underarm Point

Center Front

Center Back 1.1

Side Waist Point

Chapter One: Essential Information for Designers

1-5

“Curve Stick”

Supplies for Drafting • Tailor’s L-Square, Fairgate 50-124*

Tailor's Square

• Hip Curve Ruler, Fairgate 11-124* • Half-Scale L-Square, Fairgate 50-147* • French Curve #21, used as half-scale curve stick** • French Curve #17 for front neckline and armhole** • French Curve #16 for back neckline and armhole** • 45° Plastic Triangle**

45 Triangle

• 12-Inch Metal Ruler, Fairgate 20-112** • Metal Yardstick, Fairgate 20-136* • Push Pins with 2" or s" points (10–15) • Lightweight paper such as Marker Paper • Pencils, #2 HB 0.7mm and eraser • Erasable colored pencils (2 or 3 colors) • Needlepoint (pinpoint) tracing wheel* • Scotch Magic Tape (or Invisible) • Scotch Magic Plus Tape (Removable) • Fiberglas™ tape measure (accurate)* • Good-quality shears, at least 8-inch, for cutting lightweight paper and fabric • 3-5 yards medium-weight muslin to test Basic Patterns

French Curves

• Tagboard for corrected Basic Patterns #17

• Large sheet (32" × 40") thick chipboard to protect table and as a base for push pins * Available at tailor and dressmaker supply companies. ** Available at engineering supply companies, stationery or art supply stores.

See Page A-25 for where to find drafting supplies 1.2

1-6

Pattern Drafting for fit and fashion

#16

Drafting Procedures 1. Draft in pencil. Ink on the pattern may stain the fabric or other patterns copied from the Basic Pattern. Use a very sharp pencil. Tilt the pencil in toward the ruler or French curve when drawing a line. Do not draw lines freehand on patterns. 2. “Make a copy of the pattern” is frequently the first step in instructions. It usually refers to copying one of the Basic Patterns. The drafter must find the correct pattern, lay it over another sheet of paper and trace the outlines of the pattern with a pencil and then add the internal pattern lines by running a needlepoint tracing wheel over the lines. The needlepoint wheel leaves perforations on the lower sheet of paper that are then retraced with a pencil and ruler. Labels are added to the freshly copied pattern such as “Center Front” and “Hip Level Line.” The Basic Pattern is returned to its storage location before proceeding. Do not use transfer paper to mark patterns. The residue left on the pattern may stain fabric. 3. “Square a line over” appears often in the drafting directions. One arm of the Tailor’s Square is precisely aligned with an existing line at some specific point and a second line is drawn along the other arm of the square. There must be an existing line in order to square a line. It cannot be assumed that the edge of the paper is straight. 4. Pivoting a pattern is often done to change a design. Pivoting is a manipulation process. A pattern is placed over another sheet of paper, pinned securely with several push pins and a specific part of the pattern is traced. One push pin is located at the “pivot point” and the rest of the push pins are removed. The lower sheet of paper is still pinned in place. The upper pattern is moved on the pivot point as much as directed and then pinned down securely again. Another section of the pattern is traced. Depending on the effect desired, this procedure may need to be repeated several times before the final pattern is completed. After pivoting is completed, the upper pattern is removed and stored. The lower pattern has labels added and lines drawn using pencil and ruler to mark the traced lines so they are visible. 5. Measuring. The tape measure is positioned on the area of the body being measured with no fingers under the tape and no slack in the tape. It does not indent the flesh nor loosely slip down. Measurements are always taken of the woman as she is, not as she hopes to be later. • “Jump over the dart” may be one of the instructions. For example, if one wants to know the waistline size of the Front Basic Skirt Pattern, the darts can be folded out of the way or the three sections can be measured individually and then added together. Neither method is very accurate. An easy and accurate way is to measure from the Center Front to the first dart, hold a pencil point or a fingernail firmly on the tape measure at that mark and transfer that mark to the other side of the first dart, continuing in this manner until the entire front waistline is measured and the amount noted on the pattern near the waistline. • “Walk a tape measure around the curve” is often seen in the instructions for armholes and sleeve cap. Lay the tape measure flat at the edge of the curve on the pattern (not outside the pattern’s edge.) Note how far the tape touches the line (perhaps only 8 inch). Hold the tape with the point of a blunt pencil where the tape starts to leave the line and pivot it a little. Keep the edge of the tape on the curved line. Repeat these steps until the curve is measured. On some Instructions continue on the next page. Chapter One: Essential Information for Designers

1-7

parts of the curve the tape must be pivoted more often than on other parts. The student should repeat the process several times until reaching the same result more than once. It is possible to use this technique to measure any curved line. 6. “True the Pattern” is a step that must be taken as any pattern nears completion. It is rarely mentioned in the instructions but the designer must always take the time to refine and true each pattern. • Use a ruler and pencil marks to mark all lines that should be straight and the curve stick or French curves to smooth all curved lines. Check that lines such as Hip Level Line and Scye Line are squared over from the center line. • Close darts by folding them in the direction they will be pressed in the garment and trace across that seamline with a needlepoint wheel. Flatten the paper and go over the needlepoint perforations with pencil marks. This is the seamline in the dart area. • Lay the seams that will be sewed together side by side. Check if they are the same length and correct if needed. Next check if a point forms at either end of the line. Smooth out any such points by adding or cutting off a little to curve them. There should be no points or jogs on patterns where the body has a smooth shape. When this matching of seams is done, it may be necessary to curve Princess Lines at the shoulder seam so they form a smooth line as they pass over the shoulder. • Check the shape of necklines. A boat neckline is the only one that meets in a point on the shoulder seam. All other necklines should have a smooth curve at the shoulder seam. • Check the skirt seams at the hemline. Every section of a skirt should be square at the lower corners. If the skirt is very flared, the square corner may be only 2 inch wide before it starts to swing upward in a curve. 7. Add Notches. In the text notches are indicated by short lines squared to the seamlines. They are used to help the seamstress assemble the garment correctly by matching the notches. On personal patterns they are marked as shown in the text, with short lines squared to the seamlines. Those who are designing personal patterns could work out a system of notching that is clear for them. For example, since the Hip Level Line always serves as a notch, they could add a second notch below the Hip Level Line to mark the side seams on gored skirts. For the designer who is developing patterns for production, the pattern is usually notched using a device called a “notcher.” It takes a tiny bite out of the pattern’s edge. Internal lines on production patterns are marked with holes that have circles around them so they are more visible. • All seams are notched — short seams once and longer seams twice. The pattern maker places the notches so that it is impossible to match them and sew together incorrect “pattern sections.” Single and multiple notches are used. • Notches are used when one seam is longer than the other and the difference is meant to be eased in or gathered. Notches indicate the amount of easing and where it is positioned. • Notches are used to mark center lines and other matching points such as Hip Level Lines.

1-8

Pattern Drafting for fit and fashion

• One notch is used to mark the front armhole and front of the sleeve cap. Two notches are used to mark the back armhole and the back of the sleeve cap. • Multiple notching is often used on skirts with several gores. All the gores would already have one notch at Hip Level Line. Starting at the Center Front, each gore could have another notch lower on the seam to indicate its progression around the body. • If the patterns have seam allowances, they are indicated with notches as are the dart locations where they touch the seams. • Notches are used to indicate the location of fold lines, endings of zipper openings, ends of slits and any other details that need to be drawn to the attention of the seamstress. On industrial patterns that have seam allowances, a hole is used to mark details such as pocket locations, ends of darts, etc.

Chapter One: Essential Information for Designers

1-9

The General Design Process Questions to answer: 1. What Basic Pattern is used for this design? • Will it be a fitted dress with a waistline seam and set-in sleeves? [Use the Basic Skirt and Basic Bodice.] • Will it be a fitted dress without a waistline seam? [Use the Basic Sheath.] • Does it have a relaxed fit? [Use the Dartless Basic Sheath and Sleeve for Dartless Sheath.] • Will the sleeve be slender and shaped with an elbow dart? [Use the Shaped Basic Sleeve.] • Will the sleeve be wider and have no elbow dart? [Widen the Straight Basic Sleeve.] • Will the sleeve be cut as part of a garment that is fitted smoothly? [Use a Kimono Sleeve on a Basic Bodice or a Basic Sheath, depending on whether or not there will be a waist seam.] • Will the sleeve be cut as part of a garment with a relaxed fit? [Use the Basic Big Top.] • Will the garment be worn over another garment? [Enlarge the chosen pattern.] 2. How is the skirt designed? • Will the skirt be straight, tapered in at the hem, or flared? • If the skirt is flared, which type of flare will it be — internal, external, or both? • If the skirt is gathered, where will the gathers be and how much fullness will be added? • If the skirt will have pleats, where will they be and how deep? Will the pleats be straight or flared? Does the pleat have an inset section? • Will the skirt be gored and if so, how many gores will there be? Will they fall close to the body or flare out? 3. How is the bodice designed? • If the garment is fitted, where are the bodice darts? Are there visible darts, gathers in lieu of darts, or seams with hidden darts? Do gathers replace the waistline darts? • Is extra fabric introduced into the bodice area for fullness, pleats, blousing, or draping? • If any changes will be made to the armhole area, will the front and back armholes still be equal? If not, how will they be equalized? • Is the neckline large enough to slip over the head? If not, how will it be made large enough? • Where is the back shoulder dart in this design — on the shoulder, in the neckline, or hidden in a seamline?

1-10

Pattern Drafting for fit and fashion

4. How is the sleeve designed? • Is the sleeve wider at the wrist than the Basic Sleeve? If so, how much wider? • Does the sleeve need an elbow dart or can the arm bend easily without a dart? If a dart is needed, can a small dart be eased in? • Does the sleeve have the Basic Sleeve cap height or is it a shortened action cap? • If changes were made to the bodice armholes, has the sleeve been adjusted to match? • What is the amount of ease in the sleeve cap? Can it be set into the armhole? 5. What are the design details for this garment? • Has the neckline been changed from the Basic? Is there a collar? Is there a lapel? Does the collar have a stand? Is it flat or rolled? How wide is the collar? The lapel? • Does this design have pockets? If so, where are they and what type are they? What size? • Do the sleeves have cuffs? If so, are they a separate pattern piece or is the bottom of the sleeve turned up to form a cuff? • Are there buttons and buttonholes in the design? If so, where will the buttons be located and how large will they be? Has an allowance been made for overlap? • Is there a belt included in this design? What type of belt? • Are there any other details that need attention? 6. Are there general questions that must be answered? • Are the sections of the patterns coordinated? Are the seams that will be sewed together the same length? Do design lines in the bodice line up with those in the skirt? Do the front design lines blend with those in the back? • Is the armhole balanced — is the front armhole the same size as the back armhole even though they are not the same shape? Is any adjustment to the armhole reflected in the sleeve cap? If the pattern for the garment was enlarged, was the sleeve changed to match? How much ease does the sleeve cap have? Can that much ease be set into the armhole, using the fabric for this garment? • Where will it be necessary to have a facing? Have the facing patterns been made? • Is each pattern section marked clearly with a label indicating what it is? Does each section have a specified location for the Straight Grain? • Are all notches marked clearly so the pattern sections will go together easily when the garment is constructed? • Can a woman put on this garment easily? Does it need an opening? Where?

Chapter One: Essential Information for Designers

1-11

Understanding Grain Grain of the fabric On following pages there will be information about darts, their locations on Basic Patterns and how to move darts for many designs. When darts are moved, the grain of the fabric changes in the design. The pattern designer knows that the garment will not be made from paper. The designer practices moving darts to get interestnig designs but must analyze how each design will work out in fabric. In order to do this, a designer must understand how fabric is woven or knitted. If it is a woven fabric, it has lengthwise as well as crosswise grain. The lengthwise (warp) yarns are put on the loom first and are under tension. The loom raises some of them while others remain in place, thus creating a “tunnel” through which the crosswise (weft) yarn is moved from the first side to the second. Then the loom moves the warp yarns into another position and the weft is moved across in the new tunnel from the second side back to the first. It moves back and forth creating the fabric which has the warp at a right angle to the weft. After the fabric is taken from the loom, it is processed, pressed and rolled. Often the fabric twists during this handling but if it is to be used in a becoming garment, it needs to be straightened both lengthwise and crosswise and thus returned to its original state. If a knit fabric is being used, it has lengthwise ribs and crosswise rows. It stretches more in the crosswise direction. It is important that a knit fabric be made ready to cut by adjusting its ribs and rows so they are at right angles the way they were knitted.

A general rule: The characteristics of the fabric must always be kept in mind.

A pattern maker can design a pattern which is perfect in every detail but if that pattern is made up in fabric which is not straight, it will be unacceptable. If the fabric is twisted, the garment will twist on the body. It will be uncomfortable as well as unattractive.

1-12

Pattern Drafting for fit and fashion

Crosswise grain

Grain of the body

Lengthwise grain

In order for a pattern to result in a beautiful garment, its grain must match the grain of the body wearing it. This helps the garment fit without unsightly wrinkles. In addition to the fabric having grain, the body also has grain. The spine provides the straight lengthwise grain while a line from one shoulder tip across to the other provides the straight crosswise grain. These two lines could be called the warp and weft of the body. When the grain of the garment fabric matches the grain of the body, it is more likely to fit and look beautiful. For example, when front bodice darts are discussed, the focus will be on moving darts so the pattern grain will match the grain of the body in that area. There are many patterns that can be made in paper but don’t work out in fabric. In Moving Bodice Darts there are examples of such patterns.

1.3

A general rule: A successful design helps a woman’s body appear “on grain” and makes her feel comfortable and look beautiful.

Chapter One: Essential Information for Designers

1-13

Darts Understanding Darts The purpose of darts in patterns is to make flat fabric conform to the shape of the body. A pattern must be wide enough to fit around the largest part of the body covered by that pattern. For example, a skirt pattern must be wide enough for the hips. This makes it too wide for the waistline. In a Basic Skirt Pattern part of this difference is removed by a curve at the sides and the rest is taken up in darts. The amount a pattern must be made smaller at the waistline is called the “waist reduction.” Take this hypothetical situation. Imagine the assignment is to draft a skirt for a woman with these measurements: Hips: 36 inches + 2 inches ease = 38 inches Waist: 26 inches + 1 inch ease = 27 inches There is a difference of 11 inches between the two measurements. A pattern is made for half the body so it would need a waist reduction of 52 inches. Imagine that her Basic Skirt Pattern must be drafted with all the waist reduction at the side seam. This would be her pattern: Center Back

n

ter

k

le s

Side Seam

Waist

e

rat

cu Ac

Hip

m

ure

as me

ut

sb ent

rib ter

at irt p

Center Front 1.4

Any seamstress would recognize this as a pattern that would be difficult to make up in fabric. The side hip area would be nearly impossible to press because the fabric would stretch if cut in such a sharp curve. If a woman were to wear a skirt made from such a pattern, it would not fit but have many strange wrinkles although it was drafted to her own measurements.

A general rule: Waist reduction must be distributed to conform to the curves of the individual figure.

1-14

Pattern Drafting for fit and fashion

Since a woman does not have all her shaping at the side, her pattern cannot be shaped only at the side seams. The average woman curves in from the hip to the waist all around her figure — more in some areas than in others. Small darts are used where her shaping is smaller, larger darts where it is greater. Using the correct waist reduction and adjusting its precise location so the Basic Skirt is becoming and fits that particular woman is a challenge for a pattern drafter. It is helpful to view a woman’s body as if it were a landscape — with hills, valleys and plateaus. As in real landscapes, some hills are smooth and rolling while others are more like mountain peaks. Some areas in a landscape are flat and others are indented or raised. The more precise, abruptly raised places on a woman’s body require darts that point toward them accurately. There is more flexibility in positioning darts for gentle outward curves because they do not require such precision.

The two figures on this page show why darts are located as they are on the Basic Patterns. As the following material is studied, relate each dart to the body and thus see the feminine “landscape” more clearly.

1.5

1.6

Chapter One: Essential Information for Designers

1-15

Average Dart Locations on the Basic Patterns Center Back

A. Basic Skirt Pattern There is a space between the two side hip curves that looks like a large curved dart. In back are two darts with the one closer to the Center Back wider and longer. There are two short darts in front. These dart locations are good for the average woman but individual variations are needed.

Center Front 1.7

Center Back

The Front has two darts, both ending at the apex of the bust, called the “bust point.” An upper dart divides the shoulder seam in half, taking care of the slope from the bust area to the shoulder. At the waist a dart takes care of the slope from the bust to the waist. The bust is more like a “mountain” than a plateau, so both darts end at the bust point. The Back also has two darts but they do not end at the same point. The back has a shoulder blade that is more like a plateau. The upper dart is short and small, taking care of the slope from the blade to the center of the shoulder. The lower 1.8 dart takes care of the slope from the blade to the waistline. There is a wedge of space between the two side seam lines. It looks like a dart and takes care of the side slope from underarm to waistline.

1-16

Pattern Drafting for fit and fashion

Center Front

B. Basic Bodice Pattern

C. Shaped Basic Sleeve Pattern If it were not necessary to bend the arm, there would be no need for a dart in a basic sleeve. This sleeve can be seen as a tube. It graduates from larger at the underarm to smaller at the wrist. It has a shaped cap at the top to cover the shoulder joint. The dart is placed at the elbow. This shows that a dart is sometimes used to reduce the length as well as the width of a pattern. If the arm is bent at the elbow, it is longer than when it hangs relaxed at the side. In order to make the sleeve long enough to fit the bent arm, sufficient length must be allowed. Extra length is only needed in the back over the elbow, so a dart is located on the long sleeve seam in the back. It is positioned to point to the elbow when the arm is bent at a right angle. The arm is very flexible so the same dart cannot point to the elbow when the arm is raised or stretched. Since the arm changes in length as it moves, the designer must remember to make allowances in sleeve patterns for this fact.

Back

Front

1.9

D. Basic Sheath Pattern It is not necessary to repeat the information about the location of the upper darts since the Basic Sheath Pattern is made from the Basic Skirt Pattern and the Basic Bodice Pattern. The waistline darts on the Basic Sheath are different for they are double-pointed. A single-pointed dart reduces the size of the pattern below a single raised area of the body. A double-pointed dart reduces the size of the pattern between two raised body areas. The waistline darts on the Basic Sheath Pattern, both front and back, show the maximum amount of waist reduction possible to produce a tightly fitted waistline. The maximum darts are rarely used in a styled pattern. By allowing the waistline to be a little “easier,” the garment will be much more relaxed and becoming. (The diagram of the Front Sheath Pattern is shown.)

Center Front 1.10

Chapter One: Essential Information for Designers

1-17

Techniques for Moving Darts Use sheets of paper to learn the techniques for moving darts. They are mechanical processes. Learn the techniques first and then discover the way to use them on patterns for garments.

A. Slash/Spread Technique 1. Use a sheet of typing paper. Draw a dart starting from one of the short sides of the rectangle and pointing toward the center as shown in the first diagram to the right.

2. Draw a dotted line straight from the point of the dart across to one of the long sides of the paper as shown in the second diagram. Cut along the new dotted line and stop at the point of the original dart.

Cut to tip of dart

3. Fold and crease one line of the original dart drawn in Item 1 above. Bring this folded dart line over to touch the second line of that dart. Tape it flat. 4. Notice that the line cut in Item 2 has spread apart and become a space shaped like a dart. 5. Place a strip of paper underneath this dart space and tape it in place, taking care to keep the paper flat. 6. A dart has been moved. This is one method for moving darts called the Slash/Spread Technique. It is possible to move the original dart to any position on any edge of the paper. In the above exercise, the width of the new dart at the edge of the paper is not the same as the width of the original dart. Measuring with a protractor, the dart angles are the same.

First dart closed

New dart opens

1.11

Try this exercise starting with a circle of paper. Draw the first dart with its point at the exact center of the circle. After the first dart is moved to another position, the second dart will be the same width as the first dart and have the same degree of angle. When working with a Basic Pattern that contains the correct darts to fit the curves of a specific body, it is not necessary to know the measurement of a dart’s angle because it is a simple mechanical process to move darts. A dart is an angle with its width dependent on its length. A small dart is quite wide when the lines of the dart are extended. This is shown in the next exercise.

1-18

Pattern Drafting for fit and fashion

7. On another sheet of typing paper draw a short, narrow dart on one of the shorter sides of the paper as shown in the diagram to the right. Measure and record the length of the small dart as well as its width at the edge of the paper.

8. Draw a dotted line straight from the tip of the little dart to the opposite side of the paper as shown by the dotted line in the second diagram. 9. Cut along the new dotted line. Stop at the point of the dart.

Cut through to tip of dart Dart closed

10. Fold the first dart closed and tape in place. A wide space opens shaped like a dart. In Item 7 above the exact size of the small dart was recorded. Check the new large dart. Measure along the slash lines from the tip of the open space for the same distance as the length of the little dart. Measure the width of the space at this length. Note that it is the same size dart as the small one. If desired, the exercise can be completed by filling in the open space with paper.

Dart opens 1.12

B. The Pivoting Technique 1. Take another sheet of of typing paper and draw a dart from one of the short sides of the paper pointing toward the center as shown in the diagram to the right. Call this the “original” dart on the “pattern.”

Original dart

New dart location mark

2. Divide one of the long sides of the paper in half and make a small mark at this position. Call this the “new dart location mark.” 3. Prepare an area on a table before doing the next step. Cover a section of the table with a piece of cardboard or pad it with a stack of newspaper that protects the surface of the table as well as an anchor for push pins.

1.13

Instructions continue on the next page. Chapter One: Essential Information for Designers

1-19

4. Put a larger fresh sheet of paper on top of the padded table. Lay over this the pattern prepared in Items 1 and 2, having the fresh paper extend beyond the typing paper on all edges. Anchor the pattern with push pins. Original dart

5. Use a pencil to trace from the new dart location mark around the rectangle and stop at the first line of the original dart. Always indicate where the tracing starts and stops with a small mark on the paper underneath. Tracing is indicated by dotted lines in the following diagrams.

New dart location

First Tracing

1.14

6. Put a push pin at the point of the dart and remove all other pins holding the paper down. 7. Pivot the typing paper “pattern” so the second line of the original dart touches the spot where the first tracing stopped (at the first line of the dart). This closes the original dart. Anchor the paper so it will not shift from this position. 8. Trace around the rest of the “pattern.” Indicate the new location of the mark for the new dart. Second Tracing

A general rule: When pivoting, any part already traced must not be retraced. New dart

9. Remove the push pin and the “pattern” that was pivoted. There are now two marks indicating the new dart location and the original dart is gone. Connect the two new dart location marks to the point of the original dart. Observe that a dart has been moved using the Pivoting Technique.

1.15

1-20

Pattern Drafting for fit and fashion

Top

Prepare for the remaining dart exercises. Label one short side of a sheet of typing paper “top.” Draw a dart from the top to a point above the center. Draw another dart up from the bottom so dart points touch. Draw a short line across where the darts meet. Later this line will become a set of notches. Copy this arrangement of darts to five more sheets of paper. Use a needlepoint tracing wheel to mark them all at once. Five copies and the original are needed for the next exercises. See example to the right. 1.16

C. Techniques with Two Darts 1. Use the first sheet prepared in the previous instructions to practice the Slash/Spread Technique shown earlier. Move one dart to a long side of the paper and notice that moving one dart does not change the other.

Dart closed Top

Top

New dart

Cut

1.17

2. With another copy of the two-dart sheet use the Pivoting Technique shown earlier. Move the same dart moved in the previous item to the same location. When tracing around the paper, pass the dart you are not moving. Trace it with no change.Notice that the results in Items 1 and 2 are alike. The Slash/Spread Technique and the Pivoting Technique give the same results when done with care. It is best to master both to provide the designer with more options when working with patterns. For example, it is difficult to pivot a tissue paper pattern but the Slash/Spread Technique works easily.

New dart

First Tracing

Second Tracing

1.18

Instructions continue on the next page.

Chapter One: Essential Information for Designers

1-21

3. Use another copy of the two-dart sheet to combine both darts. Cut away one dart. Close the other dart and tape it flat. The new dart is large. This is rarely used on a front bodice pattern as such a combined dart makes a very sharp point that is not becoming on most women. It also causes a radical shift in grain but may be used on the bodice of an evening gown where the inner construction prevents twisting.

Dart closed

Cut 1.19

D. Slash/Separate Technique 1. Using Yokes and Gathers: Top

a. Label the top of the fourth copy of the two-dart sheet. Draw the center line of the top dart. Square a dotted line from the center line to the right side of the paper. b. At the dart point square a dotted line over from the top dart’s left line to the left side of the paper. These two dotted lines do not form a continuous straight line. c. Fold the top dart closed and use a short piece of tape near the top edge of the paper to hold it in place. Notice that the sheet of paper cannot lie flat. If this were a pattern, it might look as if it were conforming to the shape of the body.

1.20

Dart closed

d. The paper must be flat so the designer can work on the area. To flatten it, keep the dart closed, fold the paper under on the first dotted line, then on the second dotted line. e. Position folded paper so the top dart faces up. Mark a point on both long sides of the paper down 2 inches from the top. Draw a dotted line between the two points. Make a single crossmark 2 inches from the dart on one side and a double mark 2 inches from the dart on the other side.

1-22

Pattern Drafting for fit and fashion

1.21

Folded under

f. Cut along this new crossmarked line, separating the top part of the paper from the rest of the sheet. The lower part of the closed dart will open as it is cut across because there is only a little tape near the top. Use a curve stick to smooth the line that has a bump at the center dart line. Erase the dart lines and write “Gather” across the same space. On a pattern, the crossmarks would be notches to match when sewing.

Dart closed

Top

Top

Folded under 1.22

g. A section of the paper has been separated and the dart changed to gathers. If this were a bodice pattern, the lower dart might be replaced by gathers as well.

b. Cut away the dart spaces and separate the two sides of the paper. The sections are similar to a Princess line pattern.

Straight grain

a. Use the fifth copy of the two-dart sheet to learn to hide darts in seams. Draw two lines parallel to the paper’s edge, one on each side of the darts. They indicate straight grain.

y

wa t-a Cu arts d

Straight grain

2. Using Seams:

1.23

Chapter One: Essential Information for Designers

1-23

c. Use the sixth copy of the two-dart sheet to create another seam that hides the darts. Draw two lines parallel to the paper’s edge, one on each side of the darts. d. Use a French curve to draw a slightly curved dotted line starting near the top on one side of the paper. End the curved line at the dart points as shown in the first diagram. e. Cut along the curved line, stopping at the dart points. Fold and tape the top dart closed. A curved dart space opens. Cut away the entire bottom dart. It becomes a two-section “pattern” with all the darts hidden in a seam. This is a another kind of princess line. Dart closed Top

Top

Straight grain

Opens

Cutaway dart

Straight grain

Top

Cut

1.24

In these exercises, rectangles of typing paper were used to learn the techniques for moving darts. The examples do not illustrate the aesthetic principles of designing for the female body. This subject is considered when applying these techniques to patterns.

fffff The techniques on these pages can be applied to patterns. Knowing all of them gives a designer more tools. Refer to the Index for specific sections on moving darts when designing a pattern. Practice the techniques using scaled patterns. These are the techniques presented in this section: • Slash/Spread Technique • Pivoting Technique • Slash/Separate Technique

1-24

Pattern Drafting for fit and fashion

Using Drafting Tools and Templates Although students may have extensive experience sewing, they may not be familiar with the the use of rulers, curves and other tools used for pattern drafting. A “beginner” in pattern drafting frequently makes mistakes when drafting by using these tools in the wrong manner. In the next chapter instructions for drafting the Basic Patterns are found: the Basic Skirt, Basic Bodice and Basic Sleeves. How to use the drafting tools and templates is covered in this section in that same order. While doing the Basic drafts, the student can refer to these instructions to see how to use a new tool or template efficiently. 1. The Tailor’s Square is used in Items 1 though 4 of the Basic Skirt draft. The diagram to the left shows how to place the Square correctly.

Hip Level Line

2. There must be a straight line drawn first. In this case, it is the Center Front line for the skirt.

Move square up for this corner

Rotate square 90° for this corner

Center Front—Basic Skirt 1.25

Center Back—Basic Skirt Hip Level Line Use curve stick for front curve

Center Front—Basic Skirt 1.26

3. To square a line over from the first line, one arm of the Square is aligned with the existing line at a specific point and a second line is drawn along the other arm of the Square. 4. The Square is then moved to another specific point and the process is repeated. The Square may need to be rotated to fit into a different corner. 5. The Curve Stick is introduced in Item 11 of the Basic Skirt draft. It is used to draw the side hip curves. 6. Lay the Curve Stick so its straighter end is on the lower part of the skirt side seam where a straight line is desired and slide the Curve Stick up or down until the mark on the temporary waistline is visible. Trace along the edge of the Curve Stick in this location. 7. Flip the Curve Stick over and repeat this process for the other side hip line. Instructions continue on the next page.

Chapter One: Essential Information for Designers

1-25

8. The Curve Stick is also used to draw the waistline on the Basic Skirt. In Item 13 it is turned so it runs almost parallel to the temporary waistline.

Center Back—Basic Skirt Hip Level Line

9. The draft has 3 inches squared at Center Front and Back at the waistline. Lay the Curve Stick so its straighter end is on a 3-inch line. Slide the Curve Stick to right and left until the mark on the hip curve is seen. Trace along the edge of the Curve Stick in this location.

Flip curve stick to draw front waistline

Center Front—Basic Skirt

10. Flip the Curve Stick over and repeat this process for the other waistline.

11. In the Basic Bodice draft, Items 5–7 cover how to draw the neckline curves using the Armhole Templates or French Curves. The diagram to the right shows how to place the Curves correctly.

Back armhole template Top line—Back

Top line—Back

Center Back—Basic Bodice

12. The back neckline is a shallow curve drawn with the #16 French Curve or the Back Armhole Template. The front neckline is a rounder, deeper curve drawn with the Front Armhole Template or the #17 French Curve.

Top line—Front

#17 French curve

Top line—Front

Center Front—Basic Bodice

1.27

1.28

Center Back

Center Front

13. Items 8 and 9 in the Basic Bodice Draft cover how to draw the shoulder lines using the Shoulder Slope Templates. The diagram to the left shows how to place the Templates.

1.29

1-26

Pattern Drafting for fit and fashion

14. Front and Back Shoulder Slope Templates are different. Place the Back Shoulder Slope Template so its Top Line touches the Top Line of the Back on the draft and the point at the Side Neck Point. Place the Front Shoulder Slope Template so its Top Line touches the Top Line of the Front on the draft and the point at the Side Neck Point. Trace the bottom edges of the Templates for the shoulder seam.

Trace edge of French curve #17 between arrows

15. Item 10 in the Basic Sleeve Draft covers how to draw the sleeve cap curves. The French Curves are used. The curves are drawn in four steps.

Trace edge of French curve #16 between arrows

Step 1 Back

Front

Basic Sleeve

Back

16. To the left is a diagram that shows the #17 French Curve following the guide line halfway and tilting to touch the top of the cap at the center. Trace the French Curve in this front quarter section.

Front

Basic Sleeve

Step 2

1.30

17. To the right is a diagram that shows the #16 French Curve following the guide line halfway and tilting to touch the top of the cap at the center. Trace the French Curve in this back quarter section.

Step 1

Step 2 1.31

Step 3 18. To the left is a diagram that shows the #16 French Curve following the guide line halfway and tilting to touch the Underarm Point. Trace the French Curve in this back quarter section.

Trace edge of French curve #16 between arrows Back

Trace edge of French curve #17 between arrows

Front

Back

Front

Step 4 Basic Sleeve

Step 3 1.32

19. To the right is a diagram that shows the #17 French Curve following the guide line halfway and tilting to touch the Underarm Point. Trace the French Curve in this front quarter section. 20 Notice in the diagrams that the French Curves are not in an upright position, but are tilted so the cap has a soft, smooth curve.

Basic Sleeve

Step 4 1.33

Chapter One: Essential Information for Designers

1-27

Evaluate Your Learning from Chapter One Look in catalogs or magazines from which you can cut pages. Search for a photograph of a woman wearing an interesting outfit that shows her from head to toe. It is preferable if the photo is in color. Cut it out and fasten it to a sheet of paper. Answer these questions: • Do I like the way her outfit looks on her? • What makes me like (or dislike) it? • What could be changed to improve the outfit? Additions? Deletions? Be specific. • Can I see any darts in her clothing? If so, where are they?

1-28

Pattern Drafting for fit and fashion