Technical File

The basic front and basic back patterns are used as working patterns and the design patterns derived from them. Always trace a copy of the working pattern for manipulation when using the slash method for pattern development. The original pattern is saved as a base for other designs.

FLAT PATTERNMAKING METHODS

There are two flat patternmaking techniques:

Slash method—to relocate darts, slash to open the pattern for more fabric, or slash to overlap for a closer t.

Pivotal/transfer method—the original pattern is pivoted and traced in sections until the new pattern shape is completed without slashing. Both pattern methods are explained and illustrated in this chapter. A working pattern becomes a design pattern after ts shape changed through manipulation.

Three flat pattern techniques

Dart manipulation— Changing the location of a dart within the pattern frame. Remember that the dart is responsible for t and will be part of the design in one form or another.

Adding fullness— Applies when design fullness is greater than the dart excess can provide. Added fullness is not directed to the pivotal point (bust).

Adding to the pattern’s outline also indicates that added material is needed for the design.

Contouring— Fitting to the contour above, below, and in between the bust, leaving the dart excess to be absorbed into stylelines, or gathers. Gapping ease caused by cut-out neck lines and armholes is transferred to be absorbed.

The Process

The process for creating design patterns using the flat patternmaking system:

• First, the design is analyzed and its creative elements identi ed.

• Second, the patternmaker identi es which of the three principles and techniques to apply in creating pattern shapes for a three-dimensional replica of the design. Other design elements that do not change the shape of the patterns are part of the nished design.

• Third, the working pattern—a traced copy using the slash method or the original pattern for the pivotal method—is chosen.

Design Analysis

Through design analysis, an patternmaker is able to identify which principles and techniques to apply in developing correct pattern shapes that end in a threedimen sional replica of the design. The example illustrates how a sketch should be marked after the patter nmaker has identified principles and techniques in preparing for pattern manipulation. The design incorporates all three principles and patternmaking techni ques.

Darts Relocation

Added Fuliness

Contouring

• Pattern plot. The act of placing lines on a traced copy of the working pattern relating directly to the design features. The lines are used as guide lines for pattern manipulation.

• Pivotal point. A designated point on the pattern (for example, the bust point). The pattern is slashed to, or pivoted from, this point. This allows the pattern shape to be altered without changing its size or t.

• Pattern manipulation. The act of slashing and spreading, or pivoting a pattern to alter its original shape. The new pattern shape represents design features of the garment.

• Design pattern. The nished pattern that contains all the features related to the design.

TEST FIT

As each design project is completed, the design should be cut in preshrunk muslin (or fabric chosen for the design) and placed on a form or model or a test fit. One-half of the garment is needed when fitting the form (unless it is an asymmetrical design, which requires a full gar ment). A full garment is required when fitting the model. Seam allowances can be added in one of two ways for a test fit:

1. The seamless pattern can be traced on cloth, adding seam allowance directly on the fabric.

2. Seam allowances can be added to the pattern before cutting in cloth. The garment should be stitched using 3 to 5 stitches per cm. The seams are pressed without steam. Place the garment on the form or model for the test fit.

DART MANIPULATION

Principle.

A dart can be transferred to any location around the pattern’s outline from a designated pivotal point without a ecting the size or t of the garment.

Corollary.

The dart excess (space between the dart legs) can be used as gathers, pleats, tuck-darts, stylelines (those that cross over the bust point or within 2,5cm of the bust), cowls, are (unstitched dart legs), or ease in the armhole for casual garments. The creative use of the dart excess is called a dart equivalent. The dart or its equivalent will always be somewhere within the pattern where it was rst developed. Dart(s) or dart equivalents will direct themselves toward the pivotal point. A dart ends before reaching the pivotal point and should not go beyond it, especially the pivotal point of the bust.

Applying Dart Manipulation

Introduction to Design Patterns

The technique is applied when the dart of working patterns (bodice, skirt, sleeve, or any working pattern) are relocated in the process of creating design patterns. To create a design pattern, the design is analyzed rst to identify the location of the dart or equivalent before manipulating the pattern.

Patternmaking Techniques

• Slash-spread and overlap: Through this method, the patternmaker is able to see how the original working pattern changed into a design pattern.

• Pivotal-transfer: This method does not require that the working pattern be slashed in order to change its original shape into a design pattern. It is a faster method and, with experience, it is preferred. .

All darts radiate from convex shapes of the figure. The bust is rounded, not pointed. If the dart is stitched to the end of the pivotal point, strain lines will appear around the bust, distorting the fit of the garment. The dart should end at a distance from the bust point to release fabric (fullness) for the bust mound.

Locating Dart Point—Applies to the

• After the dart is relocated,

from

• Center a mark

to establish the

below bust

point.

Draw the actual dart legs from

to the

point mark.

A

Steps in the Process

Design analysis.

Identifying

Plotting.

Drawing line(s)

the

Manipulation.

pattern

indicate where the design elements are located. In the following projects, a line is drawn from the bust point to the new dart location.

Applying the slash method to change the shape of a traced pattern into a design pattern.

traced pattern is cut from paper and slashed on the plotted line to, but not through, the bust point (pivotal point). This is done to create a hinge, which allows the pattern part to move freely

the piece falling from the pattern

from dart point to, but not through, bust point.

If working with seamed patterns,

Front

SlashLine

Tracing the Folded Dart

With the dart folded,

trace

the fold at

The tracing will give the correct shape to the

Dart Excess Folded

Cup the pattern

InsideFold

Crease-fold dart leg (A)

crease-folding the dart leg

at dart point (not bust point).

Punch and Circle Required

• Unfold the dart and pencil in perforated marks.

Center a mark 2,5 cm below the dart point for the location of the punch and circle symbol (guide alerting the seams tress to sew beyond the mark to the dart point).

• Add 1 or 2 cm for seams, notch, and punch/circle.

Trace, cut, and stitch for test fit.

PIVOTAL-Transfer Technique

The pivotal-transfer technique involves manipulating the original working pattern into a new shape by pivo ting, shifting and tracing, instead of cutting. The working pattern is placed on top of pattern paper with a push pin placed through the pivotal point. To transfer a dart to a new location, the dart is marked on the paper underneath and then traced to an existing dart on the pattern. The pattern is then pivoted, closing original dart legs while opening space for the new dart. The remaining untraced pattern is traced to paper underneath. Once an area of he pattern has been traced, it is not traced again. This will be illustrated in the f ollowing design projects. Push pins are also used to transfer stylelines within the pattern’s frame. When the pattern is removed from the paper, the lines are trued with straight or curved rulers, using the pin marks as a guide. The shaded area on the illustrations indicates the part of the pattern a ected when traced.

COMPLETING THE PATTERN

A completed pattern has seam allowance, pattern symbols (notches, a punch, and circles), grainline, and pattern information. Pattern symbols guide the seamstress in constructing the garment, and pattern information assists in the production process. If the suggested pattern information di ers from that of the company’s standards, defer to the company’s standard.

Notch

Pattern Information

Write or print pattern information clearly. Patterns other than lining and interconstruction should be written in black felt-tip pen. Lining patterns are written in blue, interlining in green, and interfacing in red. Pattern information can be placed in the center of the pattern or placed along the grainline and on the right-side-up of each pattern.

-Student Name: ~Write your name in case a pattern piece goes missing.

-Season/Style Number: ~I.e. A/W19-SRS1 or S/S18-TRS2

-Pattern Piece Name: ~I.e. Yoke, Left Sleeve, pocket facing etc.

-Cutting Instructions:

~Cutting instructions need to be in a box and colour coded: Black = Self Red = Fusing/Interfacing Green = Lining Orange = Combo/Other ~Possible cutting instructions include: Cut 1 Pair =

Cut X 1

RSU =

WSU =

two pieces (left

right)

a

-Seam Allowance: ~I.e. 1cm S/A inc, No S/A inc

-Garment Size: ~I.e. UK size 10 or 40” chest

-Pattern Piece Number: ~Count all your pattern pieces and number them. ~1/12, 2/12, 3/12 Etc. ~This is in case any pieces go missing.

Grainline.

The grainline is drawn through the length of the patterns.

~All pattern pieces need a grain line

~The grain line should be in red ~There must be an arrow head (pointing down)

~The grain line should run the length of the pattern piece ~Grain line should be labled with SG (straight grain)

Centre Front.

~If a pattern crosses the centre front of a garment you should write CF

~If a pattern crosses the centre back of a garment you should write CB

~This must be exactly the CF or CB not the ‘rough area’

Seam Allowance.

~All patterns should have the ‘stitch line’ drawn on them

~All patterns should have the ‘seam line’ drawn on them

Notches (Ballance Marks).

~Notches should be clearly marked in pencil & notched with a notcher ~Ends of dart legs or any other details should be notched

~The CF/CB should be notched

Drill holes.

~Dart tips need to be marked with a drill hole

~On darts the drill hole should be around 3mm shy of the dart tip ~Drill holes should be circled with a red pen

Pattern identification. Label each pattern (bodice front, back, skirt, sleeve, collar, pocket).

~Even if a pattern is symmetrical you need to make a whole pattern, ~You must not write ‘cut on Fold’

~All patterns should be done in Mechanical Pencil

Style number. Write the code number of the pattern set—for example, 3363 (33 may identify the type of garment and 63 may identify the fabric).

Pattern size. Record the pattern size.

Pieces cut. Write the number of pieces cut from each pattern to complete the garment. A line separates the size (10) from the number of pieces cut.

Basic Bodice Block

A simple pattern that is fitted to the female torso. It has two darts on the front (Bust Dart and Waist Dart) and two darts on the back ( Shoulder Dart and Waist Dart). When these darts are sewn closed, it creates ”suppression” (shaping) at the pattern and it will fit the fabric to the body.

Black = Self Red = Fusing/Interfacing Green = Lining Orange = Combo/Other

-Student Name -Season/Style Number -Pattern Piece Name -Cutting Instructions -Seam Allowance -Garment Size -Pattern Piece Number

Dart Tip

grain) C.B. (

Notch C.F. (

Notch

Black = Self Red = Fusing/Interfacing Green = Lining Orange = Combo/Other

2,5cm -Student Name -Season/Style Number -Pattern Piece Name -Cutting Instructions -Seam Allowance -Garment Size -Pattern Piece Number

SLASHING & PIVOTING

2,5cm

On the front of the Basic Bodice we have two darts, the bust dart and the waist dart. These darts are used to create suppression allowing the pattern to fit well at the woman dorso. These darts can be transferred to other position using the darts manipulation technique. This can be done in two different ways. The Slashing or Pivoting Technique demosntrated in the next few pages by diagrams.

Waist

1- Trace around the front bodice and Draw the new dart position (green Line) from the side-seam/hem ending at the Bust Point (A)

2- Cut along the new line (green line) finishing at bust point (A);Slashing the the new dart and close the bust dart (B-C) opening the new dart.

3- Move 2,5 cm the bust point crea ting the new dart point shortening both dart legs.

4- This is how the pattern will looks like

5- 1cm around all pattern will define our grainline.

6- Final Pattern with all the info we need.

French Dart

around the front bodice.

the new dart position (green Line) from the side-seam/hem ending

the Bust Point (A)

Cut along the new line (green line)

at bust point (A) Pivoting

4- Pivoting around the Bust Point closing the waist dart (D-E) tranfering all that dart for the new dart (green dart).

the bust dart (B-C)

the Bust Point

the new dart.

5- Move 2,5 cm the bust point crea ting the new dart point shortening dart legs.

6- This is how the pattern will looks like

Final Pattern with all the info we need.

around the front bodice.

the new dart position (green Line) from the central front (Bust Line) ending at the Bust Point (A)

along the new line (green line)

at bust point (A) Pivoting around the Bust Point closing the bust dart (B-C) opening the new dart.

Pivoting around the Bust Point closing the waist dart (D-E) tranfering

that dart for the new dart (green dart).

2,5 cm the bust point crea ting the new dart point

dart legs.

This is how the pattern will looks like

Final Pattern with all the info we need.

Curved-Dart

1- Trace around the front bodice.

Draw the new dart position (green Line) from the central front (Bust Line) ending at the Bust Point (A)

Cut along the new line (green line) finishing at bust point (A) Pivoting around the Bust Point closing the bust dart (B-C) opening the new dart.

Pivoting around the Bust Point closing the waist dart (D-E) tranfering all that dart for the new dart (green dart).

4- Move 2,5 cm the bust point crea ting the new dart point shortening dart legs.

This is how the pattern will looks like

Final Pattern with all the info we need.

around the front bodice.

around the Bust Point

the bust dart (B-C) tranfering

that dart for the waist dart (E-D)

the new dart position (green

the armhole ending at the

Point

the new line (green

the

line (1).

are bumpy.

5-

the BACK when Pivoting the shoulder dart (A-B) closed one side of the princess seam will become slightly longer than the other. Leave this discrepancy as ease.

is how the pattern will looks like

Pattern with all the info we need.

Trace

the vertical line, notches for

point and the

the

go 2c width, draw a

and smooth line ending at the

point

the new CF taking the new

as our

line and draw a

line to this one to create the

it plus

5- Folder the

the

and draw the

from

with 5 cm width to

cover the stand collar.

From thenew CF draw a line and add 0,5 width and

cm

cm.

the

The botton

of the

after creating the cuff with 18 cm plus 1,5 each sides for the

about

with button, with the remain cm create two pleats

- 1cm around all pattern will define our

Pattern with all the info we need.

1 - Draft placket using measurements

bellow. Add 0,7 cm seams

Cut in fabric.

- Mark and cut slit where the shirt pattern indicates.

Draw 1 cm lines out from each side of the slit line. Mark angle lines, ending 1cm down from the top of the slit.

The RS is faced to the WS of the sleeve slit. Stitch up to the angle cut and back-stitch (2).

- Fold banding, and edge-stitch. Move part of the shirt away to complete stitching (3).

- The placket’s RS is placed to the WS of slit. Stitch to the end of the slit line and back-stitch.

- Fold the placket to RS and bring the angle line from underneath upward to be covered by the placket and fold 1cm seams of the placket and edge-stitch

mid-armhole (1)