CHAPTER ONE Introduction to Patternmaking Introduce stud tudeent ntss of f ash ashio ion n des design and pa patternmaking to the indus industr try y's term termss, tool toolss, and equipm quipmeent nt.. Bassic inf ormati Ba rmatio on about the the type of paper us used for patte patternmaking rnmaking,, fabr labeling ling,, seam fabriic grain lines, lines, pattern la allowan allo wancce, hem allo allowance, patt range, and name tteern marking, marking, grading a size ra amess of the body bod y form parts part s wi willl prepare stud tudeents to proce proc eed thro through the res rest of the course. Stude Stud ents who have have exten tenssiv ivee know knowlledge of sewing us usin ing g commeerc comm rciial pa pattterns wil illl find tha that the f ashion manuf acturing industry has ha s it itss own sta stand ndaard rdss f or width idthss of se seam am notches es and punch hol holes, and time-sav allowance,, pattern marking suc allowance su ch as a s notch time-saving ing constru constr uction methods. method s. For exa examp mplle, thee seam allo th allowance depth on a pa pattern ttern''s nec pro oduced by by a fa fasshi hio on manuf manuf actu acturer is is narro narrow w, usua uall lly y 1 /4 in incch, to neckline kline pr eliminate th thee need for the perso son n sewing th thee garment to grade the seam all llow owanc ancee by cutti utting ng the se seam am allowa owan nce layers with sci ciss ssor orss. Knowledge of of se sewin wing g te tecchnique hniquess is ver ery y valu luab ablle fo forr a patter tern n ma mak k er er but be beginning student tudentss can ca n success essfull fully y learn patternma patternm aking and and sewin ing g simultane imultaneo ously if they they have an apti aptitud tudee for wor workin king g with thei theirr hand ndss and and are are able to to vi vissuali ualizze pa patt tteern rnss and garmen ments ts in a three three--dim dimeensional manner manner..
1. Pattern dra raf f ting ting I)
design n process that invol invo lve vess taking me measurement urementss from a pe p erso son n's body or a Pattern dra raf f ting ting is a desig body form, (u ( usua uallly ly)) addi addin ng ease to the thesse meas measurem uremeent nts, s, and the then transferring these th ese measur ureement ntss onto a paper pa p attern ttern.. Thi Thiss is done us using pencil pencils, tap tapee mea meassur ures es,, rul ruleers, cur curves ves,, sc scisso ssors rs,, and tape. The The finisshed pa fini paper patte pattern is pl place aced d on to top p of f of f abric to use as a guid guidee to cut out ga g arm rmeent pieces.
II)
desiign proc process in which a base bl bloc ocks ks,, or sloper creatte a pat atttern Flat patternmaking is a des loper,, is used to crea for a new style tyle.. The sloper is is tra tracced and and then set as asiide. Th The traced copy cop y is co converted nverted into a new sty st yle fullne ness ss,, contour ntouriing, using one or mo more Patternmaking techn chniqu iques. es. Th Thes esee tec echniq hniqu ues inc includ ludee adding full pivo ivoting ting,, and sla lassh and sprea read d.
Optional extra front length for men With protruding abdomen
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III)
Fitting the body
Pattternm Pa rnmaaking has has come come a long way way sin sincce peop people firs firstt started cutting shape shap es out of fabr fab ric ins instead of jus just wrapping large section tionss of it around the themselv lves. es. As peop eoplle made clothing fit clo loser ser to the body body th theey found tha that non on--stret tretcch pleats,, gather gathers, s, or stylel tyleliine ness at strategi fabrics ne n eed to be shaped by pl placing dart darts, s, pleats strateg ic area reass for th the fabric to f it it smooth moothlly over the contou conto urs of the the human body. bod y.
Stages of pattern Making The pattern making process begins with a fashion designer's idea, from which a first pattern is drafted, flat patterned or developed on a computer. A first sample of the new style is then cut and sewn. T he first sample is fitted to a body form, a live model, or both. There are almost always changes made to the first pattern, either to improve fit or adjust the garment's style. A second sample is cut, sewn, and fitted. Further changes may be made, and more sample garments may be cut and sewn, until the designer, pattern maker, in-house merchandiser, and company owner, all of these are satisfied. At this point, more samples are made for in-house salespeople and sales representatives who show them to prospective buyers for retail establishments, or the manufacturer may sell directly to the public. Once a style is deemed worthy of being put into production, the pattern is sent to the production patternmaker who pre repar pares es th the patt ttern ern for grading into int o a size size ra rang nge. e. Th Thee produc producttio ion n pattern mu must st be as perf perf ect ect as possibl possiblee so so that that err errors are no nott tr traansf err erred onto pr pro odu duccti tio on garments, garments , numbe mberring hund hundrred edss or th tho ousan ands ds for la large co comp mpaanies. Thi hiss is only one way way of of pro produ duci cing ng pa patter tterns; ns; ea eacch co comp mpaany has it itss own own sys systtem. For Fo r exam examp ple, empl employe oyeees of small sma ll com comp pan aniies may be res esp pons onsibl iblee for for mo more th thaan one part of th the produ producction process process.. So Some comp compaanies ar are so small sma ll that that th the des esiigne gnerr does does all of f tthe patt patteern wo worrk and maybe even the cutt cut ting and and sewing.
Key terms in pattern making There The re are are so some me te term rmss yo you will will nee need d to to know and under ndersstand:
A) Fabric gr grain line ness
Straight grain line
Fabric gr grainline ness ar are impo mport rtaant to to unde unders rsttand an and d use use correctl correct ly or your your gar garm ment ntss wil willl not hang hang pro rop per erlly and and will twist.. When f abric is wove twist oven n on a loom loom,, th thee fir first st yarn yarnss that that are plac placed ed on the lo loo om are called the warp gr graain or the straight grai grain n. The These se yarn yarnss run the le length of the the f abri bricc so so if yo if you u have have thr three ee yards of f abri bric, c, the wa warp rp gra graiin yarn yarns are three th ree yard yardss long. The war warp p gra grain in has th thee most most stre stren ngth an and the leas eastt amount of o f str streetch in a wo wove ven n f abric bec ecaause theree is tensi ther ension on on the the yarn yarnss when when they they ar are set set in the the lo loom. om. Usually, garm garmeent ntss made of woven woven fabric use th thee warp or straaight grain up and down the str th e body body.. Garm Garmeents hang we well whe wh en cut out of fabric fabric thi thiss wa way, as long as the pa pattern ttern pieces have been been ma mad de corre correct ctlly.
Cross Grainline
After the the loo oom m has has been set with with war warp p gr grain yarn arnss you you beg begin in to weave the the weft grain ya yarn rnss or or cross gr grai ain n. Th These ese yarn ya rnss run acro across the the width of the the f abric from side sid e to sid idee or selva selvage to to se selva vag ge and and are at a 9090-d deg egree ree ang anglle or ri rig ght angle to th thee str straaigh ightt gra graiin. Th Thee sel selvages ar aree the tig tight htlly woven woven edges th that at run run alon long g the the out uter er length of f aa bolt of f fa fabri bricc and are are para arall lleel to th thee str aight grain in.. Occasiionall Occas lly y a garment garme nt will be cut cut with th the wef t or cross grain grain up an and d dow down n the the body in instea stead d of f aaround the the body. This migh mightt be be do done when the there is is a bo bord rder er des esign ign that is is on on one or bo both th edges of th of thee fabr fabric th thaat is is f eature eatured d on th thee hem.. Th hem Thee fabri fabricc wi will ha hang dif fer ferentl ntly y if cut cut on the the cross cross grain rain,, especi especiaally if there are gat gather herss or pleat eatss. Th Thee gath gatheers or pleat atss wi will no not li lie f lat and and will puff o puff out, away fr fro om the the body.
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Bias Grainline
Another Anoth er wa way y to cut garm armeents out of of fab fabric is to use the bias grainline. If If yo you u ta tak e th the perfe perfecct cross grain grain (to torrn edge edge or pulle pulled d th thrread ead)) and plac lacee it on the the perf ect ect str traaig ight ht gr grain (torn edge or pulle pulled thread) thread) you you wi will have have a dia diagonal fold thaat is th is a pe perf ect 45 45--deg degree ree an ang gle to th thee str straight or cross grain. grain. This This 4545-degr gree ee an ang gle line is is ca call lled ed true bias ias.. Wh Wheen a garm ga rmeent is cu cutt with the true true bias bias up and and dow down n on the the bod body, th thee garm garmeent wil willl stret tretcch and cling to th thee body. Thi Thiss is one one way wa y to mak e gar garme ment ntss f it a wider ra range nge of figure ty t ypes jus just as as knits do, do, but it uses uses more f abri bricc per garme garment and can be diffi difficcult to to sew with witho out get gettting ripp ripples or str stress ess lin lines es on on the the seam seams. A st strip of of bia biass f abri bricc may be be use sed d to bind garm gar ment edges edges or f ini nissh of f raw edges of o f sseam eamss.
Pattern Grain line Patteern pie Patt pieces have grain g rain lin ines es dr draawn on them, so the hey y are pl placed on the f abric abric. For th the garm rmen entt to be cu c ut prop propeerly. Thee grain lin Th inee is dr draawn as a stra raiight line that run runss fr from om edge to edge of the pat pattern piece ece,, wit with h ar arro rows ws on it to to disstingui di tinguissh it from oth theer line iness on the pa pattern ttern.. Th Thee gr grai ainl nliine can ca n be be dr draw awn n in in vari various pl plac acees on o n the the patter attern n, dependin nding g on whe whether th the ga garmen rmentt is cut on the strai raig ght, cr cross oss,, or bias grain grain line; line; however, wh when plac placin ing g the t he pat pattter ern n on a pi piece ece of fabric fabric,, the grain line drawn on the patt tteern piece is alw lway ayss laid para paralllel to the strai raig ght gra grain and selvages of th the fab fa bric ric..
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B) Pattern Labeli Labeling ng
Patter Pat tern n la labelin ling g en enssur urees that th the pe peopl plee wh who use you your pat atttern rnss will use use the hem m cor orrrect ctlly, as you inte intended. Each Each pa pattte tern rn should have have a style number number.. Thi Thiss numb number er usuall lly y has som some si signifi nificcance ce.. For instan tance ce,, the firs firstt num number may tell you what year or or sea season the style wa wass cre creaated ted;; th thee second second number number may tell yo you u whe whether the garm garmeent is is a shirt, pant, pant, or jacket;; an jacket and the las astt tw two numb numbers may indi indica cate te the the styl style itse itself . When dra draftin fting g firs firstt patt patteern rnss yo you u us usually write th the name of the the patt patteern pi piece fo forr easy re recognit itio ion n su such as sh shiirt f ron ront or col collar lar.. You should also have th the size size of the garment garmen t, usuall ually y wri writt tten en as as a number number su such
Lin i ing a n g a n nd Interfaci d Interfaci ng ng Lining is an any fabric used use d on the inside of a garment that hides the construction of the garmen t. It may may also be used to vestt st reduce bulk in a garment , such as as the pocket pocket lining lining or the back in the ves sty yle shown in below figure figure Labe Label lini lining pattern pieces with the word "lining lining"" in re red ink . Yo You u migh mightt also use use a stiff ener fabric call ca lled ed inte insiide interrf acing acing ins faccing to gi pieces such as as the front fa give them more body and to retain their shape . Patte Patterrn pi pieces that will be cut in interfacin interfaci ng fabri fabric should be labeled labeled wi with th th thee abb abbrreviation "in intT tT'' in gr greeen ink .
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Int er linin g an d Und er l in in g
Some garments have an inner layer of lining call ed interlining that is sandwiched between the self fabric layer and the lining you see on the inside of a garment. An interlining might be used to give extra weight and stability to a garment, or it might be used as insulation in cold weather wear such as batting in a sk i jacket. The word "interlining" is color coded in orange ink . An
underlining fabric layer might also be used in some garments to add stability to flimsy self f abrics or additional support across the upper back of a jacket. The word "underlining" is color coded in yellow ink . Fashion manufacturers have their own systems to label and color code pattern pieces. A color code is provided below. You may customize your color code system.
Fold Line
First patterns or original drafts are usually drawn onto lightweight paper that creases easily for truing darts or pleats. First patterns may be "half ' patterns. For example, you draft one sleeve but write "2- self' so it is cut with a right and a left sleeve, or you draft one half of a back shirt and write "I-self on the fold." The fabric is folded with selvage edges together, and the pattern piece is placed with the center back against the fabric f old. This results in a full back shirt with right and lef t sides attached in the center. To indicate this type of cut layout, draw a fold line against center back .
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C) Non verbal Communication in pattern Making The fashion industry uses nonverbal communication on garments in the form of notches. Notches are clips or slices cut into the seam allowance on a pattern or garment piece. These let the person sewing the garment know whether the garment piece is for the front or back. If there are several garment pieces that look alike, notches may indicate which pieces match together and what order they go in. This is done by adding one more notch to each seam as it goes around the body. Notches also mark the width of a dart, pleat, or tuck, or can be used to control the placement of gathers. Notches may also be used to indicate seam allowance width. However, not all manufacturers use notches to mark seam allowances. It can be costly to have several notches on each pattern piece. Although one notch is cut through all the layers at once, it is possible to cut notches too deep, so use them sparingly.
Punch holes and circles Punch holes are tiny holes that may indicate pock et or dart placement. Punch holes in fabric are made with an awl. Since you are making holes in the garment, they need to be placed so they will be hidden. To mark the placement of a pocket, mark punch holes 1 / 8 inch inside the pock et placement outline. Punch holes are marked on pattern pieces with a screw punch, which punches out tiny holes. To mark a double-ended dart, the middle section of the dart intake or dart
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1. Heavy paper (manila paper) for slopers and production patterns
2. Muslin 3. Clear tape, approximately 1 /2inch wide 4. Straight metal rulers in various lengths: 36,48, and 60 inches 5. Pattern paper, solid paper in white or other light colors 6. Tissue paper (lightweight , pliable paper) used to te st pattern fit 7. Pattern hole punch, makes
3/4 inch
diameter hole through which to put a pattern hook
8. Tape measure 9. Straight pins, size #17 10. 90-degree angle metal ruler or "L" square, the longer the better 11. Hip curve, metal or plastic, also called vary form curve rule 12. See-through plastic ruler 18 inches by 2 inches with a lja-inch grid spacing
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13. Pattern hooks to store a completed pattern and its pattern chart (in front) 14. Needlepoint tracing wheel 15. Awl to make tiny holes through fabric to mark punch hole placement 16. Screw punch to make tiny punch hole s in paper patterns to mark punch hole placement 17. Push pins 18. Weights to hold pattern pieces in place while they are being traced or to keep markers in place 19. Marker paper, which has a printed grid with letters and numbers , also called dot paper 20. Notcher 21. Hard pencils, which leave a finer line than soft ones 22. Pattern snips for cutting heavy pattern paper 23. Rotary cutter (you need a surface you can cut on such as Styrene lj16-inch thick sheet) 24. Colored pencils or pens for color coding and for correction s on patterns 25. Fabric scissors, which you should use only for fabric so that they stay sharp longer 26. Paper scissors, which you should use only for paper since it dulls the blades more quickly than fabric 27. Circle template for drawing button or snap placement on patterns 28. Plastic curves in various shapes 29. Triangle marked with degree angles
Body Forms
A body f orm or a fit model is necessary f or pattern mak ing. It's easier to work with a body f orm than with a live person. You can't poke pins into a person. You can't remove their arms to mak e certain patterns easier to fit. Alternatively, a person can tell you if something f eels uncomfortable. They can sit, walk , bend over, and raise their arms. This is very helpf ul when test f itting a garment to see if people can move in it comf ortably. I t is best to use a body f orm that has legs so you can make pants and shorts. If a body f orm with legs is not available, you will need to find a model to f it these styles.
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CHAPTER TWO Taking Measurements of Body Forms (and Live Models) The ability to take accurate measurements f rom body f orms and live models is an important skill that all patternmak ers should possess. In many ways, work ing with a body form is easier than working with a live model because you can stick pins into and draw on them, they are always available, and they never gain or lose weight. Live models need to be treated gently, with respect, and they are liable to gain or lose weight. However, your final garment created on a body form will also be for a person to wear. Live models are very valuable because they can sit, walk, bend, and thus tell you if the garment you have made is comfortable and practical. A professional patternmaker must have a full-scale model for f itting patterns and garments. The patternmak er must take very precise measurements from the f it model and record them for future use. These measurements are used to draft very basic pattern pieces called slopers, the slopers and the fit model measurements are then used to create f lat patterns of the rest of the styles in this text, as well as your own designs. Measurements must be tak en f rom a body form or live model carefully, keeping in mind that any mistak es will be transferred onto the patterns and will cause f it problems. If you wish to mak e patterns based on your measurements, have someone else measure you. It is very dif ficult to take your own measurements accurately.
Checklist for Taking Men’s Measurements
1.
Select a body form or live model; you will need a body form with legs or a fit model to mak e patterns for pants and shorts.
2.
To measure a body form you will need straight pins, narrow ribbon or twill tape, an accurate f lexible tape measure, a 48-inch to 60-inch-Iong ruler (to check horizontal levels); a carpenter's level is optional.
3.
To measure a live model you will need straight pins, narrow elastic, thread for tailor tacks or chalk , an accurate f lexible tape measure, a 48-inch to 60-inch-Iong ruler or a carpenter's level (to check horizontal levels). The live model should wear underpants and a full bodysuit (or a bodysuit that reaches at least to mid-thigh), which can be marked and sewn on with elastic.
4.
Save a copy of the measurements from this chapter so you can f ill it in and save it for future use. These measurements will be ref erred to throughout th e textbook.
How to prepare the men Body Form 1.
If you are measuring a body form, you will need to establish a f ew points from which to measure. Place a straight pin 1 inch elbow the armhole plate at the side seam to mark the underarm-side seam intersection. Leave this pin in the form for ref erence.
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2.
Place a pin at the edge of the shoulder tip / armhole intersection. This point is located at the shoulder seam where the shoulder tip begins to curve downward toward the armhole plate.
3.
Place a pin directly across from the screw in the armplate, measured ¼ inch into the f abric away f rom the plate only on the front, to mark the f ront mid-armhole point.
4.
Establish the chest level. On the front of the form, there are slightly curved mounds that denote the chest. The largest circumference of the chest needs to be mark ed. This level is usually close to the underarm pin at the side seam. Pin a length of narrow ribbon or twill tape around the body f orm at this level and parallel to the f loor to establish the chest level. Measure f rom the floor with a long ruler or carpenter's level.
5.
Establish the waistline. On most body f orms, the waistline is mark ed with a woven tape. If your body f orm does not have an established waistline, measure the f orm to find the smallest circumference between the chest and hips, and pin ribbon or tape around the body form at this level. Waistlines are not necessarily perf ectly parallel to the f loor. On adult males, it is normal f or the waistline to dip at the center f ront. However, you should mak e sure that the waistline at the side seams measures the same distance from the f loor on the right and lef t sides. The waistline seam is measured at the center of the waistline tape.
6.
Establish the hip level. Find the largest circumference of the hips and buttock s area by measuring at several levels along the lower torso. Once you've determined the level of the largest circumf erence, mark it with ribbon or tape parallel to the f loor to establish the hip level. This level will not necessarily touch the hip bones and may therefore be lower, nearer to the crotch level.
Upper Torso Measurements
#1 Total shoulder girth level = _________________________________
Measure all the way around the upper arms and body with a tape measure, keeping it parallel to the floor. If the body f orm does not have arms, see standard table to f ind the shoulder girth measurement that corresponds to the shoulder width and chest circumference of the f orm.
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#2 T ot al chest level = ________________
Measure all the way around the largest circumf erence of the chest with a tape measure, keeping it parallel to the f loor.
#3 T ot al abdomen level = ______________________________
Measure all the way around the largest circumference of the abdomen (usually at the belly button level on a live model) with a tape measure, parallel to the floor. # 4 T otal waist level = ________________________
Measure all the way around the smallest circumf erence of the torso at the natural waist. # 5 Shoulder seam = _________________________
Measure f rom the high neck point to the shoulder tip / armhole intersection along the top of the shoulder.
# 6 Half the fr ont neckline = _______________________
Measure f rom the high neck point around to the pit of the neck. Men's sizes have designated neck line measurements that correspond to their chest measurements. Look up the neck line circumference for the model's size in Table 2.1, and, add ½ inch ease for the f inished neck line total. For example, a size 40 chest has a 151 /2 inch neckline, so you would add 1 /2 inch ease to get a finished neck line total of 16 inches. Measure the fit model's total neck line
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circumference. Adjust the center front neck depth so that the total neck line circumf erence matches the set neck line for his size plus 1 / 2 inch ease. Do not change the back neck depth.
#7 Center f ro nt neck to shoulder tip = ____________
Measure from the pit of the neck to the shoulder tip. #8 H al f the front to mid-armhole = ________________ Measure from center front to the mid-armhole point at the pin. # 9 H alf t he f ro nt chest = ________________________
Measure from center front along the chest level to the side seam, parallel to the f loor. # 10 H alf the front abdomen = _____________
Measure from center f ront along the abdomen level to the side seam, parallel to the f loor.
#11 Half the front waist = ________________________
Measure f rom center front waist over to the side seam / waist intersection. # 12 Half the back neckline = ________________________
Measure from the high neck point around to the center back neck .
#13 Center back neck to shoulder tip = ______________________
#14 halfway across shoulder blades = _____________________
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The shoulder blade level is found using one fourth of the center back measurement f rom the neck line to the waistline. Using the one-fourth measurement, measure down from the neck, and mark at center back for the shoulder blade level. Obtain the "half way across shoulder blades" measurement by measuring from center back to the edge of the armhole plate or the pin. # 15 Half the back chest = __________
Measure from center back to the side seam along the chest level, parallel to the floor.
#16 Half the back abdomen = __________ Measure from center back along the abdo men level to the side seam, parallel to the floor. #17 Half the back waist = ________________ Measure from center back waist over to the side seam/waist intersection. #18 Dart placement = _________________ Measure from center back waist over to the side seam/waist intersection, divide by 2, and add 1/2 inch. Write the resulting measurement in the #18 space.
#19 Side seam length = ____________ Measure from the pin placed 1 inch below the armhole plate down to the side seam/waist intersection. #20 High neck point to front side seam = _______________ Measure from the high neck point do wn the front to the underarm/side seam intersection, which is marked with a pin.
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#21 High neck point to back side seam = ______________. Measure from the high neck point do wn the back to the underarm/side seam intersection, which is marked with a pin.
#22 Center front length = __________ Measure from the pit of the neck down the front to the waist. Do not curve the tape measure in under the abdomen
#23 Fr ont tot al lengt h = ____________________
Measure from the high neck point over the chest down to the f ront waist. Do not curve the tape measure in under the abdomen. # 24 H igh neck point to front chest level =______________________
#25 shoulder tip to center front waist =_____________________________ Measure from the shoulder tip, over the chest and down to the center front waist. Do not curve the tape measure in under the abdomen.
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#26 Cent e r back le n gt h = _______________
Measure from the back neck down to the waist. #27 B ack to t a l len g th = ____________________
Measure from the high neck point, down the back , and to the waist.
#28 shoulder tip to center back waist=__________________ Measure from the shoulder tip, down the back , and to the center back waist.
How to Check Your Measurements •
Add #9 (half the front chest) and #15 (half the back chest) together: -------+ -------
______ ' Now multiply by 2: _____ x 2 = ' this number should equal #2 (total chest level): ' If not, check your measurements again, •
Add #10 (half the front abdomen) and #16 (half the back abdomen) together: + _ _____ ' Now multiply by 2: _____ x 2 =, this
should equal #3 (total abdomen level), If not, check your measurements again, • Add
#11 (half the front waist) and #17
(Half the back waist) together: -------- Now multiply by 2: x 2 _____ ' this number should equal #4 (total waist level), If not, check your measurements again
Lower Torso and Leg Measurements
These steps are shown on a body form, but the same measurements apply to a live model. The live model should not wear shoes when you tak e these measurements. If you are measuring a body form, it will not have feet, and it might not have legs, either.
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Find the lower torso and leg measurements that correspond to the body form's size and height in Table 2.1. Use the f orm's center back length and high neck point to front chest level as a gauge to determine t he body form's total height.
#36 Total hip le v el = ____________________
Measure completely around the largest circumf erence of the hips and buttocks, k eeping the tape measure parallel to the f loor. # 37 Hip d e p th a t center fr on t = _________________
Measure from center f ront waist level down to the hip level.
# 3 8 H ip d ep th at si de se a m = ______________________________
Measure from the side/ waist down to the hip level along the side seam. # 3 9 Hip d e p th at cen t er b ack = ________________________
Measure f rom center back waist level down to the hip level.
# 40 Half the f r on t hip = _____________________
Measure from center front over to the side seam at the hip level.
#41 H alf the ba ck hip = _______________________
Measure from center back over to the side seam at the hip level.
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#42 Outseam ls ide seam to fl oo r = _______________
Measure f rom the side/waist along the side seam to the floor. Remember that if you are using a live model, he should not be wearing any shoes. #43 Inseam to floor = _____________________
Measure from the center of the crotch straight down to th e f loor. Again , the live model should not be wear ing any shoes.
#44 Cr o tch d e pth = ____________________
To determine the crotch depth, find the diff erence between #42 and #43, which gives you #44. To check this measurement on a live model, have him sit up straight on a flat surface, and measure from the surface (at his crotch level) up to his waist level along his side seam. #45 Outseam to ankle = ______________________
Measure from the side / waist down to just above the ank le bone.
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#46 Inseam to ankle = _________________ Measure f rom the center of the crotch down the inner leg to just above the ankle bone. # 47 C rotch l ength = ______________________
Measure from center front waist down between the legs and up to center back waist. Do not pull tightly between the buttock s.
#48 Total thigh circumfer ence = _________________
Measure completely around the largest circumf erence of the upper thigh. # 49 Total calf cir cumference = ________________
Measure completely around the largest circumference of the upper calf . # 50 K nee level fr om waist = _____________________
Measure from the side / waist down to the middle of the knee.
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# 51 K nee level t o ankle level = _________________
Measure from the middle of the knee down to just above the ank le bone. # 52 Total ankle cir cumference = ______________________
Measure completely around the smallest circumference of the ank le just above the ankle bone. # 53 Foot circumfer ence = _________________________
Have the model point his toes so you can measure around the widest part of his heel. How to Check Your Measurements
Add #40 (half the f ront hip) and #41 (half the back hip) together: + _______ . Now multiply by 2: x 2 _____ . This number should equal #36 (total hip level). If not, check your measurements again.
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Chapter Three Drafting the Sloper Set Sloper is a term that is given to a very basic set of pattern pieces that are used to flatpattern almost any style. Flat patternmaking is a design process in which a sloper is used to create a pattern for a new style by tracing the sloper onto pattern paper and then manipulating the traced copy. The basic sloper set consists of the following items: Front upper body Back upper body with waist dart A fitted sleeve with elbow dart Front trouser Back trouser with waist dart An upper body sloper is a garment piece that covers the ma le body from the shoulders down to the waist (the upper torso). A trouser is a garment that covers the body from the waist down to the top of the shoes and covers each leg separately. It fits loosely around the low hip and thighs, hanging almost straight down from the hip level without cupping under the buttocks. Later chapters will introduce additional slopers, including the dartless jean, the jack et, and the coat slopers. The basic sloper pieces are simplistic as far as style but are not necessarily simple to make. Very careful measuring techniques and fittings are required to complete a sloper set that fits well. All of the sloper pattern pieces include ease. Ease is extra width or length that is added to achieve a comfortable fit. Write on your f inished sloper pieces the amount of ease each area includes, to serve as a reminder when you use them to create other styles. Some pattern mak ers create new pattern styles by using body measurements or by draping (making a pattern by placing and shaping f abric on a body f orm). While using these methods results in good patterns, it requires more work than creating new styles using a sloper set because the patternmak ers have to start from scratch each time they create a new style. The sloper pattern pieces outline the boundaries of the body parts they cover. A sloper pattern set establishes the length, width, and placement of the chest level, waist level, hip level, neckline, armhole, shoulder, side seams, and so on. New pattern styles may be f lat patterned quickly by tracing the portions of the sloper pieces that relate to the new pattern shape. Then you create a new style by using patternmaking principles such as dart manipulation or adding fullness. Since you will create numerous new pattern styles using the sloper set as a template, make sure you fit your slopers as perfectly as possible, therefore reducing the need for future fit corrections. Although the body proportions of men's sizes 32 chest up to 54 chest are different, the instructions in this chapter will work f or all of these sizes.
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Checklist for Drafting the Sloper Set 1. A body f orm or a live f it model
2. A copy of the fit model's measurements 3. White pattern paper, strong enough to be f olded without tearing
4. Heavy pattern paper (manila) for the completed sloper set .
5. Light- to medium-weight muslin or other woven fabric that does not stretch . 6. Tools: lead pencil, red or blue colored pencils or pens, 18-inch see-through rul er, paper-cutting scissors, tape, French curve, hip curve, L-square, triangle with 45-degree angle, measuring tape, pushpins, calculator, straight pins (size 17), weights.
Drafting the Upper Body Sloper for Men's Sizes
This pattern draft includes ease in the instructions: Total chest-level ease = 2 inches Total abdomen-level ease = 1 inch
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Front upper body sloper Measurements needed (Figure 1): #5 (shoulder seam) = ___________________________ #7 (center front neck to shoulder tip) =____________________ #9 (half the front chest) = _______________________ #22 (center front length) = _________________________ #23 (front total length) = ___________________________ #24 (high neck point to front chest level) =______________________ 1. Center front. Draw a line from A to B that equals #23 (front total length). 2. Chest width. Starting at B, draw a line at a 90-degree angle to the A- B line (center front). Measure along this line
to C, equal to #9 (half the front chest), but add 1 / 2 inch for ease. From C, extend a line upward, parallel to the A- B line, two thirds of the length from A to B. 3. Draw a line at a 90-degree angle to the A- B line (center front) from A to D, equal to # 7 (center front neck to shoulder tip). Draw a 4-inch line down from D, parallel to the A- B line. 4. Center front. Starting at B, measure up along the A-B line and mark E, equal to #22 (center front length). E is the
pit of the neck. The line from B to E is the final center front and can be dra wn in red or blue pen or penc il. 5. Lower neck guideline. Starting at E draw a 4-inch line at a 90-degree angle to the center front. 6 . Shoulder tip. Starting at B, draw a line that intersects the D guideline, equal to #25 (shoulder tip to center f ront
waist) but add 1/4 inch for ease. Label the intersection as F. 7 . Shoulder seam. Starting at F, draw a line that intersects the D-A line, equal to #5 (shoulder seam). Label the
intersection as G. The line from F to G is the final shoulder seam, and can be drawn in red or blue. 8. Upper neck guideline. At a 90-degree angle to the F-G line (final shoulder seam), draw a line down from G that
intersects the E guideline, and label the intersection as H. 9. Chest level. Starting at G, draw a line down toward the B-C line, parallel to the A-B line (center front), equal to
#24 (high neck point to chest level ). Label as I. Draw a line at a 90- degree angle to the A- B line that intersects with I, and label the intersection as J. This is the front chest level.
Figure 1
Figure 2
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Measurements needed (Figure 1): #8 (half the f ront to mid-armhole) = _____________ #10 (half the front abdomen) = ______________ #19 (side seam length) = _________________ #20 (high neck point to f ront side seam) =____________________ 10. Under arm / sid e seam corner . Starting at G, draw a line that intersects the C guideline, equal to #20 (high neck
point to front side seam) but add ¼ inch for ease. Label the intersection as K. 11. Side waist guideline. Starting at B, measure along the B-C line, and draw a guideline parallel to center front,
equal to #10 (half the front abdomen), but add '/4 inch for ease. Label as L. The upper body sloper will include more than 1 inch of ease in the waist. This provides ease for protruding abdomens. 12. Side seam / waist corner. Starting at K, draw a line that intersects the L guideline, equal to #19 (side seam length)
and make a cross mark . Label the cross mark as M for the side / waist intersection. The line from K to M represents the final side seam and is drawn in red or blue pen or pencil. 13. Mid -ar mhole guideline. To find N, use one third of the measurement f rom the A-B line. Starting at A, measure
down to N. Draw a line at a 90-degree angle to the A-B line from N to 0, equal to #8 (half the front to mid-armhole). Draw a line that extends 2 inches above and below O. 14. Lower armhole guideline. Starting at K, draw a 2-inch line for the armhole curve at a 90-degree angle to the K-
M line.
The Back upper body sloper Measurements needed (figure 1): #2 (total chest level) = ________________ #5 (shoulder seam) = ________________ #13 (center back neck to shoulder tip) =_______________ #15 (half the back chest) = _____________ #17 (half the back waist) = ______________ #18 (dart placement) = ______________________ #19 (side seam length) = ___________________ #21 (high neck point to back side seam) =______________ #26 (center back length) = ______________________ #27 (back total length) = ______________________ #28 (shoulder tip to center back waist) =_______________ 19. Cent er back . Draw a line from A to B that equals #27 (back total length). 20. Chest wid t h. Starting at B, draw a line at a 90-degree angle to the A-B line (center back ). Measure along this line
to C, equal to #15 (half the back chest) but add 1 /2 inch f or ease. From C, extend a line upward, parallel to the A-B line, two-thirds of the length from A to B. 21. Draw a line at a 90-degree angle to the A-B line (center back ) from A to D, equal to #13 (center back neck to shoulder tip), but add 1 /2 inch f or ease (the back shoulder eases onto the f ront shoulder). Draw a 4-inch line down from D, parallel to the A-B line. 22. Center back . Starting at B, measure up along the A- B line and mark E, equal to #26 (center back length). E is
the center back / neck intersection. The line f rom B to E is the f inal center back and can be drawn in red or blue pen or pencil. 23. Lower neck guid eline. Starting at E, draw a 4-inch line at a 90-degree angle to the center back .
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24. Back waist d ar t. Starting at B measure along the B-C line toward C, equal to #18 (dart placement) and label as F.
Measure 3 / 4 inch from F and label as G. F to G is the total dart intake. Mark H halfway between F and G. The waistline at the dart notches is dropped below the B-C line according to the model's total chest level and chest circumf erence without ease. The following are estimates and may be changed to f it the model: Chest circumf erence / drop from B-C line 34 inches / drop is 5/ 16 inch
36 inches / drop is 3/8 inch
38 inches / drop is 7 / 16 inch
40 inches/ drop is 1 /2 inch
42 inches/ drop is 9/16 inch
44 inches/ drop is 5 /8 inch
46 inches / drop is 11 / 16 inch 48 inches / drop is 3/4 inch 50 inches/ drop is 13/ 16 inch 52 inches / drop is 7/8 inch 54 inches/ drop is 15 / 16 inch 25. Sid e seam / waist guideline. Starting at B, measure toward C using #17 (half the back waist), but add 1 /4 inch ease
and 3/4 inch f or the dart intake. Draw a guideline parallel to the A-B line and label as I. 26 . Shoulder tip. Starting at B, draw a line that intersects the D guideline, equal to #28 ((tip to center back waist),
but add 1 /4 inch ease. Label the intersection as]. 27 . N eck / shoulder cor ner . Starting at A, measure along the A-D line to K, adding 1/8 inch to the A-G measurement
of the f ront upper body sloper shown in Figure 3.3. This measurement may be adjusted to f it the model. Most people require a wider back neck . Check the measurement f rom K to J to see if it is 1 / 2 inch longer than #5 (shoulder seam), and adjust, if necessary. The line from K to J represents the final shoulder seam and can be drawn in red or blue pen or pencil. 28. Upper neck guid eline. At a 90-degree angle to the K-J line (final shoulder seam), draw a line down from K that
intersects the E guideline, and label the intersection as L. 29. Underarm / side seam cor ner . Starting at K, draw a line that intersects the C guideline, equal to #21 (high neck
point to back side seam), but add ¼ inch ease. Label the intersection as M.
Figure 1
Figure 2
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30. Side seam / waist corner . Starting at M, draw a line that intersects the I guideline, equal to #19 (side seam length)
and mak e a cross mark . Label the cross mark as N f or the side/ waist intersection. The line f rom M to N represents the final side seam and is drawn in red or blue pen or pencil. 31. Waist dart . Measure f rom B along the B-C line to H. Using the resulting measurement, measure f rom the A-B line to 0, which is the dart point. The line from H to is equal to #19 (side seam length). Draw the dart stitch lines f rom F and G connecting to 0. The punch hole f or this dart is set ½ inch back from the dart point (0), centered between the stitches lines of the dart, and is circled. 32. Mid -armhole guideline. To f ind P, use one quarter of the measurement f rom the B-E line. Starting at P, measure
down to P. Draw a line at a 90-degree angle to the A-B line f rom P to Q equal to #14 (half way across shoulder blades). At Q draw a line for the armhole parallel to the A- B that extends 2 inches above and below Q The line from P to Q represents the shoulder blade level. Measurement needed (Figure 2): #12 (half the back neckline) = _____________ 33. N eck line. R is measured 9 / 16 inch from L. Place a French curve as shown in the sketch to draw the neckline
curve from K to R to E. Do not allow the curve to dip below the E-L line. Measure the neck line curve, and compare it with #12 (half the back neck line). If the neckline is close to #12 in measurement, draw the neck line in red or blue pen or pencil so that it represents the final neckline curve. 34. Armhole. Place a French curve as shown in the sk etch to draw the armhole curve from J to Q to M. You will
probably need to move the curve tool once you draw the Q-M line to complete the armhole. Draw the f inal armhole in red or blue pen or pencil. Measurement needed (figure 3): #17 (half the back waist) = ____________ 35. Waist dart. St e p a- Fold the dart along the dart stitch lines, with the F and G notches touching. Crease the paper
along the F-O line, and then fold the dart intak e under toward center back (as shown with the dashed line in the sk etch). Step b- Place a hip curve as shown in the sk etch to draw the waistline curve f rom B to F and G to N. Compare this measurement with #17 (half the back waist), but add 1 / 4 inch f or ease, and ad just at N, if necessary. Use red or blue pen or pencil. Cut along the curve while the dart is f olded closed to true the shape of the dart intak e.
Figure 3
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36. (Figure 4) The completed back upper body sloper has notches clipped at F and G for the waist dart as shown in the sketch. Start from the underarm / sideseam intersection (M) and measure along the armhole using the same measurement as the front armhole notch to mark the lower back armhole notch. Measure the upper armhole notch 1 /2 inch above the lower notch. These double notches will match the double notches on the sleeve sloper. This pattern shows only the necessary lines. Draw the grain line parallel to center back , and indicate arrows. Using a screw punch, mak e tiny holes through the paper at the dart point and punch hole.
Figure 4 Final Truing of the Upper Body Sloper for Men's Sizes
37 . Step a-Be sure the front and back side seams are the same length and that the armhole and waistline curves blend
smoothly f rom front to back at the side seams. Step b- Be sure the neckline curve blends smoothly f rom front to back . Step c-Be sure the armhole curve blends smoothly from f ront to back at the shoulder seam. Remember that the back shoulder seam is 1 /2 inch longer than the front and is eased to the f ront when sewn.
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Figure 5
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38. (Figure 6) Measure the f ront armhole and the back armhole. The back armhole should measure 1/2 inch more than the f ront armhole. When the sleeve is sewn into the armhole with the cap ease equally distributed, the cap notch that matches to the shoulder seam will be slightly forward of the center of the sleeve cap. This makes the sleeve hang slightly toward the front at the wrist, which is how the arm naturally hangs.
Figure 6
39. (Figure 7) If the f ront armhole is too big, reduce it by shif ting the shoulder seam toward the front, no more than ¼ inch at the shoulder tip, leaving the neck in place. Add to the back the same amount taken away from the front. The side seam may also be shifted slightly toward the front, leaving the waistline in place, to reduce the front armhole.
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Drafting the Fitted Set-In Sleeve for Men's Sizes This pattern draft includes ease in the instructions:
Total biceps level ease = 2 inches Total elbow level ease = approximately 11 /2 inches Total wrist level ease = 2 to 3 inches A set-in sleeve is one that "sets into" the armhole, as opposed to an all-in-one sleeve such as a dolman sleeve. It also ref ers to a sleeve that joins the body of the garment at or very near the shoulder tip position, as opposed to one that is dropped down from the shoulder tip such as a kimono sleeve. If you are working with a body form that does not have an arm, ref er to the arm measurement charts.
Fitted Set-in Sleeve Measurements needed (Figure1): #29 (total arm length) = ________ #30 (underarm length) =__________ #31 (forearm length) = ____________ #32 (biceps circumf erence) = ____________ #33 (elbow circumf erence) = ________ 1. Fold a piece of white pattern paper in half , and crease it along the f old. Begin by draf ting half of the sleeve; the fold line goes down the center of the sleeve lengthwise. Draw a line at a 90degree angle to the f old, starting at A and going out to the edges of the paper. A is the top of the sleeve cap. 2. Starting at A, measure to B, equal to #29 (total arm length). B is at the wrist level. Draw a line at a 90-degree angle to the f old (A-B line), starting at B and going out to the edges of the paper. 3. Starting at B, measure to C, equal to #30 (underarm length). C is at the biceps level. The A-C measurement equals the cap height (the diff erence between the total arm length and the underarm length). Refer to the arm measurement charts in Table 3.1 at the end of this chapter, and compare the cap height with the size on the chart closest to the model's size. You may wish to ad just your draft if it is very diff erent f rom the cap measurement on the chart. 4. Starting at B, measure to D, equal to #31 (f orearm length). D is at the elbow level.
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5. Biceps level. Add 2 inches of ease to #32 (biceps circumference), and divide by 2 for half the biceps level: #32________ + 2 inches =_______÷2= _______________ Using this final measurement, start at C, and draw a line at a 90-degree angle to the f old (A-B line). Mark this point, and label it as E. 6 . E lbow level. Add 1 inch of ease to #33 (elbow circumf erence), and divide by 2 f or half the elbow level:
#33__________ + 1 inch =____ ÷2 = _________________ Using this final measurement, start at D, and draw a line at a 90-degree angle to the fold (A-B line). Mark this point, and label it as F.
Figure 1
\ Figure 2
Figure 3
Figure 4
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Figure 2
8. Tak e the f old line and lay it against the G-H line. Crease the paper so it lies flat. Figure 3
9. Tak e the top of the sleeve cap (A) and match it to C at the biceps level. Crease the paper so it lies f lat. F igure 4 10. Sleeve cap guidelines. Open the paper back up, and make a dot at the intersection of the crease / fo lds in the paper
in the sleeve cap area (see sketch). From the dot, measure to the right (or "up" toward the top of the sleeve cap) 3/4 inch and label as 1. Measure in along the biceps level (E-C line) 1 inch and label as]. Now measure ¼ inch out from A and label as K. Connect J to I to K with lines as shown in the sk etch. Sleeve cap. ( Figure 5) Place a French curve as shown in the sk etch, and draw the cap curve from E, near I, and up to
K. This is the f inal cap curve f or the back or the sleeve and can be drawn in red or blue pen or pencil. Trace the cap curve line to the other side of the paper. Also, trace the E-G, E-C, F-D, and G-B lines.
( Figure 5) 12. Figure 6 F ro nt cap cur ve. Open the paper all the way, and lay it f lat. On the right side of the sleeve cap, measure
in ¼ inches halfway between the biceps level corner and the crease that divides the cap in half crosswise. 13. Draw a new curve (as shown by the dashed lines on the sketch) and blend at biceps corner and upper cap curve. This side of the sleeve is now the f inal front cap curve. Draw the curve in red or blue pen or pencil. 14. The left side of the sleeve is the back . Beginning at the edge of the paper on the lef t side, start cutting toward F and continue cutting until you reach D to begin the back elbow dart.
Figure 6
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Measurements needed (figure7): #34 (wrist circumf erence) = _____________ #35 (hand circumference) = _________________--15. Elbow dart wid t h. Place a piece of paper under the sleeve in the elbow area, and tape it to the top edge of the cut.
Pick up the lower sleeve at B, and f old it over toward the front of the sleeve slightly until a 1/2-inch wide wedge shape opens at F Now, measure the wrist level and compare it with #34 (wrist circumference). The wrist level must have at least 2 inches of ease (more ease is ok ay). Tape down the lower section of the sleeve. True the final waistline with the hip curve f or a smooth curve, and draw in red or blue pen or pencil. Compare the sleeve wrist level with ease to #35 (hand circumference). If the hand circumf erence is larger, this sleeve will require an opening at the wrist such as a slit or placket. 16. Divide the biceps level into four equal sections, and label as E, L, C, and M. Divide the wrist level into four equal sections, and label as G, 0, and P. Draw a straight line connecting
Figure 7
M to P and continue through the cap. Where this line intersects at the elbow level, label as Q Measure from Q to D. The line from D to R is equal to the line from Q to D. R is the dart point. Connect a line f rom R to S. F and S are the dart notches for now. Connect lines from R up through Land from R down to N. The elbow dart allows more ease to bend the elbow. Set the punch hole 1 / 2 inch back from the dart point and circle it. 17. (Figure 8) True the elbow dart. Fold the dart closed along the dart stitch lines with the intake f olded toward the
wrist level. While the dart is folded closed, draw a straight line from E to G in red or blue, then cut out the back underarm seam. The f ront underarm seam is drawn in red or blue pen or pencil. Label the new upper notch as T, and label the new lower notch as U. The back underarm must be straight so it will hang smoothly when sewn to the straight front underarm seam. This trued dart allows extra ease in the elbow level f or a total of approximately 11 /2 inches.
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Figure 8
18. Measure the front upper body armhole and the back upper body armhole.
Figure 9 19. To complete the fitted set-in sleeve draft, use the f ront armhole measurement f rom step 18 and, starting at (f ront
underarm / biceps intersection), measure up along the cap. Mark this point, and label as W. Use the back armhole measurement from step 18 and, starting at E (back underarm / biceps intersection), measure up along the cap. Mark this point, and label as X. 20. The space between Wand X is the ease in the sleeve cap, which should be 8 percent of the total armhole: f ront armhole____ + back armhole_____ = _______ x 8 percent=____________________cap ease. If there is too much ease in the sleeve cap, it is better to enlarge the upper body armhole rather than to try to reshape the sleeve cap. If there is an error, it is usually in the body, not in the sleeve.
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21. Mark the center of the ease, and label as Y. Y is notched and matches to the body shoulder seam. Do not notch X
or W. The single notch on the front of the sleeve matches the single notch on the front upper body armhole. The double notches on the back of the sleeve match the back upper body armhole. All of the ease in the cap should be contained above these notches to help the f abric drape smoothly over the curve at the top of the arm. 22. The grain line is drawn at the center of the sleeve at the biceps level, at a 90- degree angle to the biceps level. I t continues straight down through the sleeve with arrows. Using a screw punch, make tiny holes through the paper at the dart point and punch hole. (Table) Arm Measurements
The body measurements shown in Table in annexure can be used for the sleeve draft if the body form does not have an arm. With the exception of the cap height, these measurements do not include ease.
Drafting the Trouser for Men's Sizes This pattern draft includes ease m the instructions: Total waist-level ease =] inch Total hip-level ease = 2 inches
Front and back Trouser Measurements needed (see figure 1) #36 (total hip level) = _______________ #38 (hip depth at side seam) = ___________ #40 (half the front hip) = ____________ #4] (half the back hip) = __________ #42 (outseam / side seam to f loor) =_______ #44 (crotch depth) =________ #50 (knee level f rom waist) = _________
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C ent er front . Draw a line from A to B that equals #42 (outseam / side seam to f loor) or that is equal to your preferred
trouser length, measured f rom the side / waist down to the hem. 2. Fr ont hip widt h. Draw a line at a 90- degree angle to the A-B line (center front) from at A to C, equal to #40 (half
the front hip), but add 1 /2 inch f or ease. 3. F ront hem. Draw a line at a 90-degree angle to the A-B line (center f ront), from B to D, equal to #40 (half the
front hip), but add 1/ 2 inch f or ease. 4. Sid e seam. Draw a straight line connecting C to D. 5. Back hip wid th and hem. Continue the A-C line from C to E, equal to #41 (half the back hip), but add 1 /2 inch f or
ease. Also continue the B-D line from D to F, equal to #40 (half the back hip), but add 1 /2 inch f or ease. 6. C ent er back. Draw a straight line connecting E to F 7 . Hi p level. Starting at C, measure down to G, equal to #38 (hip depth at side seam). The lines from A to Hand E to
I are equal to the line from C to G. Connect I to G to H with a straight line. 8. Crot ch level. Starting at C, measure down to J, equal to #44 (crotch depth) but add 1 inch f or ease. The lines from
A to K and E to L are equal to the line from C to J. Connect L to J to K with a straight line, and extend the line past K and L. This is the crotch level. In a trouser, which has an easy comf ortable fit, the crotch level is lowered with ease so it does not cling to the body. 9. Knee level. Starting at C, measure down to M, equal to #50 (knee level f rom waist). The lines f rom A to N and E
to 0 are equal to the line from C to M. Connect 0 to M to N with a straight line, and extend the line past N and O. Measurement needed (See Figure 2) #36 (total hip level) = ________________ #53 (foot circumf erence) = ______________ 10. Front cr o tch ex tensi o n . Measure f rom K to P using the front crotch extension measurement from Table 3.2, on
page 59 that matches the model's hip circumference. Use #36 (total hip level), the hip circumf erence without ease. P is the f ront crotch point. 11. Back crotch e xtension. Measure f rom L to Q using the back crotch extension measurement from Tab le 3.2, on
page 59, that matches the model's hip circumference without ease. Q is the back crotch point. 12. Front grain line. Measure from J to P and divide by 2. Using the resulting measurement, start at P and measure
to R and mark . The N -S line is equal to the K-R line. Mark S, then connects R to S, and continues the line up to the A-C line and down to the B- D line. This line is the grain line with arrows. The grain line is also the crease line down the leg of the trouser if you press a crease in the pant. The leg is equally balanced on either side of the grain line in this sloper. 13. Back gr ain line. Measure from K to R. U sing the resulting measurement, start at L and measure to T and mark .
The O-U line is equal to the L-T line. Mark U, then connects T to U, and continues the line up to the E-C line and down to the F-D line. This line, with arrows, is the grain line as well as the crease line. The back grain line is not half way between the side seam and the crotch point, but the leg from the knee level down is equally balanced on either side of the grain line in this sloper. 14. H em wid t hs. Use the hem widths from Table 3.3, on page 59, or choose your own measurement. Include a
minimum of I-inch ease beyond #53 (foot circumf erence) in the total hem circumf erence. Use #36 (total hip level), the hip circumf erence without ease, to find the hem width f or the desired size. Once you've selected the f ront and
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back hem widths for the size of your pattern, use these to mark V, W, X, and Y Measure equally on each side of the grain line.
The V-W line is the f inal front hem and the X-Y line is the f inal back hem and both can be drawn in red or blue pen or pencil. Mak e a mark 1 inch down from G and label as Z.
Cent er back . KK is measured 3/ 4 inch in from the E-F line. The I-KK is equal to #39 (hip depth at center back ). This
line may continue down to the crotch level. Use a French curve to connect I to HH to Q to complete the back crotch seam from KK to I to HH to Q. Measure the total front and back crotch seam. Compare the resulting measurement with #47 (crotch length). The trouser should measure at least 11 /2 inches more for all sizes. If it measures less than this, slash the back trouser along the hip level, f rom center back to G at the outseam, and open a space equal to the amount needed. Redraw the back grain line in the upper portion of the pant so that it is one straight line (do not change the grain line placement in the lower portion). Blend the back crotch seam from KK to I / KK corner, draw a slight curve with a 21. Back waist and dart . Starting with a 90- degree angle at the center back hip curve ending along the E-C line, equal to #17 (half the back waist), but add 3/ 4 inch for dart intake and ¼ inch for ease. Mark this point, and label as LL. KK-MM equals #18 (dart placement), and MM is the f irst dart notch, NN is the second dart notch. MM-N is 3/ -l inch, and represents the dart intak e total. 00 (dart point) is 41 / 2 inches above
38
the hip level (the dart length may be adjusted to the model's shape). The dart stitch line from the MM-OO line is parallel to the grain line. Draw the other dart stitch line f rom 00 to NN. The punch hole is set 1 /2 inch f rom the dart point, halfway between the stitch lines, and is circled.
Measurement needed (See Figure 3): # 17 01alf the back waist) = _________________ 22. Complete the back waist by f olding the dart closed. Crease along the stitch line nearest center back , and f old under the dart intak e toward center back , bringing the MM and NN notches together. Redraw the back waistline curve with the dart folded closed. Measure the trued back waist with the dart still closed, and compare it with #17 (half the back waist), but add 1/4 inch for ease, and adjust the waist measurement at the outseam, if necessary . Be sure the outseams of the front and back are the same l ength and that the waistline curve blends smoothly f rom front to back . Draw in red or blue pen or pencil. Cut the back waist while the dart is folded closed.
Fig ur e 3
23. Check the front and back outseams to be sure they are the same length. Check the inseams, starting at th e hems
and working your way up to the crotch points. The back crotch point will probably be longer than the front . Mark the place where the front reaches the back inseam . Then, keeping the back crotch point extension the same amount , lower and blend it into the back crotch curve as shown in the sketch with dashed lines. Trim away the unneeded portion.
Figu re 4
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24. Complete the front and back trouser with notch es clipped at MM and NN for the dart. Mark notches at the hip level (G) on the outseams, and at the knee level on the outseams and inseams. This pattern is shown with only the necessary lines. The grain lines are already in place and should have arrows on them. Using the screw punch, make tiny holes through the paper at the dart point and punch hol e.
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Chapter Three Measurement and patternmaking for Men’s Shirt Men's shirts and tops come in a variety of styles f rom casual wear to formal wear. Menswear styles do not vary as much
as women’s wear styles,
but there are opportunities to generate design interest with dif ferent styles and to
learn patternmaking sk ills while creating attractive and comf ortable shirts. This chapter teaches you flat patternmaking techniques f or men's shirts and tops.
This chapter teaches students to apply f lat pattern making techniques for shirts, including using upper body slopers and the sleeve sloper, adding extra ease / fullness, and creating stylelines. You will review patterns for knit and woven fabrics that include a simple T-shirt and a fine dress shirt with French cuffs. The introduction and styles shown in this chapter explain and illustrate collar and sleeve theory. Examples of a completed pattern chart and specif ication sheets are also included. The styles shown on the f ollowing pages are patterned from a man's size 40 regular sloper set. Students get information to f igure out the proportions of the styles so they can create smaller or larger sizes of the same look .
Added ease and fullness The fitted shape of the sloper pieces gives patternmakers a starting point from which to create different garment styles, most of which include more ease or added fullness. Menswear styles usually have a loose, comfortable fit. The only areas that often fit close to the body are shirt necklines, pant and short waistlines, active sportswear, and undergarments.
Menswear styles and proportions change over time; therefore, it is best to work with a sloper set that has a f itted shape so you can ad just ease and f ullness to match current trends. To add ease and f ullness to pattern pieces, enlarge the outer dimensions of the pattern piece or slash and spread it into sections.
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Style lines Stylelines are seams that separate garment pieces. Some stylelines are called dart equivalents because they af fect a garment's fit by replacing the darts and thus shaping the f abric over a body's contours. Other stylelines do not affect a garment's fit, but rather add design interest or enable you to apply a contrast fabric or trim.
Anatomy of a Collar Collars come in a variety of shapes and sizes. A band collar fits closely along the neck and is shaped with a smaller upper edge circumf erence than at the neck line edge, as the neck narrows toward the head. A turtleneck collar is a rectangle cut f rom stretch fabric whose upper folded edge decreases in circumf erence and hugs the neck . A straight rolled collar rolls over a collar stand at the back neck that gradually lessens to nothing at the f ront neck. (A collar stand is the amount that a collar rises from the neck line seam.) The roll line is the foldline where the collar stand ends and the collar f olds over itself . Some styles have a separate collar band that lies against the neck with the outer collar attached along the top of the band. A convertible collar is a rolled collar that may be worn buttoned or unbuttoned; when unbuttoned, the collar points spread and lie f latter at the chest. A sailor or middy collar lies f lat on the shoulders with a very small collar stand. Most collars have an upper collar (the layer that you see) and an under collar (the layer that you do not see).
Collar Theory The shape and measurement of a collar neckline seam, whether curved or straight, determines the collar stand height. Generally, a straighter collar neckline seam (from slightly concave to slightly convex) fits higher on the neck and shoulders, and a more curved (concave) collar neck line seam lies f latter on the shoulders and has little or no collar stand height. The band collar and collar with band have a slightly convex neck line curve that is drafted by raising the center front and blending a curve to the shoulder notch. The band does not roll over itself and the top edge has a smaller circumf erence than the neck line so that it hugs the neck . The center back band height determines the collar stand. If a collar is attached to the top of a band, it is slashed and spread so that it f lares out slightly; this allows it to f it over the band easily and leaves room for a necktie to pass over the band and under the collar.
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The straight rolled collar has a straight neck line rather than a convex one because the collar rolls over itself without straining. The roll line in the above figure is represented by a dashed line. The collar stand of the straight collar is determined by the height of the center back and the f act that the neck line is straight. The sailor collar neck line is traced from the shirt pieces with the front and back shoulders overlapping each other l /2 inch, which allows a collar stand at center back of approximately 1 / 8 inch- just enough to k eep the shirt neckline f rom showing. A deeper shoulder overlaps results in a higher center back collar stand.
The Sleeve Theory The fitted sleeve sloper introduced in chapter 3 is a set-in sleeve that "sets into" the armhole; it is not cut in one piece with the body. The main concept of sleeve theory introduced in this chapter is the relationship among the cap height, underarm length, and biceps circumference that allows you to develop comfortable sleeves that fit well. As the cap height is shortened, the underarms are lengthened and the biceps level is widened as shown in Figure 4.5. All of these sleeves have the same finished armhole measurement, but the sleeve with the shortest cap height has the
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most ease at the biceps level and is theref ore the most comfortable to wear. Although deep folds f orm at the underarm area, it is acceptable in this sleeve style.
Figure 1
Extended Shoulder and Shortened Cap Height Figure 2
Many men's shirt styles have shoulder seams that extend past the natural shoulder tip of the body, causing the armhole seam to fall at the upper arm instead of at the shoulder tip / armhole intersection as it does on the sloper sleeve. When the shoulder of a shirt is extended, the sleeve cap height must be shortened by the same amount. Otherwise, the total sleeve length will be affected and the cap curve will not fit smoothly into the new armhole shape. Extended shoulder styles do not require sleeve cap ease because the sleeve cap does not reach over the curve of the shoulder as it does on the sloper sleeve.
F ig ur e 2
Lowered Armholes Lowering the armhole f rom the original position on the sloper in any shirt, jacket, or coat style requires extra ease in the biceps circumf erence to mak e up for the larger armhole and to f acilitate arm movement. Lowering the sleeve underarm position to match the shirt's lowered armhole restricts arm movement up, down, backward, and forward. There are folds in the fabric at the underarm area, but it is acceptable in this lowered armhole style of sleeve.
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