PAPER PATTERN MAKING

Fashion Design First & Second Year

Institute of Creative Jets Foundation

 Institute of Creative Jets Foundation Fashion & Design Elements

INTRODUCTION TO STANDARD MEASUREMENTS

Difficult to standarise measurements because human anatomy varies regionwise. Some attempts have been done to
standarise the measurements in fashion industry. These attempts results into different standards as following:-

1. In industry the measurement standard committee has developed set of figure types and sizes which are rised from
time to time.

2. The various department stores and merchants develop their own standards to satisfy need of customers by
survey.

3. The national bureau of standards, NBS, is a non regulatory agency for the purpose of standarising measurements
for science and industry.

4. There are ASTM standards, the american Society for testing and Materials5. Still industry use latest measurements
available on computers database to satisfy customers need.

Standard measurement chart:- This chart is based on the work of measurement standard committee . But this chart
has to be Recuired periodically.

Measurement charts

Standard Measurement Chart for Womens wear

(in inches)

SIZES 32 34 36 38 40 42 44

Front Length 171/4 171/2 173/4 18 181/4 181/2 183/4

Width of Bust (1" below 91/2 10 101/2 11 111/2 12 121/2

arm plate includes an ease
of ½'')

Centre Front Length 143/8 141/2 145/8 143/4 147/8 15 151/8

Apex 35/8 33/4 37/8 4 41/8 41/4 43/8

Under Arm Seam 77/8 8 81/8 81/4 83/8 81/2 85/8

Front Waistline 63/8 63/4 71/8 71/2 77/8 81/4 85/8

(includes an ease of ¼'')

Waistline To Shoulder 143/4 147/8 15 151/8 151/4 153/8 151/2

(includes an ease of ¾'')

Shoulder Length 47/8 5 51/8 51/4 53/8 51/2 55/8

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Centre Front To Princess 25/8 23/4 27/8 3 31/8 31/4 33/8

Line

Width Of Back (1" below 81/2 9 91/2 10 101/2 11 111/2

arm plate includes an ease
of ½'')

Centre Back Length 161/2 163/4 17 171/4 171/2 173/4 18

Back Waist Line 55/8 6 63/8 63/4 71/8 71/2 77/8

(includes an ease of ¼'')

Shoulder Blade 67/8 7 71/8 71/4 73/8 71/2 75/8

Centre Back To Princess 21/2 25/8 23/4 27/8 3 31/8 31/4

Line

Front Hipline 91/8 93/8 95/8 97/8 101/8 103/8 105/8

(7" below waistline)

(includes an ease of ¼'')

Back Hipline 91/8 93/8 95/8 97/8 101/8 103/8 105/8

(7" below waistline)

(includes an ease of ¼'')

Cap Height 6 6 6 6 61/8 61/8 61/8

Short Sleeve Length 9 91/4 91/2 93/4 10 101/2 103/4

Sleeve Length 23 231/2 24 241/2 241/2 25 25

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Method of talking measurment – Measurment is taken with the help of a measurment tapw . Depending on how the
measurment is taken are following

Methods:- 1. Divert Methods In this methods measurment are divetly taken from body . But a minimum practicle in
Recuried to take measurment through this method otherwise wrong measurment can be Taken

2. Indivert methods In this methods measurment are taken from already atitched garment and not directly From the
body .But this method is not good if the stiched garment is not fit. But it is helpful if the person is not able to go for
giving measurment he can send his already stiched garments.

3. Landmarks In this method measurment are taken from body or from using guidelines which are Known as
landmarks. These landmarks are available on forms or dummies as shown

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The landmarks are shown by numbers which mean:-

1. Center front neck Center front back

2. Center front waist Center back waist

3. But points

4. Center front burst level

5. side front (princess) Side back (princess)

6. mid-armhole front mid-armhole front

7. shoulder tip

8. Shoulder at neek

9. Armhole ridge or roll line

10. plate screw

11. armhole plate

The landmarks are used in short form:

CF- CENTER FRONT

CB- CENTER BACK

BP- BUST POINT

SS-SIDE SEAM

SW- SIDE WAIST

SH- SHOULDER

HBL- HORIZONTAL
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BALANCE LINE

SH-TIP= SHOULDER TIP

Classification of measurements

On the bsis of the direction or manner in which a measurement is taken from a body
or form the measurements can bs classified as following:-

1. circumference measurements: The measurement tape is hold ariund the

part of which measurement is taken is known as circumference
measurements e.g.-

 Bust or chest

 Waist

 Abdomen

 Hip

2. horizintal measurements: The measurements in which the measurement tape is held parrallel to the ground
are known as horizontal measurement e.g.

14 across shoulder- front and back

15 across chest

17 bust arc

10 bust apan

19 waist arc- front and back

20 dart placement- front and back

22 abdomen arc- front and back

23 hip arc- front and back

25 hip depth- front and back

12 back neck

16 across back

18 back arc

3. Vertical measurements: In vertical measurements measurement tape is held vertical to the ground while
taking measurements e.g.
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11 side length

13shoulder length

26 side hip depth

9 bust radius

5 center length- front and back

6 full length- front and back

7 shoulder slope- front and back

9 bust depth

Flat pattern making In flat pattern making a pattern maker develops flat patterns on paper using measurements and
tools. Please see picture below to understand flat pattern making.

METHODS OF DEVELOPING PATTERN

There are two methods of developing pattern draping and flat pattern making.

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Draping In draping the pattern marker drapes fabric on standard size dummies, cut and shape fabric to fit the fabric
as per dummy’s shape and hence developing pattern.

Normally muslin fabric is used in draping. Please see figure below to understand draping.

Comparison between flat patternmaking and draping-

1. Draping is a time consuming process than flatpattern making.

2. Draping gives better fit than flat pattern making

3. Draping needs standard size dummies while flat pattern do not.

4. Draping is more expensive than flat pattern

5. Draping needs muslin while flat pattern needs pattern paper.

6. Draping is usually done for designing garments or for custom made garments while flat pattern is done for
readymade or retail made garments.

7. The efficiency of draping method is less than flat pattern method.

8. Draping is a 3 D activity while flat pattern is 2 D.

Pattern Making Tools:

To work efficiently, the pattern maker must have the proper pattern making tools and supplies. For making better
communication with the workroom and to minimize errors due to misunderstanding, the pattern maker should
know and understand some terminology related with pattern-making tools.

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List of Pattern Making Tools and Their Function:

There are various pattern making tools which are vastly used in apparel industry have pointed out in the below with
their function:

1. Straight pins,

2. Straight pin holder,

3. Scissors,

4. Pencils and pens,

5. Rulers,

6. Curve rules,

7. Hanger hooks or ringers,

8. Push pins,

9. Magic mend scotch tape,

10. Black twill tape,

11. Notcher,

12. Tracing wheels,

13. Awl,

14. Metal weight,

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15. Measuring tape,

16. Tailors chalk.

All the above pattern making tools have explained in the below with their function

1. Straight pins:

Dress maker used it for draping and fitting.

2. Straight pin holder:

Pincushion or magnetic holder which is used for wrist and table.

3. Scissors:

There are different types of scissors such as paper scissor, fabric scissor etc.

4. Pencils and pens:

 Mechanical pencil and sharpener which is used for pattern work.

 Red and blue colored pencils are used to identify pattern changes. Black, green, red and blue felt tip pens for
pattern information.

5. Rulers:

 Tailors square (24 × 14) inch metal ruler with two arms forming a 90® angle that measures, rules and squares
simultaneously.

 Also used to triangle with the measurements to square lines.

6. Curve rules:

French curve is one of the several curves used for shaping arm hole and neck line.

7. Hanger hooks or ringers:

It is used to hold the patterns together for hanging on rods.

8. Push pins:

Push pins areused for pattern manipulation. It also prevents pattern slippage when cutting several plies of paper
together.

9. Magic mend scotch tape:

It is used to mend pattern work.

10. Black twill tape:

Black twill tape is used for the placement of style lines on garments.

11. Notcher:
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It is used to indicate seam allowance, center line and also to identify front and back of patterns

12. Tracing wheels:

It is used to transfer pattern shape into paper.

13. Awl:

It is used to indicate the ending of darts, pocket, trim and button hole placements.

14. Metal weight:

Metal weight is used to hold the patterns in place for tracing and marking.

15. Measuring tape:

It is used to measure the size of pattern.

16. Tailors chalk.

Tailors chalk is used for making adjusted seams and style lines.

Style interpretation.

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INTRODUCTION TO STYLE INTERPRETATION

Style may be defined as certain characteristics that distinguish a garment from other garments. It can be treated as a
subdivision within a fashion.

Thus, what is style interpretation?

Style interpretation may be defined as the process of explaining or communication the style of a garment into its
finer details to the required person, group, customer or buyer.

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How style interpretation is done?

Style can be interpretation into following ways:-

• Through designs, sketches

• Through photographs

• Through media

• Through fashion shows

• Through movies/ads/reviews

• Through conversation

• Through stitched garments display

• Through displays on mannequins or dummies

• Through computer aided files

• Through information desks/ story boards etc

What are the benefits of style interpretation?

There are numerous benefits of style interpretation which can be listed as following:-  Style interpretation helps the
needy to understand style.

• Style interpretation helps in learning of old styles.

• Style interpretation helps a designer to lay the ideas for new style.

• Style interpretation helps customers to select the choice

• Style interpretation helps buyers to communicate his order to style manufacture of the respective
region.

 Style interpretation helps is a tool of communication in fashion industry.

 Style interpretation helps designers to presents their styles to the customers.

 Style interpretation facilitates learning of history of fashion as it is complete anatomy of style.

 Style interpretation helps to avoid any kind of mistake during garment production due to miscommunication.

Terminology

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Block/sloper: Sloper is a term given to a very basic set of pattern piece used to make patterns of any style. This is a
term for a paper cutting of basic bodice, skirt, sleeve or any such basic pattern from which all the other designs are
developed. Block normally represents the dimensions of a specific form or figure. It has darts to fit to the contours of
the body but no other design features. It is a foundation that is used to make the pattern for a design and has no
seam allowances.

It is important that the correct block is chosen for the design; this not only saves time during adaptation but can
affect the final shape. The basic blocks can be drafted to fit individual figures by using personal measurements
instead of the standard measurements listed in the size chart.

the block e.g. skirts front, bodice back etc.

çGrain line is a line drawn from end to end on each pattern piece to indicate how the çPattern should align with the
lengthwise grain of the fabric.
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pattern: Pattern is developed from the block that includes all the information needed for cutting and production of
the garment including seam allowance.

Ab01
BASIC
Ab02
[Link] BACK FRONT C.F
SIZE#34 .
SIZE#34
CUT-1
CUT-1

AB05
Basic Sleeve AB04 AB03
Size #34 C.B. Skirt Back Skirt Front
C.F
Cut-2 Size #34 Size #34
.
Cut-2 Cut-2
Back Front

Things to be included on a pattern are:-

çGrain line

çCentre Front or Centre Back

çStyle number or code number of the pattern set may be evolved e.g. AB 01 here AB identify type of the garment
and 01 identify the piece number of complete set. If there are 5 pattern pieces in a garment, the pieces will be
numbered as AB 01, AB 02, AB 03, AB 04 and AB 05.

çPattern piece e.g. skirt front, skirt back, side front etc. çSize as 32, 34, 36, or S, M, L etc.

çCutting information - It should be clearly mentioned as to how many pieces are to be cut e.g. Cut 1, Cut 2, Cut on
fold.

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çNotches - Marks that are needed to help assemble garment sections correctly.

çDirectional Fabrics - For fabrics which have designs in one direction such as floral print, stripes, plaid, velvet, fur etc.
A symbol "cut one way" or (?) is indicated on the pattern.

çDate - Indicated as a reference point. çSeam Allowances.

Seam Allowances: The amount of seam allowance required for each seam line may vary depending on the location
and end purpose. Generally the seam allowances as followed in the industry are ¼" - for sharp curves.

½" - for smoother curves like neckline, armhole, waistline, style line, etc.

1" - for straight seam line like side seam, centre line, shoulder, plackets, etc.

2" - for straight edge hem line in dresses, skirts, etc.

AB05
AB01 Basic Sleeve
Basic Front Size #34
C.B. AB02 C.F Cut-2
Basic Back Size #34
Size #34 Cut-2 .

Cut-1 Back Front

C.B.
Ab04 Ab03 Cut-1
Size
Centre
#34 Front W
Skirt Back Skirt Front C.F
Size #34 Size #34 .
Cut-2 Cut-1 Cut-1
Size
Size
#34Front W

aist

aist

Muslin: Muslin is used for making test fits. This is basically an unbleached plain woven cotton fabric. It is available in
light, medium and heavy weight. Medium quality is used for test fitting and draping.

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Grain Line: Grain line is a line drawn from end to end on each pattern piece to indicate how the pattern should align
with the lengthwise grain of the fabric. The pattern pieces will always be placed parallel to the selvedge on the fabric
in the direction in which the grain line is drawn on the pattern.

Balance Refers to hang and proportion of the garment. Fashion does determine balance to a certain extent, for
example is it appropriate to wear long tops over short skirts. Where the flat pattern cutting is concerned it is often
difficult to judge correct balance until the garment is test-fitted in fabric.

Balance Marks: Marks made on edges of complimentary pattern pieces that indicate corresponding seam line and
area. They are a useful construction guide on all seams. However, balance marks are vital in a pattern if two pieces
have different edge or shape that are required to be joined or where one seam line is longer or fuller than another.
While doing pattern cutting make short pencil marks at the edge of the paper, copying them through all stages till
the final pattern. On readymade paper patterns balance marks are indicated by triangles and are referred to as
notches.

Dart: Wedge shape or triangular shape marked on the pattern that controls the fit of the garment.

Dart legs - The two sides of the triangular shape & should be of the same length.

Dart point - The point at which the dart ends.

Dart intake - The amount of suppression taken between the dart legs.

Apex - The highest point on the bust.

Darts radiate from the highest point of a mount/ rise on a body, these mounts are generally rounded. If the darts on
front bodice are stitched till the apex they would create a point on the apex and strain the garment. The body is
rounded and not pointed hence to avoid these strains or pulls on the garment the darts need to be finished away
from apex.

Dart
Dart

Ape
Dart

Dart

Dart

Single Dart Pattern: A single dart is used for entire suppression/control required. Dart ends ½" away from the bust
point.

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Two Dart Pattern: a pattern with two darts either in a skirt or bodice.

Waist dart is ¾" to 1" away from the bust point.

Other dart is ¾" to 1 ½" away from the bust point.

1½” to 3/
4”
Apex
3/ to 1”
4”

ALTER To change or revise a pattern or garment to suit individual sizing or desires. This could be making an item
larger or smaller, adding darts, lengthening a bodice, etc.

APEX The highest point of a curve such as one on the figure which occurs at a dart point.

ARMSCYE Section of a pattern into which the sleeve is fitted. BACKING Fabric used as the back layer of another
fabric.

BACKSTITCH Used at the beginning and end of a machine sewn seam to anchor the seam in place; it involves a
couple of extra stitches back and forth.

BIAS A diagonal line across the grain of fabric. When used to substitute crosswise or lengthwise grain in pattern
placement, a bias cut will cling to the figure following body curves closely.

BLEND Blending is as it sounds making two separate lines appear as one in the final design. The blend will be part of
the pattern that you will be working from.

BLOCKS Patternmaking blocks refer to the individual pieces that together create a full sloper. For example, a bodice
sloper consists of bodice front, bodice back and sleeve blocks. Patternmaking blocks do not include facings, hems,
linings or other finishing details.

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BULGE A convex curve on a figure created from either bone or flesh and requiring at least one dart or dart equivalent
to provide shaping of fabric in order to fit the figure.

BODICE The part of a pattern or garment that runs from shoulder to waist.

CAD Computer-Aided Drafting program enabling the user to use an enormous number of tools to draw very precise
working copies of things sometimes too small to see or to large to fit the drawing surface. It enables the user to work
in a scale that is comfortable while using realworld measurements.

CUTTING LINE On a pattern, the outermost dark line is the line upon which you cut. Traditions vary; some people cut
through the center of this line, others cut just to the outside of this line.

CROQUIS A flat, 2-D sketch of a fashion model or models used to illustrate a garment or a collection of garments.

DART Darts are the distinctively triangular elements of a pattern that once sewn, enable a flat piece of fabric to take
the shape of a curved figure. A V shaped, tapered adjustment to a pattern to allow for more fullness in the bust area
or less fullness in other areas (waist, back). Darts can be creatively placed for fit or design elements.

DART INTAKE The intake is the extra space, or quantity of fabric, that ensures that when a dart is sewn, the end
result isn’t too tight.

DART POINT This is pretty much as it sounds; the tip and pointed end of a dart.

DRAPING Draping is a method of patternmaking that is related to the drape of fabric rather than the shape of a
pattern. Draped fashions are usually intended for a specific individual but can be disassembled to get a styled
pattern. As with window draping, successful pattern draping requires strict attention to and effective balance of
grain lines.

DRAFTING A system of pattern making that depends on measurements taken from a form or model to create basic,
foundation, or design patterns. EASE A patternmaking factor used to allow extra fabric so that a garment will not be
skin-tight.

EDGE ALLOTMENT Specific amount of ease added at a particular location on the pattern. Usually A stitch done a
scant 1/8" from the folded or seamed edge.

FACING Fabric sewn on the raw edge of a garment piece that is turned under and serves as a finish for the edge as
well. This is an extra pattern piece that is shaped and cut to stabilize an outer curved edge. Sometimes the fabric can
be folded instead of cut to create a facing, such as for some button and buttonhole closures.

FINISH (AN EDGE) Turn under 1/4" and stitch, serge the edge, or other method of finishing the edge so it doesn't
ravel or cause a bulky problem.

FOLD LINE Many pattern pieces are placed on the fold of a piece of fabric. This is the actual fold of the fabric off the
bolt or a fold of your own creation; the goal is to have a pattern piece that is cut out without a center seam.

GATHER Gathering allows for making a long piece of fabric to fit with a shorter piece of fabric and also is a method of
easing a seam to allow insertion of sleeves and other rounded pattern pieces.

GRADING (SEAMS) Trimming raw edges in graduate widths to reduce bulk. The narrowest seam edge should be
closest to the body, as a general rule. Grading rules determine how patterns increase or decrease to create different
sizes. Fabric type also influences the pattern grading standards.
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GRAIN Direction of the fabric that runs parallel to the selvage (a stretchier grain is found running perpendicular to
the selvage).

HEM Fabric that it turned up on the lower edge of a garment or sleeve to provide a finished edge. Often extra fabric
is left in the hem with children's clothing to allow for growth (especially skirts and slacks).

INSEAM Seam inside the leg of pants that runs from the crotch to the hem.

MARKER A marker is a diagram of a precise arrangement of pattern pieces for sizes of a specific style that are to be
cut from in one spread.

NOTCH Notches are marks used to identify corresponding points along pattern cutting lines to identify where pattern
pieces are to be joined together. This is particularly useful when joining convex and concave curves such as sleeves
and armholes or a straight piece and a curved piece, such as a waistband and a skirt. Notches may also occur at
other definable points such as centre front and placement of gathers that are distributed unevenly. Usually single
notches identify front, double notches identify back and triple notches, when they occur are other definable
locations for positioning pieces.

PATTERN A pattern is the paper or cardboard template from which the parts of a garment are traced onto fabric
before cutting out and assembling (sometimes called paper patterns).

PLEAT A fold in fabric that is either inverted or folded outward, is not sewn except on the top edge (as in a skirt or
slacks waistband), and provides decorative or functional fullness.

SEAM The result when two pieces of fabric are sewn together along a line.

SEAM ALLOWANCE The fabric between the edge of the fabric and the line of stitching.

SELVEDGE Often marked with information from the manufacturer (color code, identifying data, etc.), this is the edge
of the fabric which generally does not fray due to manufacturer's finish. In most cases, this edge should not be
included when you cut your fabric, as it may cause puckering of your seam later on.

SLIT An open part of a seam, the bottom usually, often found in skirt side or back seams.

TACK A temporary stitch to hold pieces together, usually removed after final stitching. Tacking is also known as a
term for starting off a seam with a few stitches back and forth for stabilizing.

TOILE This is a garment made from cheap fabric, used to ‘prove’ a pattern: you make this version up to ensure that
the pattern fits: any alterations can be transferred to the pattern before cutting out the real version. It is usually only
done with expensive garments and fabrics that would mark, like silk wedding dresses. The American term is ‘muslin’.

TRIM Trim is any decorative item, ribbon, lace that is put on a garment or craft item that is being sewn. Trim is also
used to define the act of trimming excess seam allowances or fabric with scissors.

TUCK See pin tuck. A method of sewing fabric together resulting in a raised seam, often seen in heirloom sewing, the
bodice of a woman's blouse or a man's formal shirt.

pattern details – collar, sleeves, yokes, function and decorative princess line and empire line, pockets

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the basic figure type, figures defects and developing pattern for them

Basic silhouettes that have seen the rise, peak and fall over centuries are the bell shape or bouffant, bustle or back
fullness, hour glass, tubular, wedge, Aline or trapeze and princess line.

Fig.2.1 outlines the shape of the dresses that highlight these silhouettes. Within these seven silhouettes there have
been endless variations in length, waistline positions, fullness and proportions. Three have been more prevalent of
these seven silhouettes and have been popular during various times. These are tubular, bell and bustle.

Fig. 2.1 Basic Silhouettes Prevalent Over the Years There are other ways of classifying silhouettes too. Let us discuss
them in a little more detail.

• Natural body silhouette Bell shape Bustle Princess Hour glass Tubular Wedge A-line 29 Understanding Silhouettes

• Slim line silhouette

• Wedge silhouette

• Hourglass silhouette

• Moderate silhouette

• Extreme silhouette

Natural Body Silhouette It generally follows the curves of the body very closely and is appropriate for active
sportswear, swimsuits, body suits etc. Knit fabrics usually combined with Lycra are used and these stretch fabrics
make this silhouette comfortable and an ideal choice for sporting activities (Fig. 2.2a).

Slim Line Silhouette It fits very close to the body and is generally seen in fitted suits, business suits, denim jeans, slim
line pants and skirts etc. Slim line dress silhouettes are very versatile and are seen in either formal or casual dresses
(Fig. 2.2b).

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Wedge Silhouette It is created by adding width at the shoulders and tapering at the hips. Shoulder pads and other
style devices such as raglan sleeves create the wedge shape

(Fig. 2.2c) Fig. 2.2a Fig. 2.2b Fig. 2.2c Fig. 2.2

Natural, Slim and Wedge Silhouettes

Hourglass Silhouette It gets its name from the hour glass shape which is fuller at top with small waist and wide hips.
Waistline is the focal point of this silhouette. Full flared skirts worn with tops that have full sleeves and a fitted waist
create the hourglass silhouette. It is also popular for wedding dresses. This silhouette looks best on a person with a
narrow waistline (Fig. 2.3a).

Moderate Silhouette It is normally characterized by soft flowing fabrics with details such as ruffles, gathers and is
suitable for party wear. The garments have more ease thus are more comfortable to wear.

Extreme Silhouette It is particularly appropriate for outer garments such as coats and jackets. They are voluminous
enough to cover the suits and dresses over which they are worn. This silhouette tends to add to the width of
particular body areas.

CLOTHING STYLE SELECTION FOR VARIOUS FIGURE TYPES

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When we know our general figure type, we can select our clothing more easily. People of one gender with same
figure type regardless of their height and size are most easily flattered by same set of clothing styles that balance
their figures. Recognizing our figure type will also help to understand how our body relates to the average or ideal
proportions and select clothing styles that flatter the figure.

Triangular Figure Type A triangular figure type with larger lower body as compared to the upper can be camouflaged
with the use of flared garment style. We aim to increase the width or fullness in the upper part of the body above
the waist in shoulders, sleeves or bodice to balance the body. Garments with style features such as extended
shoulders, shoulder pads, fuller sleeves, wide necklines, open collars, and tops that blouse at the waist, help to fill
out the upper torso. Aline, flared and straight hanging dirndle or pleated skirt flow easily over the lower torso.

Inverted Triangular Figure Type This type of figure can be balanced using wedge-shaped garment styles to
accommodate the larger upper body. Flattering styles for this kind of figure will be soft fullness below the waist in
the form of small gathers, flare or pleats to balance the body width. Tops should be loose fitting to cover the larger
upper torso. Triangle Inverted Triangle Rectangle Hourglass Diamond Rounded 33 Understanding Silhouettes

Rectangular Figure Type Clothing style for this figure should be loose, or partially fitted free-flowing garments.
Layered outfits are best for this kind of a figure. Jackets, waist coats, vests left open in the front create a slimming
vertical line.

Hourglass Figure Type Hour-glass shaped garments with a shoulder pad help balance the figure. Have a loose fit at
the bust and the hip area and fill out middle part just slightly so that the waist does not look very small. A slightly
bodice may help to achieve this.

Diamond Figure Type Garment styles suggested for a triangular or rectangular garment style that feature added
fullness below the waist help balance out the figure. Clothing styles that feature width above and below the waist
help create the illusion of wider shoulder and hips.

Tubular Figure Type Clothing with slightly loose fitting lines will counter the narrowness of a thin figure. Styles that
have a moderate fullness will help to fill out the figure and create an illusion of soft curves on the body. A medium
weight or moderately heavy weight fabric also helps to balance a thin figure.

Oval or Rounded Figure Type An increased amount of ease; design and fitting, is necessary in all clothing styles to
balance this type of figure. Clothing styles that lead attention outwards at the shoulder also serve to counterbalance
the rounded figure.

PATTERN LAYOUT

The placement of pattern on the fabric, in an economical manner, that is without wasting fabric is known as pattern
layout. All the patterns should be arranged prop-erly following grain of the fabric. Example the bodice centre front
will be in straight (lengthwise direction) grain.

The main points to be considered while laying patterns are:

 Press the fabric without any wrinkles before laying the patterns.

 Place the fabric on a large or a hard flat surface, which is easy for work.

 Place the larger patterns first. Place sim-ilar pattern together, with same length. Example placement of
bodice front and bodices back next to each other, such that the side seams are close to each other.
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 Place the smaller patterns in gaps in between the larger pattern.

 If pattern is to be cut in more num-ber, example two sleeve patterns, place them on fold. This concept is not
pos-sible when the fabric has a one way design or when the patterns have dif-ferent front and back patterns.

 Keep weight, pencil, pins ready in hand, to draw, or pin or place weights on patterns, so that it remain in cor-
rect position.

Types of Pattern Layouts

Based upon the place-ment of the patterns, the layouts are classified as

 Open layout.

 Lengthwise centre fold.

 Off-centre length wise fold.

 Crosswise outer fold.

 Off centre crosswise fold.

 Double fold or combination fold.

Open Layout

Open layout is the simplest layout. The fab-ric is spread on the table and the patterns are laid from left to right one
after the other. This is easy for beginners. No fold is made in this method. It can be used for all patterns. This is used
especially for designs with dif-ferent left and right patterns.

Lengthwise Centre Fold

The fabric is folded in the lengthwise direction. The selvedges of both sides are placed one on top of the other and
folded in the middle. The fabric forms a fold at the centre. All folded patterns are placed along this fold. This fold is
also used for different type of frocks, shirts and blouses.

Off-Centre Lengthwise Fold

The required width needed for the pat-terns is taken on the fabric and folded in the lengthwise direction. This is
com-monly seen when many small patterns are found in garments. The fold should be parallel to the selvedge. This
is used for many garments from simple baby’s panty to integrated men’s coats.

Crosswise Outer Fold

Crosswise centre fold is similar to length-wise centre fold. In this fold, the fabric is folded in crosswise direction. It is
best suited, when the patterns are too narrow to be fitted in the lengthwise fold. This fold can also be used when
special effects are needed like having a dress with hori-zontal strips using a material with length-wise stripes.

Off Centre Crosswise Fold

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The off centre crosswise fold is a layout when the fabric is folded in the cross grain. The fold is perpendicular to the
selvedge. This fold is used when a part of garment is cut in cross wise grain for ease or spe-cial effects. Example
when collars or yokes are cut on fabrics with horizontal strips or vertical strips.

Double Fold or Combination FoldIn combination fold the fabric is folded in lengthwise and crosswise grains
together. This layout is used for sari petticoats and jablas (Figure 11.4)

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 Margin: Extra safety margins are cut beyond the actual cutting line to allow for stitching changes. Upholstery
pieces, such as sofa slipcovers, usually have margins.

 Cutting Line: This is the actual line of cutting on which garments are cut.

 Stitching Line: The stitching line is clearly seen on the paper pattern, allowing the person doing the stitching
on the fabric to easily identify where the actual stitching needs to be done.

 Fold Line: Fold line on the pattern has to be clearly indicated to mark it as a fold line when there are two
sides to a pattern such as the back & front sides.

 Grainline: Every pattern piece has an arrow that indicates the grainline. This is drawn to identify whether the
fabric has to be cut straight or cross-grain. Collars, cuffs, or other trimmings are cut on a cross-grain in order
to give a better finish to the garment.

 Construction Details: Tucks, buttonholes, darts, center front, center back, buttons, pocket markings, style
features of the garment, all are shown on the paper patterns.

 If one requires graceful curves and shapes on the paper pattern, it is clearly indicated there as well.

 In patterns, the particular pattern size of the front, back, collar, sleeve, cuff, etc are shown.

 If it is necessary the pattern can also suggest and explain the steps in preparing the garment like stitching,
marking, and cutting of the garment. This is generally done in a commercial pattern in order to ensure the
correct use of the pattern.

Marker Making

In apparel manufacturing, a marker is a special kind of stencil that illustrates how pattern pieces of one or more
garments should be cut from several layers of fabric. The person who arranges the marker is the marker planner. It is
the marker planner’s job to arrange the pattern pieces efficiently, wasting as little of the fabric as possible. The
percentage of fabric cut into pieces is called the pattern yield (material utilization). When the yield is high, the
arrangement of pieces is described as a “tight marker.”

Cutting Methods

Apparel manufacturers share the builder’s appreciation for cutting with precision. Before workers make the first
incision into layers of fabric, they must ensure that the fabric is properly arranged, in a process called “spreading.”
After spreading, the pattern map is placed on top of the stack, and the markers are cut. Various types of cutters are
used.

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Methods of Marker Making

There are two methods of marker making.

Manual method.

ii. Computerized method.

Here marker is produced in two ways.1.

Marker drawn directly on fabric lay.2.

Marker drawn on marker paper.

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Marker drawn directly on fabric lay

This is the oldest and mostly used method for marker making. In this processes fabricis spreaded on cutting table and
setting up all pattern pieces directly on to the [Link] is done by chalk, pencil or pen. In order of this method,
needs more time andexperience.

Marker drawn on marker paper

In this process marker is made on marker paper. All the pattern pieces are laid on athin marker paper and drawn it.
Then the marker paper in placed on fabric lay and used for fabric [Link] planning the marker, fabric length
and width must be taken [Link] directly on fabric Marker on a thin paper

Marker drawn on marker paper

In this process marker is made on marker paper. All the pattern pieces are laid on athin marker paper and drawn it.
Then the marker paper in placed on fabric lay and used for fabric [Link] planning the marker, fabric length
and width must be taken underconsideration. Marker directly on fabric Marker on a thin paper

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The advantages of computerized method are given bellow comparing with the manualmethod.

Advantages

 More suitable for large scale production than the manual method.

 Marker efficiency is higher than manual.

 Least wastage of fabric.

 Low production cost.

 Low labour cost.

 If required, print out of the marker could be got.

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 Grading of the pattern could be done automatically.

 Few time consumption.

 Marker can be prepared quickly than manual.

Disadvantages

Initial investment is higher than manual.

More skilled operator is needed than manual. However, everything has its positive and negative sides. But in
comparison, the advantages of computerized marker are more than the manual. It increases the efficiency,
workability and production of the factory. It saves valuable time and leasts fabric wastage. Thus saves money too.
Moreover it attracts buyers with its modern facilities.

Pattern grading is the process of turning a sample size (sometimes referred as base size) into an additional smaller or
larger sizes. Pattern grading is done using a size specification sheet. Grading does not create a new shape, it
increases or decreases the size of the original shape of the garment.

Methods of Garment Pattern Grading

There are three basic methods of garment pattern grading: cut and spread, pattern shifting, and computer grading.
No one method is technically superior and all are equally capable of producing a correct grade.

Cut-and-spread method: The easiest method, which is the basis of the other two methods, is to cut the pattern and
spread the pieces by a specific amount to grade up, or overlap them to grade down.

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Pattern shifting: Pattern shifting is the process of increasing the overall dimensions of a pattern by moving it a
measured distance up and down and left and right, (using a specially designed ruler) and redrawing the outline, to
produce the same results as the cut-and-spread method.

Computer grading: This is the fastest method, but tends to be an investment only larger manufacturers can afford.
However, sophisticated home computer software is becoming affordable.

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Today most manufacturers grade pattern on CAD systems. The pattern maker guides a cursor around the edges of
the sample pattern on a digitized table. At each of the key points, he or she pushes a button to record a grade point.
Each point is cross referenced by a grade-rule table stored in the computer, which enlarges or reduces the pattern
automatically according to the predetermined direction. If the pattern was originally made by computer, data are
already in the computer and can be enlarged or reduced automatically.

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It is necessary to draw the Grade lines from where the grading is done. As from those lines the increasing or the
decreasing of measurements will be done.

Grading the pattern in various sizes:

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Importance of grading

The process of making this possible is called Pattern Grading. It is a very important subject included in the curriculum
of fashion designing courses. It helps in creating a line of differently sized or contoured garments that are yet
similarly [Link] helps in applying certain themes to a variety of garments, adhering to different fashion-size
standards.

Here’s a basic low-down to get you started on your own line!

Dart Manipulation Techniques for Flat Patterns

Darts:

Darts help in shaping the fabric to fit the body and thus provide comfort to the wearer. They providefullness to
natural body curves. Darts are very rarely used for decorative purposes like providing adesign line. The fitting,
marking, stitching and pressing of darts should be done [Link] create new designs for

garments

, it is specially used for ladies garments. It save fabric wastageand also use to remove excess fabric. Darts are needed
to turn two-dimensional shapes into three-dimensional shapes and to fit clothes closely to the body.

Fig-1: Darts in flat patterns (Image: [Link]

Applying Dart Manipulation—Introduction to design patterns

The technique is applied when the dart of

working patterns

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(bodice, skirt, sleeve, or any workingpattern) are relocated in the process of creating design patterns. To create a
design pattern, thedesign is analyzed first to identify the location of the dart or equivalent before manipulating
[Link] following design projects illustrate the beginning of pattern manipulation, and each processshould be
completed in the order given because each will help to prepare the pattern maker ordesigner for more advanced
work. Both artistic and technical skills are required to successfully createdesign patterns.

Dart
manipulation
techniques:

Dart
manipulation is
one of the most
important
techniques when
it comes to

pattern

d rafting.
Fashiondesigner
must identify the
location of the dart before manipulating the pattern and how manipulate thedart. Dart manipulation mainly starts
with a basic sloper, which they then convert into their stylishdesigns. Darts become princess seams, gathers, tucks or
cowls. New style lines are added or moved,necklines are [Link] are three dart manipulating techniques in
flat patterns. These are suitable for manipulate dart toany location. The slash & spread or pivot method mostly use
to transfer darts to the bust, neck,armhole or anywhere you want!

1.

Pin and pivotal dart transfer technique.

2.

Slash-spread transfer and overlap technique

3.

Dart equivalent technique

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1. Pin and Pivotal dart rotation technique:

Pattern designers use pivoting methods to make fashion changes. They move darts or add fullnessby anchoring the
basic pattern with a pin and moving the pattern in, out, and around. The patternswings back and forth like the
pendulum on a grandfather clock. Use this pivoting motion to changethe pattern width.

In this method does not require the working be slashed in order

to change its original shape intodesign pattern. It is a transfer
method and with experience, it is preferred.

2. Slash-spread dart rotation and overlap technique:

Pattern graders use the slide motion to change pattern sizes.

They slide patterns up, down, and tothe side to gradually
increase or decrease from one size to the next. Use this sliding
motion to add orsubtract length.

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Pivot and slide techniques combine these two motions to fit a pattern simply, yet accurately. Youmake all of the
changes on a worksheet (pattern paper or tissue paper), keeping the original patternintact—no more cutting and
taping! By changing the pattern equally on both sides of the grain, theseam and the design lines are kept in
proportion to the original pattern. Best of all, each change iseasy.

3. Dart equivalents technique:

Pleats or gathers in the fabric can be used as for the same purpose as a normal stitched dart. Theseare called dart
equivalents. Darts can also be worked into style lines. The dart excess can be used tocreate a wide variety of other
design features such as, tucks, gathers, pleats, and even [Link], the dart or its equivalent is always present
somewhere in the pattern. The dart or itsequivalent will always radiate from the pivot point.

Different types of darts:

The different types of darts are discussed below:

1.

Straight dart

2.

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Curved outward dart

3.

Curved inward dart

4.

Neckline dart

5.

Double pointed dart

6.

Dart in interfacing

1. Straight dart:

It is a straight line of stitching from the point to the seam line (Fig-5). This can be noticed in theunderarm of the
front bodice, back skirt, shoulder, elbow and back neckline.

The stitch line curves outward along the path from the point to the seam line (Fig-6). This gives asnugger fit to the

garment

. This is sometimes used on a bodice front to make a mid-body fit snug.

Fig-6: Curved outward dart

3. Curved inward dart:

The stitch line curves inward from the point to the seam line. This facilitates a better fit along the bodycurve (Fig-7).
It is frequently used in pant and skirt fronts.

Fig-7: Curved inward dart

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4.

Neckline dart:

This is usually a solid line marking on the back neckline indicating a straight dart of 1/8″ (Fig-8).

Fig-8: Neckline dart

5. Double pointed dart:

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This dart is unique as it tapers in a straight line from the middle to both the ends (Fig-9) and is clippedat the widest
part. It is usually made from the waistline (widest point). It finds application in princessand A-line dresses, over
blouses and jackets.

Fig-9: Double
pointed dart

6. Dart in
interfacing:In
this case, a
slash is made
on the fold
line. Then the
cut ends are
lapped along
the line of
stitchingand
zigzagged to
keep in place

Fig-10: Dart in
interfacing

Basic dart
manipulation
process:

The diagram
above shows different dart locations. You can practice these dart manipulations as anexercise using either full size or
half-scale blocks. By moving these darts around the bust point, youwill begin to understand the method.

Fig-11: Women’s shirt with dart

Follow the step-by-step basic dart manipulation exercisebelow:

The basic bodice has two darts. Start by consolidating the two darts into one side seam dart.1. Trace off the front
bodice; here the bodice block is made from card, making tracing easier andmore accurate.

Fig-12: Basic dart step-1

2. Cut up the front waist dart and the side seam dart.

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qFig-13: Basic dart step-2

3.
Close
the
waist
dart,
and
the
side
seam
dart
opens.

(Remember not to cut right through; keep asmall amount of paper attached to act as a hinge.)

Fig-14: Basic dart step-3

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To continue
this exercise,
trace off
the front
bodice
block
onto
paper.
Draw in
the lines to
the bustpoint
as shown on
the diagram.
To

manipulate the darts, simply slash to the apex each time, and thenclose and open the darts in different locations.

Asymmetric darts manipulation:

Fig-15: Asymmetric darts

1. To create asymmetric darts, trace off the bodice block fronts, joining the right and left sides at theCF(center front).
The full bodice is traced off because the right and left sides are to be different.

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Fig-16: Asymmetric darts step-1

2. Cut up both waist and side darts

to the apexes. Close the bust dart
until its edges meet. The
waistdarts will open.

Fig-17: Asymmetric darts step-2

3. Draw in the new dart lines.

Fig-18: Asymmetric darts

step-3

4. First cut along the long

line that passes from left to
right.

Fig-19: Asymmetric darts

step-4

5. Close the right-hand waist

dart, and the long dart
opens.

Fig-20: Asymmetric darts

step-5

6. Cut up the shorter dart

and close the left-hand waist
dart. The short dart opens.

Fig-21: Asymmetric darts

step-6

7. The pattern development is

complete. Trace in new darts
and back away from the
apex by 4cm(11⁄2in). This is

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now your pattern plan. Trace this off onto a clean sheet of pattern tracing paper. Nowyou can add your seam
allowance, notches and grain lines.

Fig-22: Asymmetric darts step-7

Changing darts into gathers:

Fig-23: Gather dart

Measure the right-hand dart from A to B. Including the dart, the measurement will be longer from A toC; gather the
excess fullness between the notches to match the shorter side as shown.

Fig-24: Gather dart

This style has gathering located under the bust instead of the dart. First, repeat the first six steps from‘Asymmetric
darts’, above.

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Pants

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Jackets

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Coats

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Sleeves

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Cuffs

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Collars

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Skirts

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Tops

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