Pattern Draping: Experiment with Style Lines
Want to put this spot is back on and go back to something we said earlier about style lines and show how different this very simple little bodice khun b when we think about the stat lines if you notice I'm here um what we're really doing is subdividing a silhouette we've created the silhouette that forms the body but here we can start to really come up with a plan for what we're going to do with this so I can get very strategic and use this however I want because the pins are the placeholders and now if I had made this pattern I can take this pattern to another version of it and add these style lines and I have another version of this bodice but all the work is kind of like with the sketches that foundation is under there if you have done all the work with that pattern then you are good actually is pulling over a little I want to put it on to the fabric you're experimenting with where the cuts that you might make right how I might transform because I know I want to fit in but that's ri...
ght like if they were doing a great dress and we want it tight little bodice and a big skirt what do I want to do up here in terms of framing her face and cutting up that silhouette so that it does something different cause I could very easily with the same bodice do this and cut all that away and then I have a halter right but everything else doesn't mean doesn't change because it's fitting this particular size that fits this particular client so you want to you want to do this first step so you get the baseline and then you can really play the style lines like these like right? This is how I would break this up so you know, for instance I could say I wanted to go here and then I wanted to do that or do that you know, I mean, this is where you could kind of play on and, you know, experiment with it kind of like how you were playing on paper but now playing in this three d form exactly on dh then are those things that is not just the style but with color as well or you're kind of breaking that well, yeah, because when you do that it could be a solid, solid thing right with the whole dress just has thes style lines but you can start to break things up so if I said I want this to happen maybe this and this oh, what was I gonna say? Oh, never right hold on um if I did this but then created another style and that cut across I could decide to get rid of this part and I could decide to cut this part into two pieces that meet up, but I can do this and read this in blue. So this is this is that process that I think is key and taking that basic shape, because, again, there are only so many garments, and so many shapes weaken, do and start to put our creative input into the shape. So we have those cameras, and they were breaking it up except of the campus. Yeah, thank you. Yes. So, how limited are you in terms of the actual construction of that by where you do your style lines? Good question. So, basically, I would take this pattern transferred over, and then I would cut it up, and that seem longs to this side going this way, and two that side going that way, and then join those together. So because you worked from a single pattern, you can break it up in a much easier way. If you had tried to drape this piece by itself, and then drake the other one separately, it's going to be a little harder, but if you break up on existing piece on dh, then add the sea balance you need and all that kind of stuff is that kind of what you're saying, or I'm thinking, structurally, just the logistics of, you know, cutting it up or sewing it back together, I think the key, like we'll talk about a little bit when we get to the construction. Part of it is the order that you do it in. So for instance, what I would do with this, this is a real tricky area right here. So if I were cutting across a dart, my first job would be to join this piece to this piece that peace to that piece. And then I closed the dart normally, whereas if you try to close the dark on this one and then joined this ones, then you have this seam going across here and that that could be something you want. But I mean, I'd be more concerned with the dart looking good and matching up. So those intersections that's? Why, when you get to the flat pattern making stage, you wanted to be as clear as possible mechanics of it? Yes, we'll talk a little bit about that in a minute. We'll you know, when we talk about actually sewing it because we can go crazy with pattern making, right? But then we got to make it, so we need to figure out how we're going to make it and put it together, okay, all right, okay, yes, yeah can I use this for, like, with what ideo like, first you the, you know, like, do the pattern, and then because there's so many different. But I've always wondered, I have always wanted to know how to do that. You do, yeah, I mean, you have your existing patterns, and you want to ask yourself, how do you want to cut it up, and you also have to figure out again the process. So if I was doing, of course it is. I would do the outside of the course it, you know, the fabric of the course. It split it up, however I want join all those together so that their fabric again, you know, so that they're complete peace and then go the additional process of the structure inside. So the case, things for the boning and all that kind of stuff you would do after that, yeah.