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Group Pattern Making Journal

Group Members S/N Full Name (as shown in student card)

No of Absent


Fateh Mursyidah



Gabriela Jessica Susilo



Nurul Fatin



Vionita Hartanto



Group 1-1

Pa ttern Ma k in g J ou rn a l

Sk irt Pa ttern s Ap p lyin g 5 Pa ttern Ma k in Prin cip les Wk 2 - Wk 3

1st Thi ng 1st Copy and Rename INDIVI PMJ 1. right click on “Template PMB GRP <Group no> <Members' name> Group Pattern Making Journal 2016” 2. click “Make a Copy” 3. wait for the copy “Template PMB GRP <Group no> <Members' name> Group Pattern Making Journal 2016 Copy” 4. right click on the copied file 5. click “RENAME” to rename file

PMB GRP 1 Aurelia_jenny_mich Group Pat t ern

Part 1 •Form groups of 3 or 4 •Prepare 3 pieces A3 paper each group member •Each member will explore and experiment 5 PMP with small scale skirt blocks •Each member will create 3 sets of skirt pattern shapes on your own (keep these experiments for future use) •1 set include 1 Front and 1 Back of small scale skirt block •With 3 designs in hand, group members will come together to develop and confirmed 1 design to draft full scale skirt patterns

Part 2 •Begin with Master Pattern and intermediate patterns •Once patterns** are drafted (intermediate pattern), a Pinned full toile is required to evaluate the fit and proportion of design and details •All group members will present the work in class for assessment together (this includes lecturer’s feedback, and peer assessment

Wk 2

12 Small Master Patterns & Intermediate Patterns

Fateh Mursyidahâ&#x20AC;&#x2122;s

Gabriela Jessica Susiloâ&#x20AC;&#x2122;s

Nurul Fatinâ&#x20AC;&#x2122;s

Vionita Hartantoâ&#x20AC;&#x2122;s

Wk 3

We chose this design which is done by Gabriela Jessica because it applies all 5 pattern making principles. It is also visually pleasing because it looks clean and formal.

Red = Eliminate seam Blue = Add seam Green = Add seam, eliminate dart Black = Pivot dart Purple = Add volume

We traced the skirt block onto the pattern making paper and drew the small master pattern (on the slide before) in a bigger scale as the actual skirt block. We used the color markers, grid ruler and french curve to make this.



Orange = Eliminate seam Blue = Add seam Green = Add seam, eliminate dart Brown = Pivot dart Red = Add volume

We traced the master pattern onto another paper (Everything with all the annotations). We added notches, straight grain, center front, center back and on fold annotations on every piece. We also added labels from 1/7 to 6/7 (7/7 is the waistband). We cut out the pieces and also applied the 5 PMP. 1. Eliminate seam = we do not cut the seam. 2. Add seam = we cut according to the seams. 3. Add seam, eliminate dart = we cut according to the seams and cut out (eliminate) the dart. 4. Pivot dart = we cut the pivot dart and fold the original dart 5. Add volume = we cut the original add volume pieces, paste it on another paper (adding length in the process) and cut it to make the new added volume piece.

We arranged the intermediate patterns on the calico (on the straight grain), pin it, add 1 cm seam allowance, cut out the intermediate pieces, and traced it onto the calico with tracing paper and tracing wheel.

We pinned the dart and pinned all the intermediate pattern pieces together into a full skirt toile. We also didnâ&#x20AC;&#x2122;t forget to trace the straight grain, notches, center front and center back annotations onto the calico.

Wrong side = What you can usually see when you flip your garment on the inside Right side = What you can see when you wear your garment (from the outside)

Wrong Side




REFLECTION We learned a lot of new things about pattern making principles, the process of pattern making and how to make a full skirt toile through this project. As this is our very first experience as a group to make this skirt, we made a lot of mistakes in the process. Although we made a lot of mistakes, we managed to finish the skirt and we are quite happy with the results. The things that we learned: 1. The 5 PMP 2. The pattern making process 3. How to make a full skirt toile 4. Teamwork The difficulties in the process: 1. We frequently forget to add annotations. 2. Pinning the intermediate pieces into a full toile is quite a challenge especially the pleats part and if we need to join 3 notches together. The things that we want to fix in the future: 1. The design of the skirt. Itâ&#x20AC;&#x2122;s too much on the back and less on the front. 2. We want to be more neat in tracing the intermediate pattern to the calico using the tracing wheel and tracing paper.


Pa ttern Ma k in g J ou rn a l Blou s e Ba s ic Block Wk 10 - w k 11

How to Mak e a Basi c Bodi ce Block Step 1 - Make the frame Ma s ter Pa ttern

Step 2 - Determine the depth of armhole Step 3 - Draft the neck opening Step 4 - Mark the bust point Step 5 - Locate the shoulder point Step 6 - Locate the back shoulder dart Step 7 - Create the front shoulder dart Step 8 - Create the armhole Step 9 - Draw out the curve of armhole Step 10 - Draft the front waist dart Step 11 - Draft the back waist dart Step 12 - Position the side seam dart & complete the waistline

Interm edi ate Pattern After making the master pattern, trace the master pattern & cut into 2 pieces (Front basic block & Back basic block) to make the intermediate pattern. Annotations: - Straight grain - CF, CB, on fold - Pattern pieces names

Pin the intermediate pattern pieces on the Calico (on SG), add seam allowances, cut the calico and trace the intermediate pattern pieces with the tracing paper and tracing wheel. Seam Allowances: - 5cm on CB - 1cm on side seam & shoulder seam

Full Toi le

Righ t Sid e

Wron g Side

To sew the full toile, close the dart and then join the side seam and shoulder seam.

Problem and Soluti on Problem 1 : It is hard to draw the lines and curves after we close the dart as the paper is crumpled and we canâ&#x20AC;&#x2122;t get the perfect curve from the french curve ruler. We had to re- draw it a few times.

Problem 2 : It is hard to draw the exact curve for the armhole with the french curve ruler. We had to redraw it a few times.

Problem 3 : We had quite a hard time understanding the instructions for this 2 steps but we understood it in the end.

Group 1-2

Pa ttern Ma k in g J ou rn a l Blou s e Pa ttern s Ap p lyin g 5 Pa ttern Ma k in g Prin cip les a n d Deta ils Wk 12 - w k 14

Wk 12 (31/03/2015) Dartless Block Front 1. Trace the front basic block onto a paper. 2. Elongate both of the darts to the bust point. 3. Pivot the bust dart to the side seam line (blue line).

Pivot the bust dart to the side.

Cannot match

● Measure the width of the pivoted bust dart ● Add the width to the armhole ● Draw the new armhole. ● Ignore the Waist dart

Dartless Block Back

1. Trace the back basic block 2. To make the back dartless block, there are 2 methods.

METHOD 1 1. Trace the back basic block. 2. Measure the width of the shoulder dart. 3. Reduce the width of the shoulder according to the width of the shoulder dart. 4. Make a new shoulder line by touching the top point of the shoulder dart. 5. Make the new armhole. 6. Ignore the waist dart and make a new side seam line which is 90 degrees with the waist line 7. Square the side seam with the waist line

METHOD 2 1. Trace the back basic block 2. Pivot the shoulder dart to the armhole. Ignore the new dart. 3. Ignore the waist dart. 4. Square the side seam with the waist line

Basic Tight Sleeve

1. Prepare the bodice block that want to add the sleeve 2. Add 1cm to the length of shoulder seam and reduce 1 cm the length of side seam (Because will be added sleeve) 3. Make a new armhole 4. Measure the front and back armhole Front armhole = 26.5 cm Back armhole = 24.2cm

5. Calculate the sleeve crown height, determine desired design; tall or low crown & level of comfort at the armhole (Total measurement of armhole / 4) + 5cm =(50.7/4)+5 = 17.675 *Add 5 cm because we choose tall crown height

6. Determine the position of the sleeve width - draw vertical line of 60 to 70cm at centre of paper - Measure 17.675cm (crown height) from top of the line - Draw horizontal line at 90 degree at the 17.675 mark

Crown height Crown height

7. Drawing the crown of the sleeve. Draw 10cm line at 90 degree at the top of the vertical line drawn 8. Drawing width of the sleeve Draw a straight line from the top of the sleeve (Front Arm hole - 1cm = 26.5 - 1 = 25.5) until it touches the line of the sleeve weight Draw a straight line from the top of the sleeve for the back in the same way. *1cm adjustment is to compensate lengthening of the line when it curved later

9. Check the sleeve width It is the distance between the 2 line we have just drawn. Check it against the bicep measurement

10. Shaping the armhole Mark a halfway point at the 2 line(drawn at step 8), indication of the reverse of the sleeve curve Front Armhole Curve Draw smooth curve to the reverse point & draw a reverse curve at that point onwards(top curve show be wider and the reverse curve should be deeper) Back Armhole Curve Draw a smooth curve,top curve must be wider while the reverse curve must be shallower



11. Check & adjust length of armhole - Curve on both front and back must be the same as the measured armhole 12. Drafting the remainder of the sleeve - Check sleeve length at size chart & measure distance from top of sleeve - Mark at the end of of the point ( position of the wrist) - Draw line of 90 degree at this point // to the sleeve width

Mandarin Collar F





1. Measure the length of the neckline (front and back) CF-shoulder (Front neckline) = 11.5 cm CB - shoulder (back neckline) = 7.8 cm Total neckline (front+back) = 19.3 cm 1. Draw the collar stand by draw a vertical line (A-B) 1.5â&#x20AC;? 2. Draw Horizontal line from B-C = total length of front and back neckline = 19.3 cm





4. Mark the shoulder point by measure B-D = Measurement of CB - shoulder 5. Square up ⅕” from C to E. 6. Then draw curve from E - D 7. Square 1.5” From E-F 8. Draw line A-F parallel with line B-D-E



Pleating technique done by Shingo Sato



John Galliano fabric manipulation with folding, pleating and structured rigid fabric

The concept of our blouse is about having 2 different emotions (face) or expressions in it. A soft looking blouse at the front with the delicate ribbon at the front BUT a structured rigid look at the back with sharp lips

Viktor & Rolf Spring/Summer 2016. Create faces using 3D effects/popping out effect

Leathered garment with layering of pleated and fold details by Georgia Hardinge

Wk 13 Private Study 07/04/2015 Pattern Experiment Lipsâ&#x20AC;&#x2122; Pattern

Bamboo shoot technique from Pattern Magic 2 book by Tomoko Nakamichi modified into a lips shape

Sharp Teeth Pattern

Modified regular pleats. 2 edges of the pleats folded into different directions.

Ribbon on blouse

Hanging ribbon on the edge of the CF.

Asymmetric Flower Mandarin Collar Modifying the mandarin collar into an asymmetric mandarin collar shaped like a wave. We changed the wave into a flower like shape.

Try to make layer Layer pleats. We found it bulky on the inside so we realized we must add facing.

Little Hearts on Sleeve We extended the seam on the sleeves to a diagonal line to make little heart shapes on the sleeves.

Master Pattern This is our back master pattern. We added lips shape with the adaptation of Tomoko Nakamichiâ&#x20AC;&#x2122;s bamboo shoot technique at the center. In the middle of the lips, we added our modified sharp teeth pleats. At the waist line, we added 2 layers of pleats add volume. The annotations that we included: 1. Back Master Pattern title 2. Straight Grain 3. On Fold 4. No. of Pattern Pieces 5. PMP

This is our front master pattern, we decided to end the front slightly above the waistline. We added the sharp teeth pleats on the shoulder area above the bust and a 11 cm invisible zipper at the CF. We also added a ribbon which is a different piece added to the side seam with a facing and pleats add volume. We also didnâ&#x20AC;&#x2122;t forget to add the annotations required.

This is our sleeves master pattern. We cut off the crown to make a hole. We also extended the seams to diagonal bars to make the little heart shapes. We also didnâ&#x20AC;&#x2122;t forget to add the annotations. This is our collar master pattern. We keep it a basic mandarin collar. We only shorten the collar from the CF. The collar will also need a facing and interfacing to make it stand. We also didnâ&#x20AC;&#x2122;t forget to add the annotations.

Intermediate Pattern This is our back intermediate pattern which includes the pattern pieces 1/12 - 6/12. The Experiment that we applied : 1. Add volume with the adaptation of the bamboo shoot technique (1/12 & 2/12). 2. Add volume with pleats and layer (3/12 & 4/12, 5/12 as layer facing). 3. Add volume with sharp pleats teeth (6/12). We also didnâ&#x20AC;&#x2122;t forget to add the notches, SG, CF, CB, on fold, number of pieces, pattern pieces name and number for all the intermediate pattern pieces.

This is our front intermediate pattern which includes pattern pieces 7/12 10/12. A 11 cm invisible zipper fastening on the CF is also included. The Experiment that we applied: 1. Add volume with sharp teeth pleats (7/12). 1. Add a ribbon on the center by adding a new long rectangular piece on the side seam (9/12 & 10/12 as ribbon facing) 1. Add volume on the ribbon near the side seam (9/12) We also didnâ&#x20AC;&#x2122;t forget to add all the annotations required.

This is our sleeve and collar intermediate pattern which includes pattern pieces 11/12 (sleeves) & 12/12 (Collar). The experiment that we applied: 1. Add volume by extending the seam of the sleeves into diagonal lines which can be shaped into little hearts (11/12). This pattern must be done with a non frayed fabric. 1. Shortening the mandarin collar (12/12). We have to cut 2 pieces for the mandarin collar for the facing. We also didnâ&#x20AC;&#x2122;t forget to add all the annotations required for the intermediate pattern pieces.

Making the Paper Toile

We traced our intermediate patterns and added 1cm allowance for the paper toile. We also cut according to the number of pieces needed and mirror it when tracing if we need to mirror it. We also didnâ&#x20AC;&#x2122;t forget to add the pattern pieces name, on fold, SG, CF, CB, and notches. After that we join it together to form a garment.

Spec Sheet

Problem and Solution Problems: 1. Layer become bulky on the inside. join the pattern pieces to be a garment 1. We have difficulty while doing the Hard to match the notch when doing the sharp teeth pleats & sleeves. 2. Little hearts on sleeves will fray if it uses real fabric. 3. Hard to put together the sleeves & collar because itâ&#x20AC;&#x2122;s paper. Solutions: 1. Add facing before the second layer. 2. Make it as neat as possible and try to match the notch (Itâ&#x20AC;&#x2122;s harder because itâ&#x20AC;&#x2122;s paper). 3. Use non fray fabric or add seam and make facing for each stripe/bar pieces if the fabric frays. 4. Change the collar using thicker paper to simulate a collar with facing. Make cuts on the allowance of the curves so it

Reflection We learned a lot from this second group work as Mr. Chew told us to experiment more. We tried to explore more beyond the 5 PMP and manage to do a few new things (The lips, the sharp teeth pleats, the ribbon, the little hearts) . We realized that there is no end in exploring for pattern making as we can apply anything that we know about art in general and translate it into our garment design for our pattern making process. Our design became more 3D and more explorative than what we did for our skirt. However, we think that we should have put more thought into the aesthetic appeal and how all of our experiment would look together in one garment.

Profile for Gabriela Jessica Susilo

Group Pattern Making Project - Skirt and Blouse 2016  

Group Pattern Making Project - Skirt and Blouse 2016