The class starred with the tutor demonstrating TR pattern making. TR stands for Transformational Reconstruction - I had to look that up as the tutor couldn't remember. The modern exponent of this method is Shingo Sato who works in Tokyo and Milan. However, the basis is removing darts by incorporating them into design lines and that is not a new technique. I follow a fabulous blog, well-suited, from Studio Faro (http://www.studiofaro.com/well-suited) (updated link) which does 'pattern puzzles', taking a design and deconstructing, to make a pattern. One I particularly enjoyed - and even understood, though it's beyond me actually trying to construct it as yet, was 'Pattern Puzzle - the Drape Shift Woven'. Do have a look at the fabulous posts if you don't already know them.
The tutor demonstrated cutting apart the basic bodice and managing to get rid of the darts. Maybe I wasn't listening properly (I found I'd forgotten to take my portfolio containing my work in progress) but I didn't feel I'd grasped the essentials. My background means that I like to see things written down and like to know 'why'.
When I explained and showed to DH, he immediately grasped the concept and said the cuts would have to be through the tips of darts. The tutor hadn't said that but as I watched a couple of YouTube videos featuring Shingo Sato, this was pointed out.
(But see below)
In the class, we had the chance to try it for ourselves or continue with our top design. My usual partner S chose to try and I was able to see how she got on. She was having major problems. She wasn't cutting through the tips of darts and wasn't getting her fabric to lie flat. The tutor made some cuts to aid the process but this didn't seem to be working as the amounts were too great to ease, so equivalent amounts to the new separation amount (which would be filled in with fabric) were being added or subtracted elsewhere but this clearly changed the shape of some features eg the armhole, where the lower almost horizontal curve was shortened by quite a bit and that amount added to the top of the almost vertical section. If I did this to a trouser crotch it would be unwearable! The tutor did say she was 'cheating'. Maybe she should also have said 'don't do this at home'? I don't think that S really has a pattern to work with and we have a 7 week break now. Obviously, I could be wrong about this. Overall, though, I was left with an unsatisfied feeling as if the topic hadn't been properly addressed. Sometimes I feel that it is better not to tackle something if it will not be done well perhaps because it is rushed due to lack of time. Maybe that was the case here.
I had somehow forgotten to take my folder which had my blocks and the work I had been doing on my bodice block in it. I was struggling with what to do with the neckline, to get a smooth and neat finish. The tutor suggested I use the standard size 12 blocks and draw out my shape to work on and she would help me work out the next steps.
So I traced the whole bodice front, changed the darts into a princess seam, and separated into front and sides. I made an additional front. I then chose a point and cut off the round neckline at an angle on one of the centre pieces and reversed the other piece and did the same.
I then drew my pleats onto the outer piece of the centre/front
The tutor suggested she thought facings had been used on my inspirational design - I'm not so sure. I want to buy the piece to check this. Unfortunately, I haven't been successful so far but plan another trip to a different branch of the shop. However, I do know how to draw facing pieces. The trouble is, where the front crosses over, there will be two layers each of fabric and fabric with interfacing. I'm concerned about bulk there.
I feel that I have worked out how to draw the pattern as far as the major pieces are concerned, which was the object of the class, really. Construction is not looked at. We don't work on the sleeve block until next term, which is combined with skirt block and design modification.
I bought another book following a mention on Studio Faro, in connection with gap darts. This one looks very good. It is really a textbook. 'Patternmaking for Fashion Design' by Helen Joseph-Armstrong.
There are style examples given, then one is deconstructed completely and the reader/student taken through the process to make the pattern; however, others are given as exercises for the student. I haven't been able to do the puzzle of one top in particular I like the look of. I'm hoping the accompanying CD might give me some answers! In the book, which is the new large international edition, the author describes 3 flat pattern techniques - dart manipulation, adding fullness and contouring - I look forward to exploring it. Obviously, this is on flat pattern and not on the form/body. She also describes stylelines as falling into 2 classifications - those that cross over the bust and those that do not. Those that cross over the bust replace dart legs with style seams and are dart equivalents as they absorb dart excess within stitchlines. Stylelines which don't cross bust are not dart equivalents. I have a lot of reading and practising to do! I'm looking forward to the challenge.
On the whole, I think the pattern drafting class has been worthwhile as a basic introduction to the subject. After the full year, however, there is no continuation to a more advanced level. I'll have to use my books. Nevertheless, I'm looking forward to next term - and hope the dreadful road works that have been doubling my journey time will be finished.
Being retired, I had forgotten how bad rush hour traffic can be, before adding in roadworks on every possible route all at the same time! I live on the west side of the city and have taken to driving all the way out to the east to go through the tunnel; to go south, we have to cross the river by one of 3 main and 1 minor bridge (other bridges are for trains, pedestrians or taxis/buses only) or the Tunnel. I used to live on the east side of the city and took a long time to come to terms with the tunnel as I have a touch of claustrophobia. There used to be major traffic queues and everything came to a standstill if an ambulance had to pass through or a car broke down. After I moved to the west, I didn't use the Tunnel other than occasionally. In those days there was one carriageway in each direction; now there are two (with 7 lanes of traffic feeding in - yet there were no problems). I spoke to a neighbour today who uses the a tunnel for his daily commute and finds it well worthwhile despite living in the west as it copes well even at rush hour.
On the positive side, I've had to leave home a lot earlier to avoid the worst of the rush hour traffic and this has meant that I get to college so early that I've time to visit the library. This week, I was interested in a book on the history of pants/trousers, a very interesting book on felting, another on fusing with a soldering iron to make designs and a book on the everyday fashions of the thirties as pictured in Sears catalogues. I've borrowed these ones and hope I'll have some time to peruse properly. Previously I borrowed Pattern Magic, the stretch one but I'm sure I won't be going down that route!
|This photo was taken in a shop on my phone when I first saw the top last month, on a weekend break. |
I'd hoped to see it and try on in a different colour on my return home.
|Self faced crossover|
|Back of neck showing seam binding|
|This shows me putting my hand between the layers of side front.|
|It looks as though there is an extra pleat on this compared to shop model - perhaps due to being a bigger size.|
|Out of focus but it's too late to take again. It's still possible to see all the overlocked seams|