9781292024813.pdf

Patternmaking

for Fashion Design

Helen Joseph-Armstrong

Fifth Edition

Pearson Education Limited

Edinburgh Gate

Harlow

Essex CM20 2JE

England and Associated Companies throughout the world

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All trademarks used herein are the property of their respective owners. The use of any trademark

in this text does not vest in the author or publisher any trademark ownership rights in such

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book by such owners.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library

Printed in the United States of America

ISBN 10: 1-292-02481-X

ISBN 13: 978-1-292-02481-3

ISBN 10: 1-292-02481-X

ISBN 13: 978-1-292-02481-3

Table of Contents

PEARSON C U S T OM LIBRAR Y

. Patternmaking Essentials for the Workroom

1Helen Joseph Armstrong

. Form Measurements and Figure Analysis

25Helen Joseph Armstrong

. Drafting the Basic Pattern Set

43Helen Joseph Armstrong

. Dart Manipulation

77Helen Joseph Armstrong

. Designing with Darts

111

111Helen Joseph Armstrong

. Stylelines

137

137Helen Joseph Armstrong

. Added Fullness

151

151Helen Joseph Armstrong

. Yokes, Flanges, Pin Tucks, and Pleat Tucks

167

167Helen Joseph Armstrong

. Contouring

185

185Helen Joseph Armstrong

. Collars

209

209Helen Joseph Armstrong

. Built-Up Necklines

237

237Helen Joseph Armstrong

. Cowls

247

247Helen Joseph Armstrong

. Skirts/Circles and Cascades

273

273Helen Joseph Armstrong

. Sleeves

349

349Helen Joseph Armstrong

. Kimono, Raglan, Drop Shoulder, and Exaggerated Armholes

383

383Helen Joseph Armstrong

. Buttons, Buttonholes, and Facings

417

417Helen Joseph Armstrong

. Plackets and Pockets

429

429Helen Joseph Armstrong

. Dresses Without Waistline Seams

447

447Helen Joseph Armstrong

. Strapless Foundation and Interconstruction

473

473Helen Joseph Armstrong

. Patternmaking for Bias-Cut Dresses

497

497Helen Joseph Armstrong

. Shirts

515

515Helen Joseph Armstrong

. Women's Jackets and Coats

537

537Helen Joseph Armstrong

. Men's Wear

573

573Helen Joseph Armstrong

. Capes and Hoods

625

625Helen Joseph Armstrong

. Knock-Off Copying Ready-Made Designs

641

641Helen Joseph Armstrong

. Pants

657

657Helen Joseph Armstrong

. Knits---Stretch and Shrinkage Factors

723

723Helen Joseph Armstrong

. Knit Top Foundations

733

733Helen Joseph Armstrong

. Activewear for Dance and Exercise

745

745Helen Joseph Armstrong

. Swimwear

767

767Helen Joseph Armstrong

. Introduction to Childrenswear

803

803Helen Joseph Armstrong

III

. Drafting the Basic Pattern Set: Measurement Taking and Standard Measurement Charts

811

811Helen Joseph Armstrong

. Collars, Sleeves, and Skirts

825

825Helen Joseph Armstrong

. Dresses and Jumpers

839

839Helen Joseph Armstrong

. Tops

851

851Helen Joseph Armstrong

. Pants and Jumpsuits

877

877Helen Joseph Armstrong

. Bodysuits, Leotards, Maillots, and Swimwear

901

901Helen Joseph Armstrong

. Bibliographic Credits

913

913Helen Joseph Armstrong

915

915Index

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PATTERNMAKING TOOLS

Functions of Patternmaking Tools

Guide to Reading Ruler Increments

The Importance of Math

PATTERN PAPER

PATTERNMAKING TERMS

FABRIC TERMS

PATTERN GRAINLINE

DART

BLENDING, TRUEING, AND EQUALIZING

SPECIAL INFORMATION

Balance Line Terms

Styleline Guides

THE WAY WE WERE

PRODUCTION TERMS

BODY SCANNING

COMPUTER COMPANIES

LAST, BUT NOT LEAST

E-FIT SIMULATOR IS BORN

APPAREL PRODUCT DEVELOPMENT

COST SHEET

PATTERN CHART

DESIGN SPECIFICATIONS SHEET

Patternmaking

Essentials for the

Workroom

From Chapter 1 of Patternmaking for Fashion Design, 5/e. Helen Joseph-Armstrong.

1. Straight pins:

___ Dressmaker silk #17 for draping and

fittings.

2. Straight pin holder:

___ Pincushion, or magnetic holder for wrist

or table.

3. Scissors:

___ Paper scissors.

___ Fabric scissors.

4. Pencils and pens:

___ Mechanical pencil and sharpener. (Use

#4-H lead for pattern work.)

___ Red and blue colored pencils to identify

pattern changes. Black, green, red, and

blue felt-tip pens for pattern information.

5. Rulers:

___ Flex general rule—1/2 × 12-inch (very

accurate).

___ 36-inch ruler.

___ 18 × 2-inch plastic rule (flexible for

measuring curves).

___ Tailor’s square—24 × 14-inch metal ruler

with two arms forming a 90° angle that

measures, rules, and squares

simultaneously.

___ Triangle with measurements to square

lines.

6. Curve rules:

___ French curve, Deitzgen #17 is one of

several curves used for shaping armhole

and neckline.

___ Sleigh curve, shapes necklines, armholes

and other curves, pockets, collars, and

cuffs.

___ Hip curve rule to shape hipline, hem,

lapels.

___ Vary form curve to blend and shape

armhole necklines.

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

PATTERNMAKING TOOLS

To work efficiently, the patternmaker must have the proper tools and supplies. To communicate effectively in

the workroom and to minimize errors due to misunderstanding, the patternmaker should know and under-

stand terminology. This chapter introduces tools, supplies, and definitions of terms used in industry.

The professional patternmaker arrives on the job with all tools required for patternmaking. Each tool

should be marked with an identity symbol and transported in a carrying case. Tools may be purchased from

apparel supply houses, art stores, department stores, and yardage stores. Specialized tools, such as a rabbit

punch used to punch pattern holes for hanger hooks, are generally supplied by the manufacturer.

LD SP

102-

514

Vary form curve

E IN

U. S.

Hip curve rule

French curve

1 2 3 4 5 6 7 8 9 1 0 11

234

56789

1011

Square/triangle

Sleigh curve

1 2 3 4 5

6 7 8 9 10 11 12 13 14

15 16 17 18 19 20 21 22 23 24

23456789

11121314

MADE IN U. S. A.

LD SPRING. NEW YORK

Mechanical pencil and sharpener

Straight pins and cushion

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Ringer

Hanger

hook

7. Hanger hooks or ringers:

___ To hold patterns together while hanging

on rods.

8. Push pins:

___ For pattern manipulation and transferring

muslin patterns to paper.

9. Stapler and remover:

___ Prevents pattern slippage when cutting

several plys of paper together.

10. Magic mend scotch tape:

___ To mend pattern work.

11. Black twill tape:

___ Placement of stylelines on form and to

hold ease in place.

12. Notcher:

___ Cuts a 1/4 × 1/16-inch opening at the

pattern’s edge to indicate seam allowance,

center lines, and ease notches and to

identify front and back of patterns.

13. Tracing wheels:

___ Pointed wheel transfers pattern shapes to

paper.

___ Blunted wheel is used with carbon paper

to transfer pattern shapes to muslin.

14. Awl:

___ Pierces 1/8-inch hole in the pattern to

indicate the ending of darts, pocket, trim,

and buttonhole placements.

15. Metal weights (several):

___ Hold patterns in place for tracing and

marking.

16. Measuring tape—60 inches long:

___ Metal-tipped, linen or plastic to measure

the form. Metric is on the other side.

___ Metal tape 1/4 inch wide inside a

dispenser. It is convenient, flexible, and

very accurate.

17. Tailor’s chalk:

___ Clay, chalk, chalk wheel, or chalk marking

pencils in black and white. Use for

marking adjusted seams and stylelines.

18. Simflex folding measure:

___ Spaces button/button holes, pleats, tucks.

Metal tape

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Ease

Punch/circle pocket placements

Notch

inverse

corner

Functions of Patternmaking Tools

Tools provide the symbols used in marking fabric

and patterns in the production of garments. Sym-

bols are like a silent language that are understood

among the designer, seamstress, grader, marker

maker, and production personnel. Without these

symbols, garments would not be cut or stitched with

accuracy. Missing or misplaced symbols disrupt the

flow of production.

Notch Tool

The notch tool has a cutting blade that slips into the

pattern’s edge, leaving an 1/8- to 1/4-inch cut-out. As

the patterns are traced, the notch cut-outs are marked

on the fabric. The cutter slashes the fabric at these lo-

cations. The seamstress assembles and stitches the

garment parts following the notches (Figure 1).

The notch is used to indicate:

• Seam allowance (Figure 2).*

• Center lines.

• Identification of front and back patterns.

• Correct assembling of similar pattern parts

(Figure 3).

• Correct location of joining parts.

Gather and ease control (Figure 2).

Dart intake (Figure 1).

• Shoulder tip of extended shoulders.

• Waistline of one-piece garments.

• Zipper stopping point.

• Fold-back for hems and facings.

• Placement for inserts.

• Tension release (acute curves).

• Inverse corners (Figure 2).

*Unless instructed otherwise, 1/4-inch seams are not notched.

Overlocked seams are generally not notched.

Awl Punch and Circle

The awl puts a hole (or mark) on the pattern. The

hole is circled to notify the marker maker that a

drill is needed to burn a hole in the fabric, which

damages the garment. That is why the placement

of the drill hole is always inside the finished seam

(to cover the damage in the fabric).

• Dart back-off point (Figure 1).

• 1/8 inch in from corners.

• Buttonholes and buttons.

• Trimming.

• Pocket placements.

FRONTSIDE FRONT

SIDE BACKBACK

Figure 1

Figure 2

Figure 3

Test Your Math Skills

Write answers in the spaces provided. Also give

common denominators. Check answers at the

end of the chapter.

Test 1 Measure the distance between letters

given, starting from A; use 1/8-inch increments.

Test 2 Measure from the start of the ruler to A.

A to B, B to C, and C to D, at 1/6-inch

increments.

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

1 x 1/8 = 1/8 "

3 x 1/8 = 3/8 "

2 x 1/8 = 1/4 "

4 x 1/8 = 1/2 "

5 x 1/8 = 5/8 "

6 x 1/8 = 3/4 "

7 x 1/8 = 7/8 "

YARDAGE IN INCHES

9 " = a quarter yard (1/4)

12 " = a third yard (1/3)

18 " = a half a yard (1/2)

24 " = 2/3 of a yard

36 " = 1 yard

11 x 1/8 = 1 3/8 "

* 1/16 " = one- half of 1/8 "

8x1/8=1"

The Importance of Math

Why should you have sufficient math skills to

read measuring devices: rulers, measuring tape, frac-

tions, and percentages? The answer is, to be eligible

for hire! In the fashion business, every phase of pro-

duction relies on the math skills of the associates to

stay in business.

For hire, you should be able to:

a. Take and record measurements of the form to

the exact 1/16 inch.

b. Compute yardage for single and mass-produced

garments.

c. Provide the exact measurements on spec sheets

for the production of garments.

d. Apply math instructions from a work sheet to

the developing project.

e. Operate a computer.

Decimal and Fraction Conversion

.063 = 1/16 .438 = 7/16

.125 = 1/8 .5 = 1/2

.188 = 3/16 .563 = 9/16

.25 = 1/4 .625 = 5/8

.313 = 5/16 .750 = 3/4

.375 = 3/8 .875 = 7/8

A BD C

123

ths

A _____ B

B _____ D

A _____ D

D _____ C

123

ths

A B C D

A _____

B _____

C _____

D _____

Guide to Reading Ruler Increments

(based on 1/8 inch*)

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

BACK

FRONT

BACK SKIRT

FRONT SKIRT

SLEEVE

Basic Pattern Set

PATTERN PAPER

Pattern paper has code numbers to indicate its

weight from heavy to light:

Heavy-weight Paper—Weight Code

IX Granite Tag (.007) to 5X Granite Tag (.019)

• Heavyweight pattern paper is called tag board,

manila, or hard paper and is used primarily for

production patterns.

Light-weight Paper—Weight Code

1 to 5 Double-Duty Marking Paper

• Lightweight paper is called marking paper.

• Marking paper is used for making markers and to

develop first patterns.

• The paper is marked with a choice of symbols:

numbers, letters, short lines, and/or dots. The

symbols help when aligning the grainlines of the

patterns for tracing, and the numbers give an ac-

count of inches of the finished marker.

• Color-coded paper (color on one side only) has

two functions: to indicate right-side-up of the

pattern pieces and/or to indicate the design divi-

sion to which the patterns belong.

PATTERNMAKING TERMS

The following terms and definitions are related to

the workroom.

Pattern drafting. A system of patternmaking that

depends on measurements taken from a form or

model to create basic, foundation, or design pat-

terns. An example is the draft of the basic pattern set.

Flat patternmaking. A system of patternmaking

that depends on previously developed patterns. The

working pattern is manipulated by using the slash or

pivotal method to create design patterns.

Basic pattern set. A five-piece pattern set, consist-

ing of front and back bodice and skirt and a long

sleeve, which represents the dimensions of a specific

form or figure. It is developed without design fea-

tures. The traced copy is referred to as a working

pattern.

Working pattern. Any pattern used as a base for

manipulation when generating design patterns. In

this text the basic pattern set is the base for design

projects.

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Selvage

Lengthwise grain(warp)

Crosswise grain (weft)

True bias

(45° angle)

FABRIC TERMS

Muslin. A plain-woven cotton made from bleached

or unbleached corded yarns in a variety of weights:

• Coarse-weave: Used for draping and testing basic

patterns.

• Light-weight: Used for softly draped garments.

• Heavy-weight: Firmly woven, used for testing tai-

lored garments, jackets, and coats.

Grain. The direction in which the yarn is woven or

knitted (lengthwise grain, or warp; crosswise grain,

or weft).

Lengthwise grain (warp). Yarns parallel with sel-

vage and at right angles to the crosswise grain. It is

the most stable grain.

Crosswise grain (weft). Yarns woven across the fab-

ric from selvage to selvage. It is the filling yarn of

woven fabrics. Crosswise grain yields to tension.

Selvage. The narrow, firmly woven, and finished

strip on both lengthwise grain edges of the woven

fabric. Clipping selvage releases tension.

Bias. A slanting or diagonal line cut or sewn across

the weave of the cloth.

True bias. The angle line that intersects with the

lengthwise and crosswise grains at a 45° angle. True

bias has maximum give and stretch, easily conform-

ing to the figure’s contours. Flares, cowls, and drapes

work best when cut on true bias.

Bowing and skewing. When filler

threads do not interlace with the

straight grains at 90°, bowing and

skewing, or a one-sided combination

occurs and is often sent to industry

in that condition unless otherwise

instructed.

Skewing Bowing

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

S- T- R- E- T- C- H

Selvage

Thread fill on the warp.

Thread fill on the weft.

S- T- R- E- T- C- H

Selvage

Figure 1: Controlling the Grain

Finding the grainline. Pull a filler thread (weft)

on the cross-grain selvage to selvage. Cut through

the channel in preparation for stretching. Do not

trim the other end.

Figure 2: Aligning the Grainline

To correct bowing or skewing. Pull the fabric diago-

nally at opposite ends of the fabric. Repeat at the

other ends. This process helps to align the straight

grain (warp) and crosswise grain (weft); then press to

a perfect square.

This process can be done for individual gar-

ments but is impractical for mass-produced designs.

However, the manufacturer can request, at a cost,

to have the problem corrected by the fabric com-

pany. Computer-controlled weaving can correct the

problem.

Pull a weft

thread on

grain.

Trim

Figure 3: Thread-Marking Grains

Pull straight and filler threads through the squared

fabric and with colored threaded needle, slip

through the channels for marking.

Couture salons prepare toile in a similar man-

ner, as do some fashion schools, in preparing muslin

for draping projects. It is also an excellent way to in-

troduce beginning students to the straight and cross

grains that make up woven fabrics.

Thread lines allow the draper to view the grain-

line as the design is being created.

Figure 1

Figure 2

Figure 3

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Straight

Bias

Crosswise

Selvage

Straight Grainline

PATTERN GRAINLINE

The pattern grainline is a line drawn on each pat-

tern piece (from end to end) to indicate how the

pattern should align with the lengthwise grain of

the fabric. Regardless of where the grainline is

drawn on the pattern, it will always be placed on the

fabric so that the grainline is parallel to the selvage

edge. Pattern placement is illustrated in Figure 1.

The effect of grainline on garments is shown in Fig-

ures 2, 3, and 4.

Direction of Grainline

• Vertical grainlines are drawn parallel to center

for garments cut on straight grain (Figure 2).

• Bias grainlines are drawn at an angle to center

(45° angle for true bias) for garments cut on the

bias (Figure 3).

• Horizontal grainlines are drawn at right angles

to center for garments cut on crosswise grain

(Figure 4).

Grainline Arrows

• Arrows placed at both ends of the grainline indi-

cate that the top of the pattern may be placed in

either direction along the lengthwise grainline of

the fabric (for fabrics without a nap).

• An arrow placed at the top or the bottom of the

grainline indicates that the pattern must be placed

in one direction only (for fabrics with a nap).

Crosswise grainline

Bias Grainline

Figure 1

Figure 2

Figure 3

Figure 4

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

FRONT

Bust point

Dart point

Dart intake

Dart leg

Draw straight

line to true

side seam

Side dart

folded

FRONT

DART

Bust point. A designated place on the bust and pat-

tern and referred to in flat patternmaking as the piv-

otal point or apex (Figure 1).

Dart. A wedge-shaped cut-out in a pattern to control

the fit of a garment when stitched.

Dart legs. The two lines that converge at a predeter-

mined point on the pattern.

Dart intake. The amount of excess (or space) con-

fined between dart legs. Its purposes are to take up

excess where it is not needed and to gradually re-

lease fabric where it is needed to control the fit of

the garment.

Trueing. The blending and straightening of pencil

lines, crossmarks, and dot marks for the purpose of

establishing correct seam lengths—for example,

trueing a side seam having a side dart.

• Fold dart and draw side seam (Figure 2a).

• Trace the side seamline (Figure 2b).

• Unfold dart and pencil in the dart (Figure 2c).

Figure 1

Figure 2a

Figure 2b

Figure 2c

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Equalize

Blend

BLENDING, TRUEING,

AND EQUALIZING

Uneven curves of joining seams can be blended by

equalizing the differences. The adjusted seamlines

are blended smoothly along the seamline, especially

hiplines and leglines. Figure 1.

Blending. A process of smoothing, shaping, and

rounding angular lines along a seam for a smooth

transition from one point to the next and for blend-

ing marks made on the pattern or muslin. (Blending

includes trueing.) Figures 2a, 2b.

SPECIAL INFORMATION

Right-side-up (when sides differ). Instruction ap-

plies to asymmetrical designs (right side differs from

the left side) and for patterns cut from engineered

fabrics such as border prints, randomly spaced flow-

ers, geometric forms, and multiple colors. Such fab-

rics require specific pattern placement so that the

fabric design can be arranged in the same location

for all garments cut from that fabric. Right-side-up

(RSUP) indicates to the marker maker that the pat-

tern is to be placed face up on the marker.

Detail location. Mark the location in which a de-

tail is to be placed on the pattern. This will ensure

that the flower, abstract detail, or stripes will always

be on the correct side and in the correct place on the

garment.

Right- side up

Mark stripe on pattern at desired location

Stripe placement.

Figure 1

Figure 2a

Figure 2b

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Pin marking

Style tape

Styleline Guides

Figures 5a, b

Pin marking. Placing a series of pins through the

muslin or form to evaluate styleline placement.

Style tape marking. Styleline placement by color

adhesive tape to evaluate design features and to pro-

vide a guide when developing design patterns.

Balance Line Terms

Plumb line. A vertical

line that is at right angles

with the floor. Used to

determine the balance

of the figure.

Perpendicular line.

A straight line at right

angles to another line.

(See right angle.)

Vertical line. A line that

is straight up and down.

Horizontal line. A line

parallel with the floor.

Right angle. The 90°

angle formed by two in-

tersecting lines, referred

to as a squared line.

Asymmetrical line. A

center line with unequal

proportions on either

side of it.

Symmetrical line. A

center line with equal

proportions on either

side of it.

PERFECT FIGURE

Perfectly balanced

garment

IMPERFECT FIGURE

Perfectly balanced

garment

IMPERFECT FIGURE

Imperfectly balanced

garment

Balance. The perfect relationship between parts

that, when combined, form a unit (or whole) in

which each part is in exact proportion and harmony

with all others.

Balancing a pattern. Finding and adjusting the dif-

ferences between joining pattern parts to improve

the hang and fit of the garment.

Horizontal balance line (HBL). A reference to any

line marked around the form that is parallel with the

floor. Patterns are also marked with horizontal bal-

ance lines squared from the center lines representing

the crosswise grain when the garment is cut in fab-

ric. The HBL lines help when balancing the patterns.

Figure 5a

Figure 5 b

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

The Way We Were

Clothing has been manufactured in essentially the same way

since the invention of the sewing machine in the mid-nineteenth

century. Old-fashioned, labor-intensive methods are still used

by some small manufacturers and designers of custom-made

apparel because they cannot afford technical upgrades. Personal

computers and inexpensive software are changing apparel

design, and even small manufacturers can afford

computer-assisted apparel production applications.

Today, more than 90 percent of apparel sold in America

is manufactured off-shore. This reality has accelerated use

of computer-assisted apparel production methods and

the Internet.

In the 1970s, grading and marker making was computerized,

followed in the 1990s by large computer-aided design (CAD)

systems taking over patternmaking, fabric design, and

design graphics.

Today, even the smallest manufacturer can rent

hardware and software to assist the design and production

processes. Computer-generated patterns, markers,

specifications, and cost sheets can be sent via the Internet

to factories located around the world. Though some jobs

have been lost, designers, patternmakers, marker makers,

graders, and cutters are still needed in this fast-paced

business.

Computer companies offer seminars for students

and current manufacturing employees to keep them

updated on new technology. Fashion schools have

added computer-assisted technology courses to their

curriculum.

TukaTech set up Tukacenters in America as an

innovation for students and those owning small businesses.

They can produce patterns and samples from designs using

TukaTech software and have the patterns printed out at a local Kinko’s.

Another innovation by TukaTech and the Fashion Book Store is

Fashion Project Café, which is housed in the Fashion Mart at Los Angeles,

California. The project was conceived as an associated service for

manufacturers large and small. The service center leverages the most

advanced technology in computer aided patternmaking, grading,

and 3-D sewing that streamlines apparel production, reduces cost,

and increases speed and quality to the market.

Even though American manufacturing is being outsourced to other

countries, the entrepreneur can always find a niche in this dynamic

industry that values change. Fashion-savvy youth and innovative fashion leaders still demand innovative

apparel. The mature customer searches for attractive garments that fit his or her changing figure.

Flexibility, research, and knowledge of a customer’s needs are the requirements of a successful apparel

manufacturer of any size.

Now that you have read the introduction, you are one step closer to reaching your goals. Go for it!

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Courtesy: TukaTech

PRODUCTION TERMS

First pattern. A first pattern is the original pattern

developed for designs. The first pattern is generally

made on marking paper and requires fitting and pat-

tern corrections. Half a pattern is developed in the

workroom (unless instructed otherwise). An asym-

metrical design always requires a full pattern. Unless

the garment is dropped from the line, it will be

tested for fit until perfect.

Production pattern. A production pattern is the fi-

nal corrected and error-free copy. The pattern con-

tains every pattern piece required to complete the

garment. The pattern is used by the grader for siz-

ing and by the marker maker for fabric layout. See

Figure 1c. A pattern chart is placed in front of the

pattern set and a design tag is stitched to the gar-

ment for tracking.

Marker. A marker is the arrangement of pattern

pieces, either manually traced on marking paper or

patterns laid on a special paper and photographed,

or patterns are digitized for computer application in

laying out the marker. All pattern symbols are

marked on the patterns. Patterns are interlocked;

sizes are mixed to eliminate fabric waste. Grainlines

on the patterns lay parallel with the selvage, with

one exception; small patterns are fit into available

space without regard to the grainline. The printout

paper marker is laid on top of many layers of fabric.

Patterns are cut either manually or by computer.

555

Traced Marker

Figure 1a

Figure 1b

Photo Marker

Figure 1c

Digitized Marker

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Computer Graded Patterns

Nesting of a graded pattern set.

Courtesy: TUKATECH

Fold

Paper

TABLE EDGE

Grader. A grader increases and decreases the size of

patterns based on the company’s perfected sample

(example: model size 10). The company sets its re-

quirements for grade length, circumference, and

width. Grade sizing differs from company to com-

pany. Graded patterns are done singularly, or graded

Hinge ruler. The Hinge ruler was originally created

by Kay Cleverly, who gave the ruler to Eleanor

Davis, who wrote the instructions. A version of

this ruler may be purchased through Vecchiarelli

Bros, Inc.

Dario grading machine. Purchase through

Vecchiarelli Bros., Inc., 121 W. 15th Street, Los

Angeles, CA 90015. Website: www.vebros.com;

telephone: 213-749-5944.

one on top of the other (nesting). Today most grad-

ing is done by computer; however, grading can be

done using the Dario grading machine, or manually

with the Hinge ruler or its equivalent. The graded

patterns go to the marker maker as the next step to-

ward production.

Digitizing

Courtesy: TukaTech

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Digitizer. Converts data to digital form for use in a

computer. A handheld mouselike device that, when

activated, transfers pattern shapes electronically to

the electronic work table. Pattern grading can also

be done without the table with greater speed.

Knocking off garments is another use of the digitizer,

as is two-dimensional pattern correcting.

Cutter. Cutting is done by hand using an electric

cutting machine. A skilled cutter’s hand secures and

moves the many plies of cut fabric away while the

other hand controls the cutting machine.

Computer cutting. The cutting blade is secured by

a safety cover as the blade penetrates plies of fabric.

The cutting blade is controlled by a digitized mea-

surement card.

BODY SCANNING

Body scanning is another tool that helps industry in

devising the best set of measurements for its cus-

tomers. The body scanner is a light-emitting device

that can produce scans accurate to 1/16 inch. Body

scanning takes place in a boxlike cube and replicates

the body measurements in three-dimensional (3D)

format. Several individuals, as well as large research

labs, have been working on this concept for years. It

has come of age, even though its full potential has

yet to be realized.

COMPUTER COMPANIES

Computer companies offer automated systems that

include fabric and garment design; pattern design,

grading, and marking; high-speed jet plotters; single-

ply cutters; spreading and cutting; unit-production

system; and electronic tracking in sewing, ware-

housing, distribution, and manufacturing.

Service to manufacturers by computer compa-

nies varies. Company websites are given below if

you would like additional information.

TukaTech: www.tukatech.com

Gerber: www.gerbertechnology.com

Lectra: www.lectra.com

Pad: www.padsystem.com

Investronica: www.investronica.com

Optitex: www.optitex.com

LAST, BUT NOT LEAST

Fitter. The fitter is indispensable in finalizing the fit

of garments for the next phase in production. A

good fitter examines inside the garment for cor-

rectly stitched seams before analyzing the fit. Fitting

sessions include the designer, assistant, and pattern-

maker in real time, or fitting is done by E-Fit simu-

lation. A garment often requires several cycles

before a perfect fit is achieved.

Sample sewer. The designer and patternmaker de-

pend on the expertise of the sample sewer for infor-

mation about the garment. Do seams match? Are

there too many notches, or not enough? Are the

notches placed correctly? Are there difficulties in

sewing the garment together?

E-FIT SIMULATOR IS BORN

In 2004, E-Fit Simulator software was developed by

the innovative mind of Iva Sareen, president of

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Courtesy: TukaTech

E-Fit Simulation

* The 3D model is a scan of a live body (male, female, and children of any size). The model is transferred to the E-Fit Simulator; a bone

structure is added; then animation is applied for real-time motion: walking, sitting, bending, and, yes, dancing.

TukaTech, who thought that fit approval, though

down to a week, was not good enough for fast fash-

ion developers who wanted their samples digitally

on the same body in electronic form.* E-Fit Simula-

tor software allows the entire garment to be sewn

electronically on a digital model, all in 3D CAD,

exactly the same as a Fit Model or fit form. Apply the

fabric print or color and properties to see in motion

if the garment fits on that model.

The tension map shows where the garment is

tight or loose, or has too much material at every

movement, exactly the way a live fit model would

give feedback. The X-ray mode allows the pattern-

maker to see in 3D exactly where to make the adjust-

ment on a 2D flat pattern, just like being in a fit

session with a live model. Once patterns are corrected,

a final garment can be sent electronically as a picture

or Windows media movie, showing how the garment

looks and fits. The designer can do e-fitting sessions

on his or her laptop anywhere and get approval

within hours, sometimes without making a physical

sample.

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

FABRICS

Bauhaus

Brown

Leather

Surly Brown

100% Wool

Tweed

Golden

Grape

Alpaca

Wool

London Gray

Suede

Clockwork

Orange

Mohair

Plaid

FRONT AND BACK FLATS

JACKET FEVER

CUSTOMER

THE ULTIMATE

JACKET

2002

MY CUSTOMER

is a modern woman

who loves to

wear different hip

jackets as an

expression of her

moods and youthful

cool.

Courtesy:

Fashion Illustration for Designers by Kathryn Hagen

APPAREL PRODUCT

DEVELOPMENT

A commercial apparel designer is responsible for

product development, though specific duties vary

from company to company. The important elements

needed to create a successful commercial line are:

• Knowledge of the consumer. A garment should be

suitable for the person’s age, image, and lifestyle.

• Price. Consumers evaluate the cost of a garment

by anticipating use and pleasure received by

wearing it.

• Aesthetics. The design, color, and decoration of a

garment should enhance the face and figure of

the consumer.

A designer starts a new line by researching color

trends and fabric lines. Styling is determined by the

designer’s taste level, price of the line, the season,

degree of fashion taste of the manufacturer, and past

performance of specific styles.

The designer, assisted by design room person-

nel, may sketch, drape, or use a computer or flat pat-

terns to create the first samples. A typical design

room is staffed by an assistant designer, first pattern-

maker, sample cutter, and sample makers. Larger

manufacturers add sketchers, fit models, and other

assistants.

Merchandising the line is important to weed out

the styles that do not sell well. The final line is

shown to store buyers in the showroom, taken to re-

tailers by traveling sales representatives, sent via

computer images to buyers, and promoted through

trade advertisements and buying office networks.

Production pattern development follows sales

and prepares the first sample to be sewn efficiently

in a factory and to fit an average customer. The de-

signer is usually involved in sales presentations and

all decisions that affect the product’s aesthetics.

For in-depth information about product devel-

opment, read Inside Fashion Design, Fifth Edition,

written by Sharon Lee Tate, and published by

Pearson/Prentice Hall.

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

COST SHEET

A cost sheet is a complete record of each design and

is used to cost the garment and establish the

wholesale price. The top part of the form (items 1

and 2) is completed in the design room. It should in-

clude the names and telephone numbers of the

salesperson and the fabric and trim companies, as

well as fabric swatches, a sketch, and special pattern

information or instructions. A blank copy is in-

cluded in the back of the book for duplicating.

The original copy is for the manufacturer or pro-

duction person, who completes the lower part

(items 3 and 4) and marks yardage. This provides the

manufacturer with information required for produc-

tion. A duplicate kept in the design room for quick

reference makes for fewer interruptions in the

design department.

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

PATTERN CHART

The pattern chart is a complete record of all pattern

pieces within the pattern set. It also includes swatches

and special pattern information. Each pattern shape is

identified by name and number of pieces to be cut.

A color code is used to distinguish linings and inter-

linings from other pattern pieces. When completed,

the chart is placed in front of the production pattern

and given to the production manager. Some charts re-

quire sewing guides, as shown.

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

DESIGN SPECIFICATIONS SHEET

The design specifications sheet is a record of the finishing requirements for each design. It is used by those re-

sponsible for finishing to ensure that the garment meets company standards. Study the chart and compare the

information to the design it represents.

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

Form

Form make and type ______

Size ______ Year ______

FORM MEASUREMENT

CHART

Circumference Measurements

1. Bust: ______, plus 2 ease ______

2. Waist: ______, plus 1 ease ______

3. Abdomen: ______

4. Hip: ______, plus 2 ease ______

Upper Torso (Bodice)

5. Center length: F ______, B ______

6. Full length: F ______, B ______

7. Shoulder slope: F ______, B ______

8. Stra p: F ______, B ______

9. Bust depth: ______, radius ______

10. Bust span: ______

11. Side length: ______

12. Back neck: ______

13. Shoulder length: ______

14. Across shoulder: F ______, B ______

15. Across chest: ______

16. Across back: ______

17. Bust arc: ______

18. Back arc: ______

19. Waist arc: F ______, B ______

20. Dart placement: F ______, B ______

Special Information

Set form to desired height and measure the following:

C.F. waist to floor ______

C.B. waist to floor ______

C.B. neck to floor ______

Lower Torso (Skirt/Pant)

22. Abdomen arc: F ______, B ______

23. Hip arc: F ______, B ______

24. Crotch depth: ______

25. Hip depth: C.F. ______ C.B. ______

26. Side hip depth: ______

27. Waist to ankle: ______

Waist to knee: ______

Waist to floor: ______

28. Crotch length: ______

Vertical trunk: ______

29. Upper thigh: ______

Mid-thigh: ______

30. Knee: ______

31. Calf: ______

32. Ankle: ______

Foot entry: ______

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

PERSONAL MEASUREMENT

CHART

Circumference Measurements

1. Bust: ______ 3. Abdomen: ______

2. Waist: ______ 4. Hip: ______

Upper Torso (Bodice)

5. Center length: F ______ B ______

6. Full length: F ______ B ______

7. Shoulder slope: F/R ______ F/L ______

B/L ______ B/L ______

8. Strap: F/R ______ F/L ______

9. Bust depth: F ______ Radius ______

10. Bust span: ______

11. Side length: F/R ______ F/L ______

12. *Back neck: ______

13. Shoulder length: ______

14. Across shoulder: F ______ B ______

15. Across chest: ______

16. Across back: ______

17. Bust arc: ______

18. Back arc: ______

19. Waist arc: F ______ B ______

20. Dart placement: F ______ B ______

21. Standard dart intake:

Front  1" (2 darts 1/2 to 5/8")

Back  2" (2 darts 1 to 1 1/4")

Lower Torso (Skirt/Pant)

22. Abdomen arc: F ______ B ______

23. Hip arc: F ______ B ______

24. Crotch depth: ______

25. Hip depth: CF ______ CB ______

26. Side hip depth: R/S ______ L/S ______

27. Waist to knee ______ ankle _____ floor _____

28. Crotch length _____ Vertical trunk: ______

29. Upper thigh: ______ Mid -th igh: ______

30. Knee: ______

31. Calf: ______

32. Ankle: ______

*Measuring the Arm

Use your measurements (shown by asterisks) for the

draft of the basic sleeve. Read the instructions. Use

the cap height from the sleeve measurement chart, or

use the formula to determine cap height.

(35) Biceps

(36) Elbow

straight

(37) Wrist

(36) Elbow bent

(38)

Around

hand

Circumference

Personal Figure Variations

A. Head height relationship:

Bust ______ Waist ______

Crotch ______ Knee ______

B. Bust/back/chest relationship:

Bust ______ Back ______

C. Hip types: ______

D. Arm types: ______

E. Abdominal/thigh relationship:

Abdominal ______ Thigh ______

F. Shoulder type ______

G. Shoulder/hip relationship:

Shoulder ______ Hip ______

H. Leg types ______

I. Leg types ______

J. Figure stance: ______

K. Asymmetric figure. Record high side, right and

left.

Shoulder: ______ Hip: ______

L. Tilting waistline. Record high and low.

Front: ______ Back: ______

M. Bust/waist  ______

Waist/hip  ______

Bust/hip  ______

N. Other variations: ______

Mid- wrist bone

Elbow length (34)

(elbow bone)

Overarm length (33)

(shoulder tip to

wristbone)

Length

Personal Arm

Measurements

33. Overarm length:* ______

34. Elbow length:* ______

35. Biceps plus 2":* ______

36. Elbow bent (reference) ______

37. Wrist (reference) ______

38. Around hand (reference) ______

*39. Cap height ______

Test 1: A to B  10 (8ths), or 1-1/4"; B to D  3/8";

A to D  13 (8ths) or 1-5/8"; D to C  4/8", or 1/2"

Test 2: A  13/16"; A to B  18/16ths, or 1-1/8";

B to C  4/16ths, or 1/4"; C to D  9/16ths, or 5/8"

PATTERNMAKING ESSENTIALS FOR THE WORKROOM

ANSWERS TO SELF-EVALUATION

TESTS

From Chapter 2 of Patternmaking for Fashion Design, 5/e. Helen Joseph-Armstrong.

Form Measurements

and Figure Analysis

FORM MEASUREMENTS AND FIGURE ANALYSIS

WHO IS THE STANDARD IDEAL FIGURE?

Who Needs Her?

Does This Elusive Figure Have Standards?

Do Perfect Ratio Measurements Mean

Perfect Proportions?

Forms: Willow-Caned to Humanlike

PATTERN INDUSTRY STANDARDS

DEPARTMENT STORE STANDARDS

OTHER ATTEMPTS AT STANDARDIZATION

ASTM STANDARDS

Figure Analysis for Personal Use or

for Client

LANDMARK TERMS

MEASURING FORM AND MODEL

Preparing the Form for Measuring

Preparing the Model for Measuring

Taking Measurements

HORIZONTAL BALANCE LINE (HBL)

CIRCUMFERENCE FOR FORM AND MODEL

MEASUREMENTS

HORIZONTAL ARC FOR FORM AND MODEL

MEASUREMENTS

Front

Back

Model for Personal Fit

Neck Circumference

VERTICAL MEASUREMENTS FOR FORM

AND MODEL

Front and Back—Form and Model

Personal Fit: Asymmetric Verification

New Strap Measurement

STANDARD MEASUREMENT CHART

Form

Measurements

and Figure Analysis

36"

26"

WHO IS THE STANDARD

IDEAL FIGURE?

She is a composite figure whose measurement stan-

dards are based upon who is listening to whom. She

evolved from consumer feedback to buyer, buyer to

manufacturer, and manufacturer to model form com-

pany. Her standards are whatever successful manu-

facturers, commercial pattern companies, chain and

department stores, and industrial form companies

say they are. She is a form; she is a figure; she is a set

of measurements. And her silhouette changes at the

slightest whim of fashion. She is considered “ideal”

only when her measurements satisfy a majority of

consumers.

Who Needs Her?

Technicians need her dimensions for patternmaking

and fittings; designers need her silhouette for creating

new designs; manufacturers need her for showings;

models need to have her dimensions to be hired; and

consumers need her for their representation.

Does This Elusive Figure

Have Standards?

Even though her dimensions vary, she does have

standards. She is symmetrical, with an upright

stance and aesthetically pleasing body proportions,

with a ratio of 10- to 12 1/2-inch differences among

bust, waist, and hips. These standards are based

strictly on Western concepts of what is ideal. There

will never be a universally acceptable standard be-

cause of the variety of anatomical figure types.

Other countries set their own standards based on

their own regional concept of the ideal figure.

Some manufacturers prefer not to use standard-

ized measurements. They want the flexibility to

change measurements quickly to suit customer

needs. Increasing world trade has created a need for

a central database that contains regional measure-

ments for non-Western trading partners. Computer

technology may ultimately provide ready access to

such information.

Do Perfect Ratio Measurements

Mean Perfect Proportions?

Not necessarily so. Bulk (flesh) distribution around

the skeletal frame must be considered—for example,

large back and small bust; large bust and small back;

wide, flat front waist; and rounded, protruding back

waist; large hip and flat stomach; protruding stom-

ach and flat buttocks.

FORM MEASUREMENTS AND FIGURE ANALYSIS

Forms: Willow-Caned to Humanlike

For the past 140 years, forms have adapted to the

whims of fashion by constantly being modified in

shape and measurements to satisfy the needs of

changing silhouettes. Original forms were shapeless,

willow-caned models with woven mounds that were

padded to individual specifications. Today’s forms

are partially made by hand. They are framed in

metal, molded with papier-mâché, laid over with

canvas, and covered in a princess garment of linen.

The seam lines and princess stylelines of the cover

garment set the boundaries between the front and

back bodice. The waistline seam defines the upper

and lower torso. In the manufacturing process, hu-

man errors can and do occur. Before measuring, ex-

amine the form for possible errors. Make adjustments

by following the instructions in the Measuring Form

and Model Section later in this chapter. Forms of

today represent the most common dimension

within each size group of males and females, chil-

dren to adults. Forms come with detachable arms

and legs and collapsible shoulders for ease of use.

Who Sets Form Measurements?

Form measurements are determined by the con-

sumer’s feedback to the buyers and buyer feedback

Courtesy of TukaTech

to the form company. Forms can be ordered to the

specific measurements of a private client; and com-

panies can order forms with special measurements

reflecting their consumer.

Cloning Fit Models

There are a number of new innovations in the devel-

opment of forms. Material used in humanlike forms

use a liquid-type substance instead of canvas and

metal. I am familiar with TUKAforms and have seen

them being developed. The forms are an exact

replica of the company’s fit model. The model is

scanned in a cube with a light-emitting device that

produces a perfect replica of the model. Forms are

made with a liquid substance that, when solidified,

feels like skin and flesh and can be penetrated with

pins without harm to the form. The model form

helps patternmakers and designers to develop gar-

ments with more accuracy in less time and without

a live model.

FORM MEASUREMENTS AND FIGURE ANALYSIS

5'1" t o 5 '3"

Young j unior/Teen

5/6–15/16

5' t o 5 '1"

Junior p etite

3jp–13jp

5'4" t o 5 '5"

Junior

5–15

5'2" t o 5 '3"

Half- size

–24

5'2" t o 5 '3"

Miss p etite

6mp–16mp

5'5" t o 5 '6"

Miss

6–20

5'5" t o 5 '6"

Woman

38–50

Composite of Figure Types

PATTERN INDUSTRY

STANDARDS

In response to national standards and consumers’

needs, the pattern industry established the Measure-

ment Standard Committee, which devised its own

standard set of figure types and sizes. The examples

below are composites of the pattern industry desig-

nated figure types by age and height categories. The

measurements are listed on the pattern envelope.

Their standards may already be influenced by the

American Society for Testing and Materials (ASTM)

and Textile Clothing Technology Corp’s [TC

] USA

National Size Survey measurements.

DEPARTMENT STORE

STANDARDS

Department stores and catalog merchants such as

Sears, Montgomery Ward, and Spiegel have devel-

oped their own strict specifications to satisfy the

needs of their customers. Some use or have used Na-

tional Bureau of Standards measurements. Others

conduct surveys and samplings of the population by

sending survey forms to their consumers, requesting

their measurements. This information is compiled,

and specification sheets are given to the manufac-

turer to use in developing patterns for their con-

sumers. JCPenney, Victoria’s Secret, and Jockey now

use ASTM [TC]

USA National Size Survey for their

measurements.

OTHER ATTEMPTS AT

STANDARDIZATION

Attempts to standardize sizes in America originally be-

gan in the late 1800s, when manufacturers mass-

produced farm labor uniforms in small, medium, and

large sizes—which proved less than ideal. The next ef-

fort was made by the military in its attempt to mass-

produce well-fitting uniforms. In 1901, the federal

government created the National Bureau of Standards,

a nonregulatory agency for the purpose of standardiz-

ing measurements. By 1970, NBS had developed a

complete size range standard based on frequency

measurements from large segments of the population.

ASTM STANDARDS

The American Society for Testing and Materials part-

nered with [TC]

USA National Size Survey for the pur-

pose of standardizing body measurements for better

fitting apparel. The research was intensive, measuring

10,000 subjects whose bodies were scanned. Two hun-

dred points were chosen for accurate body measure-

ments. For additional information or to order size

standards, contact ASTM at 100 Barr Harbor Dr., West

Conshohocken, PA 19428; phone: (610) 832-9585.

The following tables of measurement are available:

• Children: Sizes 2 to 6X/7, order # (D5826)

• Adult Female Misses: Sizes 2 to 20, order # (D5585)

• Women age 55 and older, order # (D5586)

• Menswear: order #(D6240–98) 2006

FORM MEASUREMENTS AND FIGURE ANALYSIS

1 Head

2 Head

3 Head

4 Head

5 1 /2 Head

7 1 /2 t o 8 Head

1 Head

Chin lev el

Bust lev el

Waist lev el

Crotch lev el

Knee b one

Floor

Figure Analysis for Personal Use

or for Client

If your figure is less than perfect, remember it’s the pat-

tern that must be perfect, not your figure.

To begin the process, it will be necessary to as-

sess the unique characteristics of the body being

measured. The model should wear a leotard over reg-

ularly worn foundation garments for taking mea-

surements. See the Personal Measurement Chart later

in this chapter.

Each group of figure variations is alphabetized

(A through J), and each figure within the group is

given a number. Circle the number that applies to

your figure, then record it under the appropriate let-

ter on the Personal Measurement Chart.

A: Head Height—A Measuring Device for

Comparison

• Measure the length of your head from the top

of the crown to chin level. Use the head mea-

surement to mark each head length down from

the chin.

• The blue lines behind the sample models indi-

cate head levels. The broken lines crossing the

sample models indicate where the bust point,

hip, crotch, and knee are in relation to the stan-

dard head marks of the perfect model with the

blue leotard.

• Compare your head locations with the model.

Record if the locations are above or below head

levels at: bust ___, waist ___, hip ___, knee ___.

D: Hip Types

1. Ideal: Pleasing proportion

among waist/shoulders/hips.

2. Heart shape: Protruding

roundness from waist. Legs

tend to meet at crotch.

3. Square shape: Square out from

side seams.

4. Diamond shape: Widest part of

the hip bone emphasized by a

smaller waist and shoulder.

C: Back/Bust/Chest

Relationship

1. Ideal: Bust/buttocks protrude in

a harmonious relationship.

2. Narrow back/large bust.

3. Full back/small bust.

4. Hollow inward chest.

5. Pigeon, a dominant chest bone.

FORM MEASUREMENTS AND FIGURE ANALYSIS

12 53 4

Back/Bust Relationship

12 3

Hip type

Figure Analysis Continued

The following discussion illustrates

anatomical variations. Circle the num-

ber(s) that apply to your figure. Record

your figure in spaces A through N. This

information is helpful in developing

your personalized basic pattern set.

B: Back Types

1. Ideal: Spine has a soft curve and

slight protruding buttock.

2. Flat: Straight back causes

buttocks to be prominent.

3. Rounded: Dominant spine curve

and prominent buttock.

4. Dowager’s hump: Shoulders fall forward in the

extreme.

12 3

Back types

FORM MEASUREMENTS AND FIGURE ANALYSIS

1 5

I- shape R- shape S- shape Oval O- shape O- shape

Abdominal/Thigh Relationship

F: Abdominal/Thigh

To compare, have the assistant

view your profile. If your shape

differs from the examples,

record on the Personal Measure-

ment Chart under “Deviation.”

G: Shoulder Types

1. Ideal: Shoulder slope is

approximately 25°.

2. Slopped shoulder: More

than 25°.

3. Square shoulder: Near 90°

angle with neck.

4. Muscular: Neck to

shoulder.

5. Bony: Dominant clavicle.

E: Arm Types

1. Ideal: Flesh and bone in perfect

harmony.

2. Thin: Boney appearance, with

prominent wrist, elbow, and shoulder

bones.

3. Full arms: Flesh starting to fall from top

of the arm.

4. Fleshiness: Bone structure covered with

flesh. Flesh has fallen from top of

the arm.

Ideal Thin Fleshy Fleshy

Arm Types

FORM MEASUREMENTS AND FIGURE ANALYSIS

12 3

Wide

shoulder

Small hips Wide hips

Narrow

shoulder

Shoulder/Hip relationship

H: Shoulder/Waist/Hip

1. Ideal: Shoulder/waist/hip in harmony.

2. Hourglass: Created by a small waist.

3. Straight line: Slight waist definition.

4. Wide shoulder/narrow waist.

5. Narrow shoulder/wide hips.

I: Leg Types

1 through 4. Identified by their names.

J: Figure Stance

The model’s stance affects the hang and balance of

garments. Pattern adjustment will be required.

1- Bowlegs 2- Knock- knees

3- Thin

4- Full thigh

1- Perfect 2- Bent 3- Upright

Tilting

waistline

Tilting

hemline

FORM MEASUREMENTS AND FIGURE ANALYSIS

1. Center front neck

Center back neck

2. Center front waist

Center back waist

3. Bust points

4. Center front bust level (between bust points)

5. Side front (princess)

Side back (princess)

6. Mid-armhole front

Mid-armhole back (at level with plate screw)

7. Shoulder tip

8. Shoulder at neck (shoulder/neck)

9. Armhole ridge or roll line

10. Plate screw

11. Armhole plate

LANDMARK TERMS

To measure accurately, you must know where the

landmarks are and identify them point to point for

specific locations. The following landmarks identify

the parts of the form that are referred to when mea-

suring from one landmark to another. Numbers refer

to both the front and back wherever indicated.

Personal fit. The instruction applies to models that

will be measured for drafting the basic patterns.

CAGE

BACK FRONT SIDE

ROLLER WHEELS

HEIGHT PEDAL

Symbol Key

CF  Center front

CB  Center back

BP  Bust point

SS  Side seam

SW  Side waist

SH  Shoulder

HBL  Horizontal

balance

line

SH-TIP  Shoulder

tip

FORM MEASUREMENTS AND FIGURE ANALYSIS

MEASURING FORM

AND MODEL

Forms are sometimes imperfect, with measurements

not always equal on each side of the center. Check

and remark the side seams if necessary. The shoulder

line may be misplaced, causing a sleeve to hang out

of alignment. (This problem is corrected at the time

of the fitting.)

Drafting depends on measurements taken from

a form or model. Measurement must be taken care-

fully to avoid fitting problems.

Personal measurements. Reference to personal fit

(shown in italics) will accompany some of the in-

structions.

Preparing the Form for Measuring

Figure 1

• Bust bridge: Cut a strip of cloth 1 1/2  26 inches.

Fold edges to center and fold again. Place across

bust points, ending 1 inch past the side seam.

Push pins through to secure. Trim unneeded

length. Thrust pins through bust points. Mark

center line.

• Waistline: Replace waistline tape, if damaged.

Figure 2

• Pinhead guides: Thrust pins through shoulder tip

at the ridge, or roll line, mid-armhole at level

with the plate screw, and 3/8 inch below the

center front neck.

Figure 3

• Armhole depth chart: To locate armhole depth,

choose the measurement from the Armhole

Depth Chart below that corresponds to the form

size. Measure down from the armhole plate and

thrust a pin head at the location. Grade up or

down by 1/8 inch for smaller or larger sizes. As

with establishing a set of measurements, they are

to be test fitted with sleeve attached. Make ad-

justments if necessary.

Pinhead

at b ust p oints

Shoulder tip

pinhead

Neck 3/8 "

depth

Mid- armhole pinhead

(FandB)

Armhole depth

Size 3/4—3/8 Size 11/12—3/4

Size 5/6—3/8 Size 13/14—1

Size 7/8—1/2 Size 15/16—1 1/8

Size 9/10—5/8 Size 18—1 1/4

Figure 1

Figure 2

Figure 3

• To determine cap height, measure up from arm-

hole depth to shoulder tip and add 3/8 inch.

FORM MEASUREMENTS AND FIGURE ANALYSIS

(g)

(h)

Mark below

finger for

armhole depth

(i)

(f)

FRONT BACK

(b)(a)

Preparing the Model for Measuring

Have a friend assist in measuring and recording on a

copy of the Personal Measurement Chart later in

this chapter.

The model should wear a bodysuit or leotard with

regular foundation garments worn underneath.

Figures 1a, b

Marking the garment: Lay garment flat. Draw a line

down the center front and back with tailor’s chalk,

or fine-point washable pen.

Figures 2c, d, e

Neckline: Dot mark center of the clavicle bone at

center front and the dominant bone (nape) at cen-

ter back neck. To complete the neckline shape, place

a delicate chain necklace around the model’s neck,

touching dot marks. Carefully draw neckline curve

with a fine-point washable pen.

Figures 3f, g, h, i

Dressing the model: The front chalk line is placed be-

tween the busts, navel, and crotch. The back chalk

line is centered along the spine line, crease of the

buttocks, and between the legs. The front and back

models (f and g) are marked, as follows:

Completing neckline: With ruler placed at the center

lines and to the dot marks of clavicle and nape, draw

center lines to neck.

With ruler on shoulder seam, draw line to neck (c).

Mid-armholes: With arms to the sides, mark the ends

of crease line with dots, or with straight pins

crossed.

Armhole depth: Place finger under the arm where

back muscle and arm articulate. Chalk-mark at bot-

tom of the finger at side seam (i).

Bust bridge: See Figure 1 on previous page for

instructions.

Waistline band: Place a belt, elastic, or band com-

fortably (not too tight) around the waist.

Figure 1

Figure 2

Figure 3

Figure 4

FORM MEASUREMENTS AND FIGURE ANALYSIS

Taking Measurements

• Place the metal tip end of the tape

measure at one reference point and

extend to the next reference point

when taking measurements.

• Record measurements on the Model

Measurement (Form or Chart or

the Personal Measurement Chart

found at the end of the chapter).

• Numbers in parentheses corre-

spond with those on the chart.

• Arc measurements are taken from

center lines to the side seam.

• The same half of the front and back

of the form is measured.

HORIZONTAL

BALANCE LINE (HBL)

Figures 1, 2, and 3

• Measure up from the floor to the pin

mark (X) at center front (Figure 1).

• Use this measurement to measure

up from the floor and pin mark cen-

ter back and side seams. Pin mark at

princess lines. Recheck measure-

ments (Figures 1 and 3).

• Draw a line around the hip touching each of the

pin marks, or use adhesive tape to mark the

hipline. The standard hip depth is 6 to 7 inches

down from the center front waist for juniors and

petites, 8 to 9 inches down for missy size.

Personal fit. Follow the instructions very carefully

and double check. If incorrect, the hemline of the

skirt will not hang parallel with the floor.

CIRCUMFERENCE FOR

FORM AND MODEL

MEASUREMENTS

Figures 4 and 5

• Bust (1). Across bust points and back.

• Waist (2). Around waist.

• Abdomen (3). Three inches below waist.

• Hip (4). Measure widest area with tape parallel

with floor. Pin to mark hip level at center front

(referred to as X-point).

Draw line

(represents

the horizontal

balance line

below waist)

FRONT

BACK SIDE

Figure 1 Figure 2 Figure 3

Figure 4 Figure 5

FORM MEASUREMENTS AND FIGURE ANALYSIS

FRONT

HORIZONTAL ARC FOR

FORM AND MODEL

MEASUREMENTS

Front

Figure 6

• Across shoulder (14). Shoulder tip to center front

neck.

• Across chest (15). Center front to 1 inch above

mid-armhole (pinhead mark).

• Bust arc (17). Center front, over bust point, end-

ing 2 inches below armplate at side seam.

• Bust span (10). Place tape across bust points; di-

vide in half for measurement.

• Waist arc (19). Center front waist to side waist

seam.

• Dart placement (20). Center front to side front

(princess line).

• Abdomen arc (22). Center front to side seam, start-

ing 3 inches down from waist.

• Hip arc (23). Center front to side seam on HBL line.

• Hip depth (25). Center front to HBL line.

Back

Figure 7

• Back neck (12). Center back neck to shoulder at

neck.

• Across shoulder (14). Shoulder tip to center back

neck.

• Across back (16). Center back to 1 inch above the

mid-armhole at ridge of pinhead.

• Back arc (18). Center back to bottom of arm plate.

• Waist arc (19). Center back waist to side waist

seam.

• Dart placement (20). Center back waist to side

back (princess line).

• Abdomen arc (22). Center back to side seam, start-

ing 3 inches down from waist.

• Hip arc (23). Center back to side seam on HBL line.

• Hip depth (25). Center back waist to HBL line.

Model for Personal Fit

Figures 8a, b

BACK

Measurements can be taken across the model

from one landmark to the other, then divided

in half and recorded. If the center lines of the

front and back are definitely centered, meas-

ure from the center line to the side seams of

the front and back bodice.

Neck Circumference

Measure around the upper neck, divide by 5,

and record in space #12.

Figure 6

Figure 7

Figure 8a

Figure 8b

FORM MEASUREMENTS AND FIGURE ANALYSIS

VERTICAL MEASUREMENTS

FOR FORM AND MODEL

Figures 9 and 10

• Side length (11). Pin mark below armplate at side

seam to side waist.

• Shoulder length (13). Shoulder tip to neck.

• Side hip depth (26). Side waist to HBL, on side of

form being measured.

• Bust radius (9). Measure from bust point ending

under bust mound to rib above.

Front and Back—Form and Model

Figures 11, 12, 13, 14

• Center length (5). Mark neck to waist (over bridge).

• Full length (6). Waist to shoulder at neck, parallel

with center lines.

• Shoulder slope (7). Center line at waist to the

shoulder tip (mark).

• Bust depth (9). Shoulder tip to bust point.

Bust

radius

Personal Fit: Asymmetric

Verification

Shoulder slope: Measure on right and left sides. If the

slope measurements differ more than an 1/8 inch,

the shoulders are asymmetric.

Side hip: Measure both side (see #26), if measure-

ments differ more that 1/8 inch, the hip is asymmet-

ric. The patterns will be drafted on folded paper and

discussed later.

Figure 15 and 16: New Strap

Measurement

Place metal tip of the measuring tape at corner of

shoulder/neck to bottom of the waist band at the

side seam and record.

Shoulder neck

Corner of

Side waist

Shoulder

neck

Side

waist

Figure 9 Figure 10

Figure 1 1

Figure 13

Figure 1 2

Figure 14

Figure 15

Figure 16

Standard Measurement Chart

CIRCUMFERENCE

MEASUREMENTS Grade:

1 1 1

 1



2

(Ease not included)

Size:

6 8 10 12 14 16 18

1. Bust: 34 35 36

37-

40-

42-

2. Waist:

25-

26-

27-

30-

32 34

3. Abdomen: 32 33 34

35-

38-

40-

4. Hip:

35-

36-

37-

40-

42 44

UPPER TORSO

5. Center length:

Front

Back

14-

16-

14-

16-

14-

16-

14-

15-

17-

15-

17-

15-

17-

6. Full length:

Front

Back

16-

17-

18-

19-

7. Shoulder slope:

Front

Back

17-

16-

17-

16-

17-

18-

17-

18-

17-

18-

19-

18-

8. New Strap: 17

17-

18-

19-

9. Bust depth:

Radius:

10-

10. Bust span:

11. Side length:

12. Back neck:

13. Shoulder length:

14. Across shoulder:

Front

Back

15. Across chest:

16. Across back:

17. Bust arc:

10-

11-

18. Back arc:

10-

19. Waist arc:

Front

Back

20. Dart Placement:

Front

Back

21. Number not used

LOWER TORSO

22. Abdomen:

Front

Back

10-

23. Hip arc:

Front

Back

10-

11-

24. Crotch depth:

10-

25. Hip depth:

Center front

Center back

26. Side hip depth:

27. Waist to knee:

Waist to ankle:

Waist to floor:

22-

37-

39-

23-

38-

40-

24-

39-

41-

28. Crotch length:

Vertical trunk

24-

25-

60-

26-

63-

27-

28-

66-

29. Upper thigh:

Mid thigh:

18-

20-

21-

19-

22-

20-

23-

24-

21-

25-

22-

30. Knee: 13

13-

14-

15-

31. Calf:

12-

13-

14-

32. Ankle:

Foot entry:

12-

13-

Missy patterns are available for purchase. Send requests to patterns4sale.com

FORM MEASUREMENTS AND FIGURE ANALYSIS

Form

Form make and type ______

Size ______ Year ______

FORM MEASUREMENT

CHART

Circumference Measurements

1. Bust: ______, plus 2 ease ______

2. Waist: ______, plus 1 ease ______

3. Abdomen: ______

4. Hip: ______, plus 2 ease ______

Upper Torso (Bodice)

5. Center length: F ______, B ______

6. Full length: F ______, B ______

7. Shoulder slope: F ______, B ______

8. Stra p: F ______, B ______

9. Bust depth: ______, radius ______

10. Bust span: ______

11. Side length: ______

12. Back neck: ______

13. Shoulder length: ______

14. Across shoulder: F ______, B ______

15. Across chest: ______

16. Across back: ______

17. Bust arc: ______

18. Back arc: ______

19. Waist arc: F ______, B ______

20. Dart placement: F ______, B ______

Special Information

Set form to desired height and measure the following:

C.F. waist to floor ______

C.B. waist to floor ______

C.B. neck to floor ______

Lower Torso (Skirt/Pant)

22. Abdomen arc: F ______, B ______

23. Hip arc: F ______, B ______

24. Crotch depth: ______

25. Hip depth: C.F. ______ C.B. ______

26. Side hip depth: ______

27. Waist to ankle: ______

Waist to knee: ______

Waist to floor: ______

28. Crotch length: ______

Vertical trunk: ______

29. Upper thigh: ______

Mid-thigh: ______

30. Knee: ______

31. Calf: ______

32. Ankle: ______

Foot entry: ______

FORM MEASUREMENTS AND FIGURE ANALYSIS

PERSONAL MEASUREMENT

CHART

Circumference Measurements

1. Bust: ______ 3. Abdomen: ______

2. Waist: ______ 4. Hip: ______

Upper Torso (Bodice)

5. Center length: F ______ B ______

6. Full length: F ______ B ______

7. Shoulder slope: F/R ______ F/L ______

B/L ______ B/L ______

8. Strap: F/R ______ F/L ______

9. Bust depth: F ______ Radius ______

10. Bust span: ______

11. Side length: F/R ______ F/L ______

12. *Back neck: ______

13. Shoulder length: ______

14. Across shoulder: F ______ B ______

15. Across chest: ______

16. Across back: ______

17. Bust arc: ______

18. Back arc: ______

19. Waist arc: F ______ B ______

20. Dart placement: F ______ B ______

21. Standard dart intake:

Front  1" (2 darts 1/2 to 5/8")

Back  2" (2 darts 1 to 1 1/4")

Lower Torso (Skirt/Pant)

22. Abdomen arc: F ______ B ______

23. Hip arc: F ______ B ______

24. Crotch depth: ______

25. Hip depth: CF ______ CB ______

26. Side hip depth: R/S ______ L/S ______

27. Waist to knee ______ ankle _____ floor _____

28. Crotch length _____ Vertical trunk: ______

29. Upper thigh: ______ Mid -th igh: ______

30. Knee: ______

31. Calf: ______

32. Ankle: ______

*Measuring the Arm

Use your measurements (shown by asterisks) for the

draft of the basic sleeve. Read the instructions. Use

the cap height from the sleeve measurement chart, or

use the formula to determine cap height.

(35) Biceps

(36) Elbow

straight

(37) Wrist

(36) Elbow bent

(38)

Around

hand

Circumference

Personal Figure Variations

A. Head height relationship:

Bust ______ Waist ______

Crotch ______ Knee ______

B. Bust/back/chest relationship:

Bust ______ Back ______

C. Hip types: ______

D. Arm types: ______

E. Abdominal/thigh relationship:

Abdominal ______ Thigh ______

F. Shoulder type ______

G. Shoulder/hip relationship:

Shoulder ______ Hip ______

H. Leg types ______

I. Leg types ______

J. Figure stance: ______

K. Asymmetric figure. Record high side, right and

left.

Shoulder: ______ Hip: ______

L. Tilting waistline. Record high and low.

Front: ______ Back: ______

M. Bust/waist  ______

Waist/hip  ______

Bust/hip  ______

N. Other variations: ______

Mid- wrist bone

Elbow length (34)

(elbow bone)

Overarm length (33)

(shoulder tip to

wristbone)

Length

Personal Arm

Measurements

33. Overarm length:* ______

34. Elbow length:* ______

35. Biceps plus 2":* ______

36. Elbow bent (reference) ______

37. Wrist (reference) ______

38. Around hand (reference) ______

*39. Cap height ______

THE BASIC DRESS FOUNDATION

Measurement

Creating Basic Patterns

Pattern Shapes Described

Why Darts?

Manual and Computer Drafting

FRONT BODICE DRAFT

BACK BODICE DRAFT

Increasing and Decreasing Bust

FITTING THE BODICE

Pattern Correction for Asymmetrical Models

Imperfect Alignment

FITTING THE NECKLINE

FITTING THE ARMHOLE

SKIRT DRAFT

Skirt Front and Back

Skirt Back (for Suits and Separates)

Fitting the Skirt

SELF-EVALUATION TRUE AND FALSE TEST

PREPARING PATTERNS FOR TEST FIT

Matching Joining Seams

THE BASIC SLEEVE

Sleeve Terminology

SLEEVE CAP EASE

Armhole Measurement

SLEEVE MEASUREMENT CHART

SLEEVE DRAFT

Drafting the Basic

Pattern Set

ADJUSTING SLEEVE TO ARMHOLE OF BODICE

Determining Cap Ease

Adjusting the Armhole to Accommodate

Cap Ease

Increase or Decrease the Biceps

Increase or Decrease Cap Ease

Setting the Sleeve into the Armhole

Evaluate the Hang and Fit of the Sleeve

SEAMLESS WORKING PATTERNS

SELF-EVALUATION TEST

COMPLETING THE PATTERN

Pattern Information

Seam Allowance

Basic Pattern Set—Seamed

From Chapter 3 of Patternmaking for Fashion Design, 5/e. Helen Joseph-Armstrong.

DRAFTING THE BASIC PATTERN SET

THE BASIC DRESS

FOUNDATION

Introduction to patternmaking begins with the draft

of the basic dress foundation. The dress has all the key

dimensions of the form and is represented by the ba-

sic pattern set. The basic dress is the very foundation

upon which patternmaking, fit, and design are

based. The basic dress is made up of five distinct

parts: a front and back bodice, a front and back skirt

that hang straight from the hip, and slim full-length

sleeves. The dress follows the model’s outermost

parts without contouring the hollow areas. The

dress has a series of seams that are directed toward

the figure’s bulges—the bust, abdomen, buttocks,

shoulder blades, and elbows. These seams are the

wedge shapes in the draft of the basic pattern set

that, when stitched, support the fit of the garment

and bridge the hollow areas. The perfect garment

will fit comfortably with sufficient ease and in per-

fect balance and harmony with the balance of the

model’s stance.

Measurement

The draft can be developed from measurements

taken of the form and recorded on the Model Mea-

surement Chart, or measurements can be taken

from the Standard Measurement Chart or from per-

sonal fit measurements.

For easy reference, record (in the spaces pro-

vided in the chart) the measurements by the num-

ber in parentheses given in the instructions.

Numbers correspond with those of the charts. Let-

ters used in the instructions give the direction that

each line is to be drawn. For example, B to C means

that the line is drawn from point B to point C, in the

amount indicated by the instructions. A shaded out-

line of the pattern illustrates the purpose of each

line drawn on the draft.

Suggestions for correcting fitting problems fol-

low the instructions for drafting the bodice, the

skirt, and the sleeve.

DRAFTING THE BASIC PATTERN SET

Creating Basic Patterns

Creating basic patterns begins with a two-dimen-

sional piece of paper (for drafting) or muslin (for drap-

ing). The dimensions of the form or model takes up

the necessary space within the paper or muslin, giv-

ing shape to the basic patterns. The remaining paper

or cloth is cut away (Figure 1).

Pattern Shapes Described

Patterns confine the dimensions of the figure by a

series of straight lines (shoulder, side seams, skirt—

below hip) and curved lines (necklines, armholes,

skirt—above hip). Wedges that appear at the pat-

tern’s edge are directed to the apex of the bust,

shoulder blade, abdomen, and buttock. Wedges are

called darts (Figure 2). The basic sleeve will be dis-

cussed later.

Why Darts?

Darts retain form or model measurements by confin-

ing unneeded fullness at the pattern’s edge. The dart

gradually releases fullness and terminates at or near

the apex of the bust, shoulder blades, buttocks, and

abdomen. The dart also has creative value. It is the

dart that converts a two-dimensional pattern into a three-

dimensional garment.

BACK

FRONT

exc

Manual and Computer

Drafting

Both manual and computer drafting methods

are offered for developing the basic pattern set.

Knowing both methods gives the patternmaker

more options in generating patterns.

Figure 1

Figure 2

DRAFTING THE BASIC PATTERN SET

FRONT BODICE DRAFT

Record chosen measurements in the spaces pro-

vided below. For models with asymmetric shoulders

and/or hips, draft on folded paper using measure-

ments for the high side. After the draft, the pattern

is cut and the low side is corrected.

Note: All pattern sizes can be purchased. Send request to

[email protected].

The standard draft is based on a missy dress

form with about a 10-inch difference between the

waist and bust (B cup) for all sizes. For a personal fit,

subtract the waist from bust, if more or less than

10 inches (tolerance 1/4 inch), follow the formula

suggestion.

Figure 1

• A to B = Full length (6), plus 1/8⬙ ______

Draw the line and label.

• A to C = Across shoulder, less 1/8⬙ (14)

______

Square 3 line down from C line.

• B to D = Center front length (5) ______

Mark and square out 4.

• B to E = Bust arc (17), plus 1/4* ______

Square out from B, and then square up 11 from E.*

Figure 2

• B to G = Shoulder slope (7), plus 1/8______.

G touches C line.

• G to H = Bust depth (9).______.

Mark on the G–B line.

• G to I = Shoulder length (13) ______.

Square down from I to intersect with D line.

• J to K = Bust span, plus 1/4⬙ (10) ______.

Square from J at center front through H to K.

• D to L = One-half of D to J.

Mark down from D.

• L to M = Across chest, plus 1/4⬙ (15) ______.

Square a guideline up and down from M.

• B to F = Dart placement (20) ______.

Square down 3/16 from F.

3/16 "

*Ease: Total 1/2 inch at bust level when side seam is drawn.

Figure 1

Figure 2

DRAFTING THE BASIC PATTERN SET

Figure 3

• I to N = New strap, plus 1/8⬙ (8) ______

Draw line from I to intersect E line.

• N to O = Side length (11) ______.

• N to P = Mark 1 1/4 inch out from N.

Personal fit, see formula or adjust after

the draft is complete. Tab page 44.

• O to P = Side length line is directed to P, and ends

when equal to N to O. Draw line from P to F.

Figure 4

Completing waist measurement:

• P to Q = Waist arc (19), plus 1/4" ease, less

B to F______.

Dart legs: Draw a line from K to F and measure. Draw

dart leg from K through Q equal to K to F.

Label R.

Dart point: Center a point 5/8 inch from bust point.

Redraw dart legs from this point to F and R.

Draw slight curved lines from B to F and R to P.

1 1/4 "

5/8 "

Best Cup Formula: Test Fit

C Cup: N-P  7/8"

D Cup: N-P  1-1/2"

D Cup: N-P  1-3/4"

For additional information, see section on Fitting

the Bodice, three pages ahead.

Continue with instruction O-P.

1/8 "

Figure 3

Figure 4

Figure 5

Armhole: Draw armhole curve with rule touching

G, M, and square line. Do not follow curve past

square line.

Neckline: Draw curve from I to D passing inside the

angle line by 1/8".

DRAFTING THE BASIC PATTERN SET

BACK BODICE DRAFT

Figure 6

• A to B = Full length (6) ______.

• A to C = Across shoulder (14) ______.

Square 3 inches down from C.

• B to D = Center back length (5) ______.

Mark and square out 4 inches.

• B to E = Back arc (18), plus 3/4 inch ______.

Square up from E.

Figure 7

• A to F = Back neck (12), plus 1/8 inch

______.

• B to G = Shoulder slope (7), plus 1/8 inch

______.

• F to H = Shoulder length (13), plus 1/2

inch ______.

Line may pass G.

Square down from F to D line.

• B to I = Dart placement (20) ______.

• B to J = Waist arc (19), plus dart intake of

1 1/2" and 1/4" (ease). (Junior/petite sizes: add

1 inch dart intake, plus 1/4-inch ease.)

• I to K = Dart intake.

Mark center and label L.

Figure 6

Figure 7

DRAFTING THE BASIC PATTERN SET

Figure 8

• J to M = Square down 3/16 inch.

• M to N = Side length (11) ______.

• LtoO= Square up from L 1 inch less than M to

Draw dart legs from O, 1/8 inch past I and K.

Draw slightly curved lines from K to M and from

B to I.

Figure 9

• F to P = One-half of F to H. Mark.

• P to Q = Draw a 3-inch line in the direction of

point O (indicated by broken line).

• P to R = 1/4 inch. Mark.

Draw dart leg from Q 1/8 inch past R and con-

nect to F.

Mark 1/4 inch from P. Draw other dart leg from

Q equal to dart leg Q–R, and connect to H.

• D to S = One-fourth of D to B. Mark.

• S to T = Across back, plus 1/4 inch (16)

______.

Square up and down from T, as shown.

Figure 10

• Armhole: Draw armhole with the French curve

touching H, T, and N. The curve should touch

square line.

• Neckline: Draw a 3/8-inch angle line from the cor-

ner. Draw neckline from F, angle line and ending

close to D.

To test fit, add seams to muslin. (See next two pages.)

3/8 "

Figure 9

Figure 8

Figure 1 0

DRAFTING THE BASIC PATTERN SET

Increasing and Decreasing Bust

The bodice is drafted with a B cup. The pattern can

be adjusted for bust cup sizes A, C, D, and DD for

personal fit. Test fit and, if necessary, adjust again;

see Figures 4 and 5.

Figure 1

• Draw a line from dart point to bust point and to

but not through mid-armhole.

Figure 2

C, D, DD Cup

Spread at bust point as follows:

• C Cup = 3/8 inch.

• D Cup = 3/4 inch.

• DD Cup = 1 inch.

• Center bust point.

• Lengthen dart leg A to be equal to B.

Figure 3

A Cup

• Overlap bust point 3/8 inch. Tape.

• Center bust point.

• Shorten dart leg A to true with B.

FITTING THE BODICE

Cut and sew the bodice. Press without steam. Place

on form or model to analyze the fit. Always measure

corrected areas and adjust the patterns.

Figure 4

Looseness: Pin excess at bust to zero at shoulder and

waist.

FRONT

Bust pt.

Add

Spread

Center

Waist

FRONT

lash

Pivotal

FRONT

Overlap

Trim

Bust pt.

Center

Looseness

Bust

point

Trim

Slash, overlap

Blend

Tightness

Add

Blend

Slash, spread

Figure 5

Tightness: Stress folds radiating from bust. Slash

muslin from waist to bust, and spread to give bust

sufficient room.

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

DRAFTING THE BASIC PATTERN SET

Pattern Correction for

Asymmetrical Models

Model (a) with high/low shoulders.

Model (b) with high/low hips.

Corrections: Unfold the pattern: bodice (c) or

skirt (d). Slash from low side to high side. Overlap

recorded amount, mend, blend, and test.

Imperfect Alignment

Figures 2a, b

• Front or back bodice overlaps center line of the

form.

Low

High

Asymmetric

shoulders

Low

Asymmetric h ips

High

Slash, overlap

and blend

(low side)

Blend

FRONT

Slash,

overlap

and

blend

FRONT

Blend

Unpin and lift

muslin at shoulder tip

Lower shoulder

Pattern

Dart pinned

at, or beyond

bust point

Unpin and lower

muslin at shoulder tip

Raise shoulder

Pattern

• Possible solutions: Lift muslin at shoulder tip,

lower dart point, or check waistline measure-

ments and adjust side waist, if required.

• Correct the pattern by trimming the adjusted

amount at shoulder tip to zero at neck.

Figures 3a, b

• Front or back swings away from the center line.

• Possible solutions: Add muslin at shoulder tip,

check waistline measurements and adjust side

waist, if required.

• Correct the pattern by adding the adjusted

amount at shoulder tip to zero at neck.

Figure 1 a

Figure 1 b

Figure 1c

Figure 1d

Figure 2 a

Figure 2 b

Figure 3a

Figure 3b

DRAFTING THE BASIC PATTERN SET

FITTING THE NECKLINE

If the front or back neckline is too loose (more than

1/8 inch) (Figure 4a), open the shoulder and

smooth the fabric to fit. Mark the muslin and adjust

the length of the shoulder. If stress appears at the

shoulder/neck (Figure 4b), open the shoulder. Fit

the muslin to the neckline (allow 1/8-inch ease).

Mark the neckline and adjust the shoulder length, if

necessary.

FITTING THE ARMHOLE

A well-balanced sleeve depends on the accurate

shape of the armhole and the correct placement of

the shoulder and side seams of the form.

A well-shaped armhole fits smoothly over the

shoulder and falls away evenly from the lower part

of the armhole plate, and the side seam is aligned

with that of the form. There is no appearance of

stress lines or gapping. See Figure 5a.

If the armhole of the bodice is identified with

one of the examples, follow the suggested adjust-

ment and make corrections to the pattern.

Gap Above Front Mid-Armhole:

Figures 5a, b

• The fit problem is shown in Figure 5a.

• Release shoulder seam and smooth excess over

the shoulder. Pin and mark adjusted shoulder

(Figure 5b).

Gap Above Back Mid-Armhole:

Figures 6a, b

• The fit problem is shown in Figure 6a.

• Release shoulder seam and smooth excess over

the shoulder. Pin and mark adjusted shoulder

(Figure 6b).

Too loos e

Too tight

Figure 4 a

Figure 4b

Figure 5a

Figure 5b

Figure 6a

Figure 6b

DRAFTING THE BASIC PATTERN SET

Gap Below Front Mid-Armhole:

(Gaping is caused by unbalanced side seams.)

Figures 7a, b, c

• The fit problem is shown in Figure 7a.

• Pin the excess, allowing 1/4-inch ease (Figure 7b).

• Slash the pattern from mid-armhole to bust

point and from dart point to bust point. Overlap

the pattern equal to the amount pinned at the

armhole. Tape to secure (Figure 7c).

Figures 8a, b

• If the armhole is too tight at the front armhole

(Figure 8a), slash and spread 1/4 inch (Figure 8b).

Gap Below Back Mid-Armhole:

(Gaping is caused by unbalanced side seams.)

Figures 9a, b

• The fit problem is shown in Figure 9a.

• Release side seam and smooth excess downward.

Mark side seam and be sure that 3/4-inch ease is

included. Mark waistline.

• Measure the distance between the armhole pin

head and corrected muslin for pattern correcting

(Figure 9b).

FRONT

Overlap

Slash

Stress

FRONT

Paper

Blend

Mend

Figure 7a Figure 7b

Figure 7 c

Figure 8a

Figure 8b

Figure 9a

Figure 9b

DRAFTING THE BASIC PATTERN SET

Personal Dart Intake Chart

Column 1:

4-inch Difference

Front: 1 dart—1/2 intake. Back: 1 dart—3/4 intake.

5-inch Difference

Front: 1 dart—1/2 intake. Back: 1 dart—1 intake.

6-inch Difference

Front: 1 dart—1/2 intake. Back: 2 darts—5/8 intake.

7-inch Difference

Front: 1 dart—1/2 intake. Back: 2 darts—3/4 intake.

8- or 9-inch Difference

Front: 2 darts—3/8 intake. Back: 2 darts—7/8 intake.

10-inch Difference

Front: 2 darts—1/2 intake. Back: 2 darts—1 intake.

11-inch Difference

Front: 2 darts—5/8 intake. Back: 2 darts—1 1/8 intake.

12-inch Difference

Front: 2 darts—5/8 intake. Back: 2 darts—1 1/4 intake.

13- or 14-inch Difference

Front: 2 darts—5/8 intake. Back: 2 darts—1 3/8 intake.

(Allow 3/8 ease at each quarter waist. For 3 darts

at the back skirt, divide 2 3/4 into thirds.)

SKIRT DRAFT

The basic skirt foundation has several uses: as a

base for manipulation to create design pat-

terns, combined with the bodice as a dress, as a

skirt to complete a suit, and as a separate basic

skirt. Two versions of the back skirt are given.

In Type 1, the back darts are of equal intake

and length. Type 2 has two darts of unequal in-

take and length.

Record measurements from the Model

Measurement Chart in the spaces provided.

Personal fit: Use the Personal Dart Intake

Chart to determine the number of darts and dart

intake for the skirt draft. Subtract the waist (2)

from the hip measurement (4). Find the difference

to the nearest whole number in column 1.

For models having a sway back, mark one dart

in front, with all remaining excess taken up by the

back dart(s).

Side seam

Center back

Center front

BACK

Hip

FRONT

Skirt Front and Back

Figure 1

• A to B = Skirt length (as desired).

• A to C = Center front hip depth (25)

______.

• A to D = Back hip arc (23), plus 1/2 inch

(ease) ______.

Squared out from A, C, and B equal to A to D.

Draw center back line F to D. Label E and F.

• E to G = Center back hip depth (25)

______.

Crossmark location.

• A to H = Front hip arc (23), plus 1/2 inch

(ease) ______.

Squared out from A, C, and B equal to A

to H.

• Draw center front line J to H. Label J and I.

Figure 1

DRAFTING THE BASIC PATTERN SET

Figure 2

Back:

• D to K = Back waist arc (19), plus 1/4 inch

(ease), and add 2 inches for dart intake ______.

Personal fit; use dart intake from dart chart.

• D to L = Dart placement (20) ______.

Mark first dart 1 inch from L.

Mark dart space 1 1/4 inches and mark 1 inch for

second dart.

Square up and down from K.

Front:

• H to M = Front waist arc (19), plus 1/4 inch

(ease), and add 1 inch for dart intake ______.

Personal fit; use dart intake from dart chart.

• H to N = Dart placement (20) ______.

Mark first dart 5/8 inch from N.

Mark dart space 1 1/4 inches and mark 5/8 inch

for second dart.

Square up and down from M.

DL H

BACK

(Type 1)

FRONT

Hip

5/8 " 5/8 "

1 1/2"1 1/2"

Figure 3

• C to P = Side hip depth (26) ______.

Draw side seam curve using the skirt curve rule.

Shift the rule until the depth measurement

touches the front and back guidelines. Label P

and Q.

Waistline: Draw front and back waistline using

the shallow end of the curve ruler from G to P

(back) and from H to Q (front).

E l

BACK FRONT

Hip

Figure 2

Figure 3

DRAFTING THE BASIC PATTERN SET

BACK FRONT

Hip

5 1/2"

3 1/2"

BACK

5 1/2 "

3 1/2 "

1 1/2 "

5/8 "

Skirt Back (for Suits and Separates)

Trace the skirt back. Mark the corner of the dart leg

closest to center back. Do not include the dart intake

(Figure 5).

Adjust Dart Intake.

• Mark first dart intake 1 1/2 inches. Mark dart

space 1 1/4 inches. Mark second dart intake 1/2

inch. Mark dart centers. Use this measurement

from center back to mark dart points when draw-

ing dart legs to length as illustrated. True dart

legs by adding to the shorter leg.

• Blend to the curve of the waistline.

• Complete the pattern and cut in fabric for a test

fit given on the following two pages.

Personal fit; adjust using your measurements.

Figure 4

• Back darts: Locate centers of each dart intake,

and square down 5 1/2 inches (5 inches for jun-

iors and petites).

Draw dart legs from dart points to curve line of

the waist.

True dart legs by adding to the shorter legs and

blend to the curve of the waistline.

• Front darts: Repeat the process with the dart legs

3 1/2 inches long.

Figure 4

Figure 5

DRAFTING THE BASIC PATTERN SET

Fitting the Skirt

Sew the skirt with a long stitch. Press without steam

and place on the form. The skirt may be critiqued

separately as illustrated or stitched to the bodice.

The following check points are guides in analyz-

ing the fit of a skirt. The waistlines of the bodice and

skirt must match and the darts that are closest to the

center of the garment should align with the princess

line. If not, check measurements and make correc-

tions. Darts that appear with stress lines require that

the darts be shortened. Darts ending with more

than slight fullness require that the darts be stitched

to a longer length. Adjust side seams if the skirt is

too tight or too loose. The hemline of a balanced

skirt is parallel with the floor. If not, follow the ex-

amples below for suggestions in correcting the skirt

and patterns.

A Well-Balanced Skirt

Figures 1a, b

• The skirt aligns with the center lines of the form

and hangs straight from the hip to the hemline,

indicating that the HBL line (crossgrain) is paral-

lel with the floor (Figure 1a). The skirt stitched to

the bodice is shown in Figure 1b.

Imbalanced Skirt

Figures 2a, b

• Problem: The skirt overlaps the center line

(Figure 2a). A flare will appear at the center of the

skirt (Figure 2b).

• Possible causes: Insufficient dart intake or side

waist incorrectly marked. Check the location of

the HBL on the form and the skirt draft.

• Suggested solution: Raise the side waist until the

skirt aligns with the center line of the form. It may

be necessary to release the side seams to correct

the problem. Increase dart intake, if necessary.

Raise

side

waist

Figure 1a Figure 1b

Figure 2 a

Figure 2 b

DRAFTING THE BASIC PATTERN SET

Lower

side

waist

Figures 3a, b

• The skirt swings away from the center (Figure 3a).

• The skirt will press against the thigh and move

up the hipline when the wearer is walking (Fig-

ure 3b).

• Problem: Excessive dart intake or the side waist

incorrectly marked. Check the location of the

HBL on the form and the draft.

• Suggested solution: Lower the side waist until

the skirt aligns with the center line of the form.

It may be necessary to release the side seams to

correct the problem. Decrease the dart intake, if

necessary.

SELF-EVALUATION TRUE AND FALSE TEST

Circle true or false. The answers are at the end of the chapter.

Figure 3a Figure 3b

1. Darts control the fit of the T F

basic garment.

2. Dart legs confine unneeded excess. T F

3. A dart is the same as adding T F

fullness.

4. Bodice darts do not radiate from T F

the bust.

5. Gapping results from misplaced excess. T F

6. A standard missy form has a C-bust cup. T F

7. The HBL is parallel with the waist. T F

8. The center back waist is lower than the T F

center front waist.

9. Back darts are always the same length. T F

10. Some ease is in the front armhole. T F

11. Gapping is trimmed at the seams. T F

12. Darts take up excess caused by convex T F

shapes.

13. There are 12 major darts on the total T F

basic bodice and skirt.

14. It is not neccessary to recheck T F

measurements taken from the form

or model.

15. The armhole measurement can T F

determine the biceps.

16. The armhole measurement can T F

determine the cap height.

17. Measurements taken from a chart T F

guarantee a perfect fit.

18. The shoulder and side seam of the form T F

guarantees a perfect sleeve alignment.

19. The center cap notch stays at the T F

grain line.

20. The front sleeve is identified by T F

two notches.

DRAFTING THE BASIC PATTERN SET

Mark

Match

Match side seams

PREPARING PATTERNS

FOR TEST FIT

Matching Joining Seams

Place patterns with darts on top of patterns without

darts at joining seams. Seams that do not match

(check measurement chart) are adjusted equally at

each end and blended with seamline.

Trueing Front and Back Bodice at Stitch Line

Figure 1

• Place back pattern on top of front pattern

(shaded area), touching shoulder/neck corners

and mark dart location on front shoulder.

Trueing Front and Back Skirt

Figure 4

• Place back and front (shaded area) skirts together

at sides. Match HBL lines. Skirt should match to

side waist and hem from the HBL. If it does not,

recheck muslin or recheck square line on draft. If

correct, adjust patterns above and below the HBL

to true.

Mark

Match

Figure 2

• Move back pattern so that other dart leg touches

mark on front shoulder and pattern’s edge,

matching to shoulder tip. Adjust shoulder, if

necessary.

Figure 3

• Place side seams together, matching side at arm-

hole and waist. Adjust side seam, if necessary.

Match side seams

Figure 1

Figure 2

Figure 3

Figure 4

DRAFTING THE BASIC PATTERN SET

Match

Center back

Mark dart leg

Match

Trueing Bodice with Skirt

Figure 5

• Place center back of bodice to center back of skirt

(shaded area), matching stitchline to dart leg.

Adjust dart, if needed.

Figure 6

• Shift back pattern along waistline, matching

mark of bodice with other dart leg on skirt. Side

seams should match. If they do not, recheck

waistline measurements and adjust.

Figure 7

• Shift back pattern, matching other dart leg to

dart leg of skirt. Broken line is skirt dart under-

neath. Mark location of dart leg on bodice.

• Repeat for front bodice and skirt (not illustrated).

Figure 5

Figure 6

Figure 7

DRAFTING THE BASIC PATTERN SET

UPRIGHT

PERFECTFORWARD

SLEEVE

3363

2 self

Biceps Level

Elbow Level

Wrist

Level

Grainline

Cap

Height

THE BASIC SLEEVE

The basic sleeve is a mounted sleeve stitched to the

basic bodice armhole.

A sleeve is to fit an arm, which is one of the most

efficient and mobile parts of the human anatomy.

The arm functions primarily in a forward motion

but is capable of moving in every direction. This

flexibility should be considered when testing the fit

and comfort of the sleeve.

The center grain of a well-fitted sleeve should

align with or be slightly forward of the side seam of

models having a perfect stance. The arms of models

with stooped shoulders tend to hang too far forward

from the side seams. The arms of models with an up-

right stance tend to hang too far to the back from

the side seams. In either case, the sleeve should align

with the position of the relaxed arm without regard

to alignment with the side seam.

Sleeve Terminology

Communicating in terms that are familiar with

those in design and production will help to avoid

misunderstanding when problem solving.

Grainline. Straight grain of the sleeve, which is the

center of the sleeve from top of cap to wrist level.

Biceps level. Widest part of the sleeve dividing cap

from the lower sleeve.

Sleeve cap. Curved top of the sleeve above biceps

line.

Cap height. Distance from biceps to the top at the

grainline.

Elbow level. Placed at the articulation point of the

arm, and the location of the elbow dart.

Wrist level. Entry for the hand.

Notches. A notch at the top of the sleeve cap divides

cap ease between front and back sleeve and armhole

of the bodice. One notch identifies the front sleeve,

and two notches identify the back sleeve. Ease be-

gins and ends at the front and back notches.

Cap ease. Ranging from 1 1/4 inches to 1 1/2 inches

(depending on size) between front and back

notches.

DRAFTING THE BASIC PATTERN SET

rul

BACK

Record

FRONT

Record

Armhole Measurement

Figures 1a, b, and c

To measure the front and back armholes, use a thin,

flexible plastic rule held upright when measuring.

(Do not use a measure tape.)

Record measurements in spaces on the front and

back armholes of the pattern for future reference.

• Measure front bodice armhole. Record ______.

• Measure back bodice armhole. Record ______.

• Add Measurements together. Record ______.

• Divide in half, add 1/4 inch. Record ______.

Record this measurements for your model size in

the space provided on the Sleeve Messurement

Chart titled “Armhole measurement.”

In the sleeve draft, it is the A to E instructions.

Grade: 1 1

 1



2

6 8 10 12 14 16 18

Sleeve length

Cap height

Armhole measurement — — — — — — —

Biceps

SLEEVE CAP EASE

Cap ease of the basic sleeve cap is approximately

1 1/4 to 1 1/2 inches for sizes 10 and above, and 1 1/8

to 1 1/4 inches for sizes below 10. The Sleeve Mea-

surement Chart provides measurements for the

sleeve draft but does not necessarily guarantee the

correct amount of cap ease because of differences in

forms and personal fit models. To help control cap

ease and to avoid puckering, follow the “Armhole

Measurements” formula (Figures 1a, b, and c). Other

sleeve fitting problems that may develop can be

resolved by referring to the armhole adjustment sec-

tions later in this chapter.

SLEEVE MEASUREMENT CHART

Figure 1 a

Figure 1b

Figure 1c

DRAFTING THE BASIC PATTERN SET

BACK

FRONT

3/8 "

1/2 "

1/4 " 3/16 "

5/8 " 3/4 "

SLEEVE DRAFT

Figure 2

Draw a line on paper. Mark and label:

A to B = Sleeve length ______.

A to C = Cap height. Mark ______.

C to D = One-half of C to B.

D to D⬘ = 3/4 inch. Mark. Square lines from

A, C, D, B.

Armhole measurement = ______. Place a ruler

at A and pivot until the measurement touches

biceps line. Mark.

C to E = One-half of biceps measurement. Mark.

Compare placement of the two marks, and mark

biceps in between. Label E. Draw a line from A

to E; divide into fourths. Mark and label, as

shown.

C to F = C to E

Draw a line from A to F. Divide into fourths,

mark and label, as shown.

B to O = 2 inches less than C to E.

B to P = B to O

Draw a line from O to E and from P to F.

Figure 3

Square lines from the following:

• G—in 3/8 inch • L—out 3/4 inch

• H—out 1/4 inch • M—out 3/16 inch

• K—out 5/8 inch • N—in 1/2 inch

Figure 2

BACK

FRONT

Elbow

Wrist

Biceps

Figure 3

DRAFTING THE BASIC PATTERN SET

Figures 4a, b

Front Capline:

• Use the French curve to shape the capline by

touching A, L, and M. Draw the curve past M for

blending.

• Change the position of the curve rule touching F,

and N, and draw curve blending with M line (Fig-

ure 4a). Draw the curve.

Back Capline:

• Place the curve rule so that A, K, and H touch.

Draw the curve past H to blend (Figure 4b).

• Change the position of the curve rule touching E

and G, and draw curve blending with H line.

Figure 5

Completing the Sleeve:

• Label elbow Level S, and extend line R 1/4 inch.

Draw a line from R to E.

• Elbow dart:

R to T = One-half of R to D. Mark.

R to U = 1 inch. Mark.

T to U = R to T. Draw connecting line.

O to V = 3/4 inch. Mark.

Draw a line from U through V equal to S to P.

Label W.

WtoX= O to P. (Adjust at the fitting if necessary.)

Draw a line ending at wrist level. Draw a slightly

curved line from X to S to F.

Ease Control Notches

Back—Mark notch 1/2 inch up from G and the sec-

ond notch 1/2 inch above it.

Front—Mark one notch 1/2 inch above N.

Continue with instructions to determine cap ease.

Blend

3/4 "

Front

notch

Back

notches

BACK

FRONT

BACK

FRONT

Figure 4a

Figure 4b

Figure 5

DRAFTING THE BASIC PATTERN SET

Front b odice

FRONT

BACK

Mark

Mark shoulder tip

Move incrementally

to shoulder tip

ADJUSTING SLEEVE TO

ARMHOLE OF BODICE

The basic sleeve should measure approximately 2

inches more across the biceps of the pattern than

the circumference of the arm. The basic sleeve cap

should measure an average of 1 1/4 to 1 1/2 inches

more than the front and back bodice armhole. The

difference between the sleeve cap and armhole

measurement is the amount of ease needed to fit

over the ball of the arm. The amount of cap ease is

determined by the width of the biceps, the cap

height, and the circumference of the front and back

armhole of the bodice. If any one of the factors is

out of harmony, it will affect the fit and appearance

of the sleeve in the following ways: excessive or in-

sufficient cap ease, cap ease unequally distributed

between the front and back armhole, and sleeves be-

ing too tight or too loose. Incorrect placement of the

shoulder or side seams of the form will affect the

alignment of the sleeve. It is advisable to correct

these problems before attaching the sleeve to the

garment to minimize fitting problems later.

Determining Cap Ease

Two methods are given to determine cap ease. The

sleeve can be walked around the front and back arm-

hole, or the measurement can be taken by using the

plastic rule. Both are illustrated.

Method 1: Walking the Sleeve

Figures 1a, b, and c

• Place the corner of the front sleeve at biceps to

the corner of the bodice.

FRONT FRONTBACK BACK

Center Notch Center notc

Cap Ease

• If the cap ease is correct, center a notch between

the marks to equalize the ease. Then continue on

to the Setting the Sleeve into the Armhole section.

• If cap ease is more or less than required, see section

on suggested adjustments of the sleeve or the

armhole later in this chapter. When adjustments

have been completed, continue on to the Setting

the Sleeve into the Armhole section.

Figure 1c

• Use two pushpins alternately to pivot and ad-

vance the sleeve cap around the curve line of the

armhole.

• Mark the notch location of the sleeve to the arm-

hole of the bodice.

• When the sleeve cap reaches the shoulder tip of

the bodice, mark the location on the sleeve cap.

• Repeat the process for the back sleeve.

FRONT BACK

Move in crementally

up t o t his point

Figure 1 a

Figure 1b

DRAFTING THE BASIC PATTERN SET

BACK

Equals arm hole m easurement

Record

FRONT

Equals armhole measurement

Record

Cap Ease

Figures 1d and e

Measure the distance between the marks.

• If the amount of cap ease is sufficient, center a

notch between the marks to equalize the excess.

The center notch may be moved to equalize the

ease. Continue to the next step, Setting the Sleeve

into the Armhole section, to cut, stitch, and bal-

ance the sleeve.

• If the cap ease is less or more than needed, see the

following pages for suggested adjustments of the

sleeve or the armhole. When all adjustments have

been completed, go to the Setting the Sleeve into

the Armhole section to cut and stitch the sleeve.

FRONT FRONTBACK BACK

Center notch Center notch

Method 2: Flex Rule Measurement

Figures 1a, b, and c

Use a very thin flexible plastic ruler held upright

with both hands as the rule is manipulated around

the curves of the armholes. Measure and record (if

not already recorded). Using back armhole measure-

ment, measure the back side of the sleeve cap and

mark where the back armhole measurement ended.

Repeat the process for the front armhole and

mark the front sleeve cap.

Figure 1 a

Figure 1 b Figure 1c

Figure 1e

Figure 1d

DRAFTING THE BASIC PATTERN SET

BACK

FRONT

Lower

notches

FrontBack

Do not lower

cap notches

BACK

FRONT

Paper

Blend

Paper

Blend

BACK

Blend

Adjusting the Armhole to

Accommodate Cap Ease

Even though the cap ease is the correct amount or a

little more than required, the ease around the cap

may show puckers (small gathers). The reason may

be the weight of the fabric, or lack of control of the

machine as the fullness is stitched around the curve

of the armhole. Three examples showing how to

control the cap excess are given.

Figure 1 should be tried first. If the problem is

not resolved, combine with Figure 2 and finally

Figure 3. The cap ease for example problem is 1 3/4

inches.

Figures 1a, b, and c

Lower front and back armhole notches (do not lower

sleeve notches):

• Lower the front and back bodice notches 1/8

inch to 1/4 inch.

1/8 to 1/4 inch of sleeve ease is held and stitched

below the notches, leaving remaining cap ease

above the lowered notches.

Figures 2a, b

Increase the front and back armholes:

• Add 1/16 inch to the shoulder tip to zero at

shoulder/neck.

• Add 1/16 inch to the front and back armholes to

zero at the waist.

• The increased armhole can absorb more of the

cap ease.

Figures 3a and b

Transfer ease to the armhole from available darts:

• Transfer 1/8 inch from the front waist dart and

shoulder dart of the back bodice. Mend the pat-

tern, or use the pivotal method.

Figure 1 a

Figure 1 b

Figure 1 c

Figure 2a

Figure 2b

Figure 3a

Figure 3b

DRAFTING THE BASIC PATTERN SET

Pivot

upward

Pivot

downward

True dart legs

New biceps

mark

Biceps

Pivot

upward

Pivot

downward

True dart legs

New biceps

mark

Biceps

Increase or Decrease the Biceps

Changing the width of the biceps also increases or

decreases cap ease.

Figure 4

Increase biceps example: Add 1/2 inch to biceps

• Trace sleeve and all markings.

• Extend biceps line 1/4 inch to each side.

• Place sleeve with push pin on top of the ex-

tended line of the biceps. Pivot the sleeve up-

ward until sleeve curves touch. Trace and blend

with the traced cap. Pivot the sleeve downward

until the under seams touch at wrist level. Trace

and true the elbow dart.

• Repeat the process for the front sleeve. (Broken

lines indicate the original sleeve pattern.)

Figure 5

Decrease biceps example: Decrease bicep 1/2 inch

• Trace sleeve and all markings.

• Mark 1/4 inch in from each end of the biceps.

• Place sleeve and push pin at the new biceps mark

and follow the process shown in Figure 4.

Increase or Decrease Cap Ease

Problems: Puckering around the cap that appears

like a puff sleeve (decrease cap height) (see Figure 7)

or a sleeve swinging away from the side seam (in-

crease cap height) (see Figure 6).

This method will also increase or decrease cap

ease.

Figure 6

• To increase cap height, cut through the grainline

to the corner of the front and back sleeve, and lift

to spread the cap for the extra amount of ease

needed.

Figure 7

• To decrease cap height, cut through the grainline

to the corner of the front and back sleeve, and

overlap the cap to eliminate the excess ease.

Paper

Lift t o s pread c ap

Overlap

Blend

Figure 6

Figure 7

Figure 4

Figure 5

DRAFTING THE BASIC PATTERN SET

Gathering stitches

Aligned

Setting the Sleeve into the Armhole

The sleeve is ready to be placed into the armhole. It

is not known whether the sleeve will align with or

hang slightly forward of the side seam. It is possible

to precheck the fit by pinning the undersleeve to the

armhole from notch to notch and pinning the cap

notch to the shoulder seam. See Figures 2 and 4. If a

sleeve hangs out of alignment, it can be rotated to

correct the problem.

Figure 1a

• To prepare the sleeve, trace on muslin or the fab-

ric of choice.

• Draw the center grainline and the biceps lines.

Cut the sleeve from the fabric.

• Two methods can be used to sew the sleeve cap

to the armhole: The cap ease can be crimped and

stitched to the armhole or two rows of gather

stitches can be made from front to back notch.

Stitch one row at the seamline and the other

3/8 inch above. Pull the gather stitches to equal

the distance from the front to back armhole

notches. Ease should be evenly spaced to avoid

puckers.

• Baste or stitch the sleeve to the armhole of the

bodice for the test fit.

Evaluate the Hang and Fit

of the Sleeve

Does the sleeve align with or hang slightly forward

of the side seam (Figure 1)? Does the sleeve hang to-

ward the back (Figure 2) or more than 1 inch for-

ward of the side seam (Figure 3)? Sleeves that hang

out of alignment should be rotated until aligned.

Does the sleeve show puckers or puff around

the cap? If so, reduce cap height; see Figures 6 and

7 in the Back Bodice Draft section earlier in this

chapter.

Is there insufficient cap ease? If so, increase cap

height; see Figures 4 and 5 within the Front Bodice

Draft section earlier in this chapter.

Sleeve with Perfect Alignment

Figure 1b

• The grainline of a well-balanced sleeve is aligned

with or slightly forward of the side seam.

Figure 1a

Figure 1b

DRAFTING THE BASIC PATTERN SET

Shift t oward

front a nd

BACK

Subtract

Add

FRONT

Add

Subtract

Swing forward of side seam

Shift toward

back

BACK

Add

Subtract

FRONT

Subtract

Add

Rotating the Sleeve

Rotating the sleeve will be necessary if the center

grain of the sleeve hangs too far forward or too far

back of the side seam of the garment. If either prob-

lem is observed, remove the sleeve from the armhole

of the garment and follow the illustrations to correct

the alignment of the sleeve.

Imperfect Alignment

Figures 2a, b

Sleeve hangs to the back of side seam.

Swing b ack of s ide s eam

Pattern Adjustment

Figures 3c, d

Adjust the shoulder and side seam, as shown.

Pattern Adjustment

Figures 4c, d

Adjust the shoulder and side seam, as shown.

Imperfect Alignment

Figures 4a, b

Sleeve hangs forward of side seam:

Figure 2 a

Figure 2 b

Figure 3 c

Figure 3 d

Figure 4a

Figure 4b

Figure 4c Figure 4d

DRAFTING THE BASIC PATTERN SET

Punch h oles

BACK

seamless

skirt

Punch holes

FRONT

seamless

skirt

SLEEVE

seamless

Punch h ole

FRONT

seamless

Punch

holes

BACK

seamless

Punch

hole

Punch hole

SEAMLESS WORKING PATTERNS

The basic pattern set should remain seamless to develop design patterns. Seams are added at the completion

of the basic pattern and design patterns. The professional designer or patternmaker may prefer to develop de-

sign patterns with seamed patterns to save time. The darts are partially cut out and a punch hole is placed at

the end of each dart for accuracy when tracing the pattern for manipulation.

SELF-EVALUATION TEST

Matching Test

Record numbers that match the examples. To check

your answers refer to the end of the chapter.

1. Changes 2-D to 3-D

2. Perfect fit

3. Cap ease for basic sleeve 3/8 inch

4. Gapping

5. Sleeve hangs to back

6. Puckers along cap line

7. Sleeve hangs out from side

8. Basic dress

9. HBL

10. Uneven hemline

11. Armhole notches

12. Equalize cap ease

13. Rotating sleeve

14. Biceps too loose

15. Bodice aligned

16. Working patterns

17. Stitched darts

_____ Darts

_____ Hori zontal balance line

_____ Once marked not moved

_____ Insufficient cap ease

_____ Misplaced fullness

_____ HBL marked incorrectly

_____ Balanced garment

_____ Basic dress bridges the hollows

_____ Cap height too short

_____ Adjusting sleeve balance

_____ Excessive cap ease

_____ Control fit

_____ Shift center cap notch

_____ Bodice in balance

_____ Decrease bicep

_____ Used for pattern manipulation

_____ Shift under seam to right

DRAFTING THE BASIC PATTERN SET

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 differs from that of

the company’s standards, defer to the company’s

standard.

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 cen-

ter of the pattern or placed along the grainline and

on the right-side-up of each pattern.

Grainline. The grainline is drawn through the

length of the patterns.

Pattern identification. Label each pattern (bodice

front, back, skirt, sleeve, collar, pocket).

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. See examples on the next page.

Seam Allowance

The following are general guidelines:

1/4 Inch

• All faced areas

• Sleeveless armholes

• Narrow spacing

• Extreme curves)

1/2 Inch

• Armholes with sleeves

• Waistlines

• Center lines

• Stylelines

• Side seams (vary: 3/4 inch, 1 inch)

• Zipper seams (vary: 3/4 inch, 1 inch)

Overlock Seam

• 3/8-inch seam allowance

Punch/Circle

A symbol to indicate:

• Nearing the end of darts

• Pocket, or trim locations

• Button/Buttonhole placement

• Inverse corners

DRAFTING THE BASIC PATTERN SET

BACK

Skirt

2 s elf

3363

FRONT

Skirt

1 self

3363

2 s elf

SLEEVE

BACK

Bodice

2 self

3363

FRONT

Bodice

1 self

3363

Basic Pattern Set—Seamed

DRAFTING THE BASIC PATTERN SET

Form

Form make and type ______

Size ______ Year ______

FORM MEASUREMENT

CHART

Circumference Measurements

1. Bust: ______, plus 2 ease ______

2. Waist: ______, plus 1 ease ______

3. Abdomen: ______

4. Hip: ______, plus 2 ease ______

Upper Torso (Bodice)

5. Center length: F ______, B ______

6. Full length: F ______, B ______

7. Shoulder slope: F ______, B ______

8. Stra p: F ______, B ______

9. Bust depth: ______, radius ______

10. Bust span: ______

11. Side length: ______

12. Back neck: ______

13. Shoulder length: ______

14. Across shoulder: F ______, B ______

15. Across chest: ______

16. Across back: ______

17. Bust arc: ______

18. Back arc: ______

19. Waist arc: F ______, B ______

20. Dart placement: F ______, B ______

Special Information

Set form to desired height and measure the following:

C.F. waist to floor ______

C.B. waist to floor ______

C.B. neck to floor ______

Lower Torso (Skirt/Pant)

22. Abdomen arc: F ______, B ______

23. Hip arc: F ______, B ______

24. Crotch depth: ______

25. Hip depth: C.F. ______ C.B. ______

26. Side hip depth: ______

27. Waist to ankle: ______

Waist to knee: ______

Waist to floor: ______

28. Crotch length: ______

Vertical trunk: ______

29. Upper thigh: ______

Mid-thigh: ______

30. Knee: ______

31. Calf: ______

32. Ankle: ______

Foot entry: ______

DRAFTING THE BASIC PATTERN SET

PERSONAL MEASUREMENT

CHART

Circumference Measurements

1. Bust: ______ 3. Abdomen: ______

2. Waist: ______ 4. Hip: ______

Upper Torso (Bodice)

5. Center length: F ______ B ______

6. Full length: F ______ B ______

7. Shoulder slope: F/R ______ F/L ______

B/L ______ B/L ______

8. Strap: F/R ______ F/L ______

9. Bust depth: F ______ Radius ______

10. Bust span: ______

11. Side length: F/R ______ F/L ______

12. *Back neck: ______

13. Shoulder length: ______

14. Across shoulder: F ______ B ______

15. Across chest: ______

16. Across back: ______

17. Bust arc: ______

18. Back arc: ______

19. Waist arc: F ______ B ______

20. Dart placement: F ______ B ______

21. Standard dart intake:

Front  1" (2 darts 1/2 to 5/8")

Back  2" (2 darts 1 to 1 1/4")

Lower Torso (Skirt/Pant)

22. Abdomen arc: F ______ B ______

23. Hip arc: F ______ B ______

24. Crotch depth: ______

25. Hip depth: CF ______ CB ______

26. Side hip depth: R/S ______ L/S ______

27. Waist to knee ______ ankle _____ floor _____

28. Crotch length _____ Vertical trunk: ______

29. Upper thigh: ______ Mid -th igh: ______

30. Knee: ______

31. Calf: ______

32. Ankle: ______

*Measuring the Arm

Use your measurements (shown by asterisks) for the

draft of the basic sleeve. Read the instructions. Use

the cap height from the sleeve measurement chart, or

use the formula to determine cap height.

(35) Biceps

(36) Elbow

straight

(37) Wrist

(36) Elbow bent

(38)

Around

hand

Circumference

Personal Figure Variations

A. Head height relationship:

Bust ______ Waist ______

Crotch ______ Knee ______

B. Bust/back/chest relationship:

Bust ______ Back ______

C. Hip types: ______

D. Arm types: ______

E. Abdominal/thigh relationship:

Abdominal ______ Thigh ______

F. Shoulder type ______

G. Shoulder/hip relationship:

Shoulder ______ Hip ______

H. Leg types ______

I. Leg types ______

J. Figure stance: ______

K. Asymmetric figure. Record high side, right and

left.

Shoulder: ______ Hip: ______

L. Tilting waistline. Record high and low.

Front: ______ Back: ______

M. Bust/waist  ______

Waist/hip  ______

Bust/hip  ______

N. Other variations: ______

Mid- wrist bone

Elbow length (34)

(elbow bone)

Overarm length (33)

(shoulder tip to

wristbone)

Length

Personal Arm

Measurements

33. Overarm length:* ______

34. Elbow length:* ______

35. Biceps plus 2":* ______

36. Elbow bent (reference) ______

37. Wrist (reference) ______

38. Around hand (reference) ______

*39. Cap height ______

DRAFTING THE BASIC PATTERN SET

1. T; 2. T; 3. F; 4. F; 5. T; 6. F; 7. F; 8. T; 9. F; 10. T;

11. F; 12. T; 13. F; 14. F; 15. T; 16. T; 17. F; 18. F;

19. F; 20. F

ANSWERS TO SELF-EVALUATION

TESTS

Matching test: 1, 9, 11, 3, 4, 10, 2, 8, 7, 13, 6, 17,

12, 15, 14, 16, 5

Dart Manipulation

From Chapter 4 of Patternmaking for Fashion Design, 5/e. Helen Joseph-Armstrong.

DART MANIPULATION

TEST FIT

Qualities of the Flat Pattern Patternmaker

DART MANIPULATION

Principle #1

Applying Dart Manipulation—Introduction to

Design Patterns

Patternmaking Techniques

Charting Dart Locations

More About Darts

Completing the Dart

SINGLE-DART SERIES—SLASH-SPREAD TECHNIQUE

Steps in the Process

Center Front Waist Dart

Mid-Shoulder Dart

Center Front Neck Dart

French Dart

SINGLE-DART SERIES—PIVOTAL-TRANSFER

TECHNIQUE

Mid-Neck Dart

Side Dart

Mid-Armhole Dart

Shoulder-Tip Dart

THE SHOULDER DART

The Multidispersion Working Pattern for Use

When Shoulder Dart Not Required

THE BACK NECK DART

Excess Transferred to Armhole

SELF-EVALUATION TEST

Consistency of Dart Angle

Proof of Principle #1

TWO-DART SERIES—SLASH-SPREAD TECHNIQUE

Waist and Side Dart

Mid-Shoulder and Waist Dart

Mid-Armhole and Waist Dart

TWO-DART SERIES—PIVOTAL-TRANSFER

TECHNIQUE

Mid-Neck and Waist Dart

Shoulder-Tip and Waist Dart

Center Front Neck and Waist Dart

SELF-EVALUATION TEST

Dart

Manipulation

(Principle #1)

WHY FLAT PATTERNMAKING?

WORKING PATTERNS

FLAT PATTERNMAKING METHODS

THREE FLAT PATTERN TECHNIQUES

The Process

Design Analysis

PATTERNMAKING TERMS

DART MANIPULATION

WHY FLAT

PATTERNMAKING?

Flat patternmaking is the fastest and most

efficient method devised for developing

design patterns that control consistency of

size and fit of mass-produced garments.

Flat patternmaking is unique among other

methods in relying on copies of previously

developed patterns (working patterns) for

manipulation using the slash, or pivotal

methods.

Flat patternmaking is based on three

major patternmaking principles and tech-

niques: dart manipulation (relocating darts),

added fullness (adding more fabric in the

design), and contouring (fitting to the hol-

lows of a model’s figure). All are explained

in greater detail in this chapter. Read the

poem and see the transformation of a

working pattern into a design pattern (the

author’s signature design).

ODE TO A WORKING PATTERN

From a master pattern was I cloned,

a perfect shape to be changed and

honed.

While I lay prone on this tabletop,

design lines are plotted nonstop.

Who is this person with scissor in

hand

slashing, spread, lapping according

to plan?

Look what has been done to me

that outrageous pattern is a travesty!

My original shape I can’t reclaim,

for what I was is not the same.

But wait, now assembled and sewn,

what was confusing is now known.

I do not look the same it is true,

yet without me what could they do?

Draw the design on the model provided,

my shape the clue by which to be guided.

If perplexed, see later in text and you will

find me,

darted, flared, and fitted and in all my glory

Designs simple and complex you can create

by learning flat patternmaking, so why wait?

—Helen Joseph-Armstrong

BACK

FRONT

Working patterns

Design pattern

I am waiting to be dressed in my design

The magic—application of

three major patternmaking

principles and techniques.

DART MANIPULATION

WORKING PATTERNS

Working patterns should remain seamless for the in-

experienced patternmaker (for clarity) and for draft-

ing more complex patterns where joining parts

overlap. Experienced patternmakers may choose to

work with seamed patterns.

A pattern of any type can be a working pattern,

especially if a pattern exists that closely relates to a

design. For example, if the design has a princess line

FRONT

Bust point

Slashlin

Dart Manipulation

Dart

point

5/8 "

FRONT

Adding Fullness

FRONT

3/8 "

3/8

Trim

Midriff

Cut on fol

Overlap

Contouring

and the only difference is that the panels are gath-

ered, the patternmaker will choose a princess line

pattern to copy, if one is available. This saves time

because part of the design detail has already been

worked out.

Always trace a copy of the working pattern for ma-

nipulation when using the slash method for pattern de-

velopment. 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 fit.

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 af-

ter its 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 fit and will be part of the de-

Adding fullness. Applies when design fullness is

greater than the dart excess can provide. Added full-

ness 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 trans-

ferred to be absorbed.

DART MANIPULATION

The Process

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

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

• Second, the patternmaker identifies which of the three principles and techniques to apply in creating pat-

tern 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 finished design.

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

method—is chosen.

Added

fullness

Contouring

Dart relocation

Added fullness

Design Analysis

Through design analysis, an experienced

patternmaker is able to identify which prin-

ciples and techniques to apply in developing

correct pattern shapes that end in a three-

dimensional replica of the design.

The example illustrates how a sketch

should be marked after the patternmaker

has identified principles and techniques in

preparing for pattern manipulation. The de-

sign incorporates all three principles and

patternmaking techniques.

To develop these skills, the patternmaker

should cut muslins for each design project.

Place the muslin on a form or model to

study and compare the relationship between

the pattern shapes and resulting design.

Eventually, when looking at a design,

the pattern shapes will be visualized, and

when looking at the shapes of patterns, the

design is revealed.

Design projects in the text provide analy-

ses of each design and the accompanying

principles and patternmaking techniques,

from simple to complex.

Each principle and patternmaking tech-

nique is carefully explained with clear illus-

trations and explanations throughout the

text.

DART MANIPULATION

PATTERNMAKING TERMS

Patternmaking terms and their definitions will be

introduced wherever appropriate throughout the

chapter to help facilitate understanding.

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 guidelines 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 fit.

Pattern manipulation. The act of slashing and

spreading, or pivoting a pattern to alter its original

shape. The new pattern shape represents design fea-

tures of the garment.

Design pattern. The finished 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 cho-

sen for the design) and placed on a form or model

for a test fit. One-half of the garment is needed

when fitting the form (unless it is an asymmetri-

cal design, which requires a full garment). 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 6 to

10 stitches per inch. The seams are pressed without

steam. Place the garment on the form or model for

the test fit.

Qualities of the Flat Pattern Patternmaker

A patternmaker, with earnest dedication, will be able to:

• Analyze the similarities and differences between

design and working pattern, and can identify

which patternmaking principles and techniques

to apply to the developing design.

• Visualize in three dimensions as the design lines are

plotted on the working pattern. The process is done

while the pattern lays flat on a tabletop, hence, the

name flat patternmaking.

• Finalize the process through manipulating the plotted

design lines using the selected patternmaking principles

and techniques in creating an exact replicate of the

design.

As you continue your studies, you will learn all the necessary fundamentals that form the basis for confi-

dence in developing designs both simple and complex (see Ode to a Working Pattern). As your knowledge in-

creases, so also will your appreciation of the flat patternmaking method. I encourage you to experiment with

designs of your choice. Use the half-forms, size 8, as a practice tool when space is limited.

DART MANIPULATION

Principle #1

Principle. A dart can be transferred to any location around the pattern’s outline from a designated pivotal point

without affecting the size or fit 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 1 inch of the bust), cowls, flare (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 first 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.

Style d arts Multiple darts Stylelines Gathers Flare Tuck- darts Cowl

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 first to

identify the location of the dart or equivalent before manipulating the pattern.

The following design projects illustrate the beginning of pattern manipulation, and each process should

be completed in the order given because each will help to prepare the patternmaker or designer for more ad-

vanced work. Both artistic and technical skills are required to successfully creat design patterns.

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. Project

examples start in the section entitled Single-Dart Series—Pivotal Transfer Technique later in this chapter.

DART MANIPULATION

Charting Dart Locations

To prepare for the following projects, trace a copy of

the basic front bodice pattern on tag board and draw

guidelines from bust point, marking each dart loca-

tion. The guidelines establish common areas for dart

relocation and for creating design patterns. How-

ever, they are not the only dart locations because a

dart can be transferred anywhere around the pat-

tern’s outline. The selected dart locations have spe-

cific uses and names. The names should be learned

for clarity when communicating in the design

room. Label the waist dart legs A and B.

The French dart can be placed at any angle be-

low the straight dart; the C.F. (center front) bust dart

and straight dart are squared from the center front.

The mid-armhole dart is directed from bust point to

the armhole notch, and the shoulder dart is placed

at the princess line.

The shapes of the patterns that encircle the

charted pattern differ from one another and are the

result of transferring the original waist dart to

the designated locations. The size and fit have not

been altered by this process. For verification, refer to

the Side Dart section, Figure 2, later in this chapter.

7—C.F. neck

8—C.F. bust level

9—C.F. waist

1—French

2—Straight (side)

3—Mid- armhole

4—Shoulder tip

5—Mid- shoulder

6—Mid- neck

DART MANIPULATION

More About Darts

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.

Completing the Dart

The dart can be finished one of two ways:

1. Trim dart excess to within 1/2 inch of the

seamline before stitching the dart (Figure 3).

2. Fold the dart excess under and stitch on the

seamline (Figure 5).

Figure 1: Direction of Dart Excess

Follow the arrows for direction of the dart excess

when folded. The excess is placed on the back side

of the pattern and on the wrong side of the garment.

Excess folds downward for darts located any-

where along the

• Armhole

• Side seam

• Center lines

Excess folds toward the center front/back for

darts located anywhere along the

• Shoulder

• Neckline

• Waistline

The folded dart follows the shape of the seam it

lays against. If not, the dart will twist when stitched.

Darts placed at corners (broken lines) of the pat-

tern are usually trimmed to 1/2 inch of seamline.

Figure 1

FRONT

Bust point

Dart point

5/8 "

Figure 2

Locating Dart Point—Applies to the One-Dart

Control

Figure 2

• After the dart is relocated, draw guidelines (light

lines) from waist to the bust point.

• Center a mark 5/8 inch below bust point to es-

tablish the dart point.

• Draw the actual dart legs from waist to the dart

point mark. Label A and B.

DART MANIPULATION

FRONT

Dart point

Figure 3

Inside fold

Crease- fold dart leg ( A)

(B)

Figure 4

Trim

Figure 5

Dart Excess Trimmed

Figure 3

• Add a 1/2-inch seam allowance; notch and cut

from paper.

• Punch and circles not required.

Dart Excess Folded

Figure 4

• The example illustrates the waist dart excess

folded toward center front. For all other dart lo-

cations, see arrow directions in Figure 1 on the

previous page.

• Cup the pattern when crease-folding the dart leg

A to B. The crease ends at dart point (not bust

point).

Tracing the Folded Dart

Figure 5

• With the dart folded, cup the pattern and trace

across the fold at waist. The tracing will give the

correct shape to the dart excess.

FRONT

Pencil in

Figure 6

Punch and Circle Required

Figure 6

• Unfold the dart and pencil in perforated marks.

• Center a mark 5/8 inch below the dart point for

the location of the punch and circle symbol

(guide alerting the seamstress to sew 1/2 inch be-

yond the mark to the dart point).

• Add 1/2-inch seams, notch, and punch/circle.

• Trace, cut, and stitch for test fit.