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Pattern Flat: Create and True a Pattern

Lesson 21 from: Fashion Design: Start to Finish

Jay Calderin

Pattern Flat: Create and True a Pattern

Lesson 21 from: Fashion Design: Start to Finish

Jay Calderin

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Lesson Info

21. Pattern Flat: Create and True a Pattern


Class Trailer

Fashion Design Inspiration: Where to Begin


Intro to Fashion Design Inspiration: Where to Begin


Why Create a Moodboard?


Student Mood Boards


Fashion Inspiration Resources


Learn from the Masters of Fashion


Explore New Fashion Frontiers


Why Narrow Your Focus?


Find a Fashion Specialty


Craft a Collection


Learn to Edit


Making Fashion: Draw, Draft and Sew


Intro to Making Fashion: Draw, Draft and Sew


Why Start with a Sketch?


Drawing: Draw Your Muse


Drawing: Sketch a Figure and Define a Silhouette


Drawing: Render Color


Drawing: Add Texture, Patterns, and Details


Pattern Draping: Working with Muslin


Pattern Draping: Drape a Basic Form


Pattern Draping: Drape Folds


Pattern Draping: Experiment with Style Lines


Pattern Flat: Create and True a Pattern


Draping and Patterning Recap


Constructing Clothes: Put it Together


Constructing Clothes: Make it Special and Finish Well


Fashion Marketing and Branding


Intro to Fashion Marketing and Branding


Explore Your Audience


Display, Data and Design


Share Your Work


Find Your Following


Inform Your Brand


Build Your Business Model


Why Tell Your Fashion Story?


Establish Relationships


Be Ready for Change


Produce a Fashion Show


Intro to Produce a Fashion Show


The Fashion Show: Why? When? How?


Pre-Show: Develop a Fashion Show Concept


Pre-Show: Build a Team


Pre-Show: Create a Timeline and Checklist


Day of Show: Backstage Strategy


Show: Working with Front of House


Show: Scheduling Run of Show


Show: Breaking Down the Event


Post-Show: Increasing Your Audience


Post-Show: PR for Fashion Shows


Post-Show: Dealing with Downtime


Fashion Design: Start to Finish - Wrap Up


Lesson Info

Pattern Flat: Create and True a Pattern

This is dotted paper it actually not dots it's actually little numbers and letters but it gives you this grid format formats to work with and where did I lose my bodice where'd she go oh she's still in the figure so we would take this let's move her away and move on to pattern I mean to the flat pattern and at the flat pattern we did a little true ing like we corrected corners and all that kind of stuff on the fabric but the truth is no matter how good we are that's not going to be quite enough you know, like when we get to the final pattern because we really wanted to be sort of almost mechanical you know? So they're all interlocks like a good really, really good puzzle and there are a lot of different methods to doing this but the first thing you would do is line up your center along one of the dotted lines and nice and flat and the first thing you can actually do is trace over the keeper of the key points the way we did here so you can do corners and oh, I didn't have any seam allow...

ance done here, so I'm gonna leave this here okay? So you can transfer over a paper once you feel comfortable that you've got all the information on it and actually draw it out theo use blue because the papers blew you want to line it up is best possible and it's pretty much exactly what we did with the fabric right but once we start to do all this information I'm sorry I forgot my dots once you start to do all this you can make sure all your corners air squared that the back lines up with the the front piece so there were on this bodice we'd have a peace that lines up with the side seam from the back and we have the shoulder so we need to make sure that those transitions though seems happen and the transitions or smooth so you don't have any jagged peaks or or or dips e I think we've got everything transferred this over ok and then you do this uh their different ways to doing this you could do this with um uh carbon would you can have with a tracing wheel to transfer over all your markings some people do it with pins some people uh kind of do it by eye they're all different methods but at this point the true ing is the most important thing for me anyway and again for newbies yes true ing is corrected by making everything true we want to make sure that everything is is just right so this would be the transfer method we go in again with our tools and as I mentioned just like with the sketching class there is this is many many um semesters of of class work which I'm sure the draping teachers at my school are going to give me a hard time about when they get back it's like you made it so simple there's more to it well that's I mean that's that's the whole point here is that you're showing us this breath of all the things that are possible to learn and how to go about starting all right clearly because I think I mean I think this if you take it step by step it feels less intimidating if you think I'm just following my guy it's you know on the figure and I'm just correcting everything making sure everything matches it's a simple process but people get kind of scared off when you think oh I'm making a garment all these pieces how do they go together so all right so here we get something that looks a little bit more like are finished pattern it's like cooking shows there's one done already so it looks a little bit oh this one has two darts but basically it has all the guidelines and this is actually the lining so um it can have several darts that can have whatever kind of designed it actually is but basically this is the middle step to get into this one and you can store these thieves end up being like you know when you have ah store about patterns you know that air flattened foldable and fallible so this could be a step but I highly recommend that once you get certain patterns that are really working for you and fitting people in a great way that you save those you know you make sure those are protected and stored well so you um are those templates that you would use for many, many different cater's then yes you don't have to do a new one every time you're doing no actually you know what I'm gonna do that right now here we go alright so thiss one speaks to fabric manipulation so I have march anyway day to awkwardly stretch so okay it's your turn apologies no no no okay, so here again this is super simple but I think you'll get kind of a picture of it I'm goingto trace over the parts that I know are going to be fairly stable and you want to ask yourself how I could move this dart right? So I'm going to trace over all my information I think I got this may still in the shot you better come over so here I'm gonna finish this off. Okay? So now this is the fun part we can cut and you know, once you've done all that hard work of that basic and it's like a magic trick so just be a minute to cut this out and what we're gonna do is we're gonna move that dart because right now that dart is coming into her ways, but we can put it wherever way want. And this is another great detail. They did it a lot. This is where, again, the fashion history keep plugging the fashion history. Because it's, just so, um, it's such a such great information in it, this is during the forties during war time, where you could only use so much fabric. This is how you can create original dresses because you have this basic little bodice, but by changing the darts or adding darts, you could make it really special. All right, so here I want to start somewhere else so that its really simple I want this start to come let's, say to the neckline. Christ, I want the line here. So from this apex, you draw that line, and then you close this one and you've kept all you're fit all the hard work that you did for the original is still there. And actually I think I have a slide that shows the process. Uh, well, this was more. This is more about what we talked about, the direction of the fabric, the bias and the cross grain, those of the pieces, and then here we have sort of the method of slashing it. I have it on the shoulder and this one but this is your new pattern piece. And it comes together exactly the same way. Because the minute you clothes that you have with bodies start but it's at the at the neckline.

Class Materials

Bonus Materials

Mood Board Checklist
Styling and Fashion Show Gear Guide

Bonus Materials with Purchase

Body Measurements Chart
Care and Feeding of a Garment
Change Agents
Copy Rights and Copy Culture
Dissemination - FashionArt
Fashion Equations.pdf
Fashion Show Checklists
Question Charts
Specializations - The Players
Starter Questions Chart
Pattern Making Gear Guide
Sketching Gear Guide
Sewing Gear Guide

Ratings and Reviews


Jay is a rare gem in the world of instructors. He has the perfect balance of information, examples, and hands on visuals. He included his students in the teaching process. They were not just the audience. Even the viewers were encouraged to participate! I loved his teaching style and enthusiasm as well as the content of information he shared with us. He covered a vast amount of information and led us at a pace that was very easy to follow. It reaffirmed my love of fashion as well as designing new ideas. This class was inspiring and motivating. If you are even the slightest bit curious about Fashion Design, constructing patterns, or even drawing models, this class is for you. It was all encompassing for an overview of Fashion Design from start to finish. Jay has an easygoing manner that you will want to watch him again and again. A great resource for your library. I can't wait to see him again in the Creative Live classroom!. Good luck to Jay and all his endeavors! Thank you Creative Live for providing yet another great learning opportunity for an international audience.

Michelle B

This is day one of Jays class and I am already hooked and purchased this class. Jay is an awesome instructor. He explains everything in easy to understand terms. He explained things that I have bought books to learn and didn't in one easy lesson. I recommend this class for anyone that has a interest in Fashion design or even learning to draw models for anything you need to sketch out. I hope Creative Live will bring Jay back for more classes. Jay is a instructor also worth having in your tool box of CL classes to refer back to for learning and inspiration! Thank You Jay for sharing your knowledge with us!!


I agree with everything that michelle-b said in her review of this class, and will add that I can tell that he is an instructor who not only knows his subject matter, but has excellent teaching skills. He is very engaged with his students, and focused on making sure that they get what he is telling/showing them. He also has the rare gift of distilling a complex subject down to its essence and teaching it in a simplified form that gives the student a good overview of the basics, and somehow also gives the student insight into more of the subject’s depth than he actually says in words. This broader understanding of the subject empowers the student to proceed on a much higher level than would be possible after taking any other course overview. Even more amazing is that the lessons covered in this way could be (and are) full courses in themselves elsewhere, but were merely segments of this two-day CL class. For this reason, if I ever got a chance to take one of Jay’s classes at the School of Fashion Design, I would take it in an instant. I too bought this class by the end of Day 1. For me, the segments on sketching and drafting alone were worth the $69, and the rest is bonus.

Student Work