Winifred aldrich pdf

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Trove: Find and get Australian resources. Books, images, historic newspapers, maps, archives and more. FashionKathryn McKelvey and Janine Munslow0 6uhttp://www. Winifred Aldrich. Wiley. Metric Pattern Cutting for Women's Wear by Winifred Aldrich Albüm Arşivi Pdf Sewing Patterns, Clothing Patterns, Dress Patterns, Pattern Making, Bjd.

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Neckline The line where collar 71 If the outer edge of a flat collar is reduced it sits higher in the Metric Pattern Cutting Womenswear- Winifred. Metric Pattern Cutting - 4 Ed - Winifred Aldrich - Ebook download as PDF File . pdf) or read book online. Metric Pattern Cutting. Download Fabrics and Pattern Cutting PDF eBooks. Free Download Nov 23, Fabrics and Pattern Cutting by Winifred Aldrich PDF ebook is the.

Collar Convertible collar ref. Body section Take 1cm off front shoulder line; add 1cm to back shoulder line. Some require their designers to adapt patterns from blocks that already include the seam allowance. Drop a vertical line from yoke through bust point. Experiment with the bust and shoulder darts which provide the shaping for bust and shoulder blades. Draw a line from a point at waist side seam to bust point. See the section on seam allowances on page

Mark point 8 this gives half hip measurement plus 2. Draw back shoulder line to touch the line from Draw armscye as shown on diagram, touching points 11, 14, 24, 19, 23; measurement of the curves: Join point 18 to point Square up. Join 21—25 and 22—25; ensure that the dart lines are the same length. Re-mark point Draw armscye as shown in diagram touching points 13, 9, 29, 24, 28; measurement of the curves: Classic front edge shaping Add required button stand.

Mark points 32 and 33 on waistline and hemline. For jackets with collars and revers. Reduce the standard dart measurement by half. Square down from 0; square halfway across the block. These measurements include shoulder ease of 0. Shaping the blocks The design of the garment will determine the shaping of the block.

Two examples are given: Draw back seam line 6, 38, Construct back and front darts as shown; back dart is midway between 5 and 8.

Extend back and front darts to hemline shaping in 2cm at each hem point. Shape back side seam: Shape front side seam: Draw in a 1cm 2cm dart on this line. Draw in 1cm 2cm dart on this line continue the 2cm shaping to the hemline.

Square up and down, mark this line the centre front line.

Joint point 19 to point Join 17—24 and 19—24 to form dart. Draw armscye as shown in diagram touching points 16, 13, 25, 23, 21; measurement of the curves: Square down from 7. Square down from 11 and 12 to wrist line to marl points 14 and Draw in outline of sleeve head: Draw in line of wrist: For slight sleeve shaping narrow sleeve at wrist 3—5cm.

The elbow line is on the waistline of the block. Ease at the sleeve head The ease in the sleeve head is drafted to give a full rounded appearance to the sleeve head. Padded shoulders All the blocks and sleeves have no allowance included in the draft for shoulder pads. Draw a perpendicular line from the armscye line at 1 touching the front armscye. Mark adjacent armscye point 5A with balance point. Mark top sleeve balance point at 7. Mark back sleeve balance point at 9.

Mark basic points on body block. Mark point A at underarm, B and C at shoulder points. Mark points D and E at base of lines which are squared up to touch the armscye curves. Sleeve Square up and across from 0. On body block E—F equals measurement 0—3 on sleeve block. Square out to FP front pitch point on armscye. D—BP back pitch point equals the measurement 0—2 on sleeve block. Join 3—4. Join 4—5. Draw in sleeve head.

Mark point 16; 4—16 is one third the measurement 4—3. Join 6—17, draw a curve hollowed 1. Join 6—9 with a slight curve. Join 17—14 and 5— Mark points 18 and 19 on elbow line. Curve outer sleeve seams outwards 2. Make 1—2 and 3—4 the same measurement; draw in neck. Make 2—5 and 4—6 the same measurement; draw in armscye. If lowered armscye is required draw in armscye shape. Drop a vertical line from base of bust dart.

Cut up line; close bust dart. Mark points 1, 2, 3, 4. Draw new side seam 1—5. Mark points 16 and Mark side seam 1—2.

Draw new side seam lines 1. Cut round bodice pieces; rejoin the side seam 1—2. Draw new armscye depth line 1cm above original line. Mark points 3 and 4 1cm in from shoulder edge. Mark points 5 and 6 1cm in and 1cm up from 16 and Draw new armscye using points 3, 5, 7, 6, 4. This means 12cm shaping all sizes. Shape block on the dotted lines: This means 9cm shaping all sizes. For classic waist shaping follow the dotted lines: Examples of alternative waist shaping The waist shaping can be distributed in different ways depending on the design or block used.

Example 1 A design showing the shaping of 12cm distributed into more darts. Waist reduced only 9cm. Mark 1, 2, 3, 4. Square down from 1 and 4 to 5 and 6. Square across. Join 3—8 and 2—8 with curved lines.

Extend back and front darts 13cm. Two-piece dress blocks Trace chosen bodice block. Lower front waist line 1cm. Mark 1, 2, 3, 4; square down from 1 and 4.

Back darts: Place darts each side of bodice dart squared down from line 5— Front dart: Make sure all design curves are beautifully shaped, especially where they meet a fold line. French curves are very useful for drawing curved lines. Draw it as a smooth, even line. Compensate for this by shaping the base of the dart downwards on the seam 4.

However, in most mass production patterns, the seam and dart lines remain straight. This method can be used on the side seam of the sleeve 8. Do not use this method on skirt darts. Do not overshape maximum 0. Principles of pattern making The following chapters cover pattern adaptations, manipulating the block to make different designs.

Basic principles are common to many pattern pieces; these should be considered before one begins. Seam lines A pattern piece can be cut across vertically, horizontally, diagonally, with curved lines etc.

When the sections are joined the pattern piece will have a seam, but the basic shape remains the same. Dart shaping can be moved to seam lines so that the shaping remains but the dart disappears ref. This is achieved by using the blocks with or without shaping. Some examples of changes of pattern shape are: Dress stands and toiles It is possible to cut out patterns without a dress stand.

Many people who sew for pleasure do not have one. However, they are a very valuable piece of equipment. The making of calico toiles is essential when designing advanced styles. A design toile is the pattern cut out in calico and made up to check and perfect the design. Drapes and intricate cuts can be worked on the stand before the toile is sewn. The pattern Three different types of pattern are used by designers when drafting patterns. It is necessary to know the difference.

The block pattern is the basic pattern that is used as a basis for all adaptations. The working pattern is used for marking out the basic style lines and design features e. Pattern sections are traced off and may be further adapted. Complicated styles may need a number of trials at this stage.

It must be clearly marked with all the information required for making up the garment. Before commencing any adaptation the following points should be considered: Good lines and curves Refer to the diagrams on the page opposite. Body movement in more advanced pattern cutting parts of bodices are added to sleeves. When working these designs always be aware that the body must be able to move. It is only on wide, full garments that very simple shapes can be used.

Beautiful shapes it is always necessary to have good lines and shapes. When cutting intricate patterns small amounts of the basic block may be lost or small parts added. Cutting individual garments gives designers much more freedom; they are not restricted by the price limits and the fabrics used in mass production. The width of the seam allowance must be marked on the pattern by lines or notches. No seam allowance is required on a fold line.

It is important that seam allowances added to the pattern are accurate and clearly marked. Toile patterns It is not necessary to add seam allowances at this stage, they can be marked directly on the calico. Industrial patterns The seam lines are not marked on these patterns. Some require their designers to adapt patterns from blocks that already include the seam allowance.

It is better for students to work with nett patterns those without seam allowance ; especially when drafting complicated styles. The seam allowance can be added afterwards. Seam allowance widths vary with the type of manufacture and garment. The following examples are a general guide. Basic seams e. Enclosed seams e. Decorative seams usually require more seam allowance.

If a pattern is nett has no seam allowance , mark this clearly on the pattern. These lines are marked on the pattern or shown by punch holes. Mark the grain line with an arrow. Mark the grain lines on the working pattern before it is cut up into sections. Pattern instructions The effects of cutting on the cross are increased by the choice of fabrics, i.

Metric Pattern Cutting - 4 Ed - Winifred Aldrich

Once the grain has been decided and marked on the pattern, always check that you have laid it on the fabric correctly before cutting out, or a distorted garment will be produced.

All woven fabrics have warp threads and weft threads. The warp threads run parallel to the selvedge of the fabric and are the strongest; the weft threads run across the fabric and are weaker. It is good practice to have the vertical lines of the pattern running parallel to the warp threads.

Pattern pieces can be cut on the cross for the following reasons: Design features stripes and checks cut at different angles can produce interesting designs.

Natural stretch fabric cut on the cross has natural Lays Cost is very important, therefore economical lays are required by manufacturers. Fabrics that have to be cut in one direction are usually very uneconomical; fabrics that allow the pieces to be laid in both directions will reduce fabric costs. When a designer submits a sample, a cost lay plan is made, usually of two garments, so that an accurate costing can be produced. This may be done in varying widths of fabric.

If more than one fabric is used in a garment, more than one lay plan will be made. Lay planning and marker making by computer are increasing rapidly as the cost of systems is reducing. At this stage do not be concerned with waist darts, they are used to shape the waist only.

Experiment with the bust and shoulder darts which provide the shaping for bust and shoulder blades. Their positions on the bodice block are shown on the drawings. These positions can be moved around the body as long as the point of the dart remains at the point of the bust or shoulder blades.

See diagram opposite. Try swinging the darts to new positions. Bust dart Centre shoulder trace round front bodice block.

Draw a line from centre shoulder to the point of the bust. Cut up the line. Close original dart and secure with tape. The bust dart is now in centre shoulder position.

By the same method transfer bust dart to: French dart this dart combines bust dart and front waist dart. Trace round front bodice block, draw in the waist shaping.

Draw a line from a point at waist side seam to bust point.

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Close bust dart and front waist dart to make a very large dart at base of side seam. This large dart can be placed at the waist position. Back shoulder dart Neck trace round back bodice block. Draw a line from neck to base of shoulder dart. Close shoulder dart. By the same method transfer shoulder dart to: To correct, move bust dart to underarm position.

Draw neckline. Make small dart approx. Close dart. Correct slightly distorted neckline. Fold outer line, wheel through the outline and facing line to make extended facing. Draw in two button lines, equal distance each side of centre front. Mark buttonholes as standard front. Add buttonstand. Wheel through separate facing. Add an extension to front edge 5cm below stitch line and 2.

Wheel through a facing with the same extension. Mark vertical buttonholes on centre front line of facing. Left front Construct left front as a standard buttoned front. Draw in neckline. Make a separate facing. Trace left front to button line, add buttonstand and extend facing. Draw a line 1.

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Wheel through front strap. Mark in vertical button holes on centre front line. Left front Add buttonstand and an extended facing 3cm wide. If seam is away from the bust point a small dart or ease will still be required to give shape to the bust, e. Draw a line from back shoulder dart to top of waist dart.

Transfer bust dart to centre shoulder. Cut out panel sections and trace round. Curve panel and side seams as shown. Shape waistline at base of panels. Draw a line from front panel to the base of bust dart. Cut out panel sections, trace round. Close bust dart to transfer it to panel line. Shape seams, shape waistline at base of panels. Back yoke Draw in back yoke line, slope it down 1cm to armscye edge from base of shoulder dart. Cut away yoke; close shoulder dart. Draw in square neckline.

Back Draw panel line, points 1—2. Draw slight waist shaping. Cut up panel. Trace round back pattern. Front Transfer bust dart to side panel line. Draw in square neckline and front yoke line. Cut away yoke and trace round. Close bust dart. Draw in panel lines on block. Cut into sections. Trace round lower sections. Back yoke Extend back dart to edge of yoke. Front yoke Close bust dart. Transfer bust dart to underarm cut down side seam to top of dart.

Yokes Draw in yoke lines, cut away, close back dart. For wide necklines narrow shoulder at armscye of back and front yokes.

Metric Pattern Cutting Womenswear- Winifred Aldrich

Back Trace round back section. Front Draw vertical line through bust point; cut up this line. Close underarm dart. Trace round front sections allowing 2cm gap between vertical lines. Mark four tucks on the top line of front. Size of tuck is the distance 1—2 divided by 4. Cut up side seam. Back Draw in back panel. Cut up lines. Trace round panels. Front Transfer bust dart to underarm. Draw in yoke line; mark balance points. Drop a vertical line from yoke through bust point.

Cut away yoke. Cut up vertical line, open 3cm. Trace round pattern. Mark buttonholes. Add buttonstand and facing to centre front. Draw in front panel line. Cut up panel line. Transfer bust dart to panel seam. Draw in back yoke line, slope down 1cm at armscye from base of shoulder dart.

Draw in front yoke line. Cut away yokes and trace round. Close back dart. Draw in front neckline. Bodice sections Draw in pleat lines 2cm wide on both bodices cut up pleat lines.

Insert 4cm between the pleat lines. Trace round new patterns, close underarm dart. Fold pleats, cut out patterns. Note Pleats on front bodice can be stitched down to bust line. Transfer bust dart to armscye, draw in shaped bust seam and extend across back. Mark balance points for position of gathers. Draw a line from front armscye to shaped bust seam as shown. Shaped front panel Cut away lower sections and place together as shown, overlap 2.

Trace round making a smooth line along top edge. Mark buttonholes and add buttonstand, at centre back.

Pdf winifred aldrich

Side front Close bust dart. Cut up drawn line, open 2cm at bottom for extra fullness. Back Straighten side seam. Mark buttonholes, add buttonstand. Make a combined facing for back and lower panel. Transfer dart to armscye. Draw in wrap over front and midriff line.

Mark balance points for positions of gathers. Make a small dart in neckline ref. Low cut front, page Front Cut up side seams and cut away lower section. Close armscye and neck darts on upper section, trace round, straighten neckline. Close dart on lower section, trace round. Back Trace round back pattern, rub out waist dart. Mark drape lines across front bodice. Back Trace round back pattern, lower neckline, mark buttonholes, add buttonstand and extended facing, rub out dart.

Front Cut along drape lines, close waist darts. Close both bust darts. Open drape lines approx. Lower neckline. Extend lower section to length required for tie. Trace tie piece for facing and back tie pattern. Draw back yoke line; divide the line into four sections; square down. Back Cut away yoke, extend dart to yoke line; close dart.

Cut up lines on back section, open approx. Redraw yoke line curve. Front Transfer dart to underarm; shorten dart. Draw in facing line; construct an extended facing ref. Sleeve Shirt sleeve ref. Collar Convertible collar ref. The design illustrates the procedure and order for the simple adaptation of a blouse shape with a set in sleeve. The basic shape is suitable for styles that require the retention of bust shaping and therefore require a block with a bust dart.

Note If a classic shirt style without bust darting is required select the basic shirt block on page Draw in buttonholes; add buttonstand.

Place any shoulder Short sleeve line is midway between armscye and elbow. Three quarter line is midway between elbow and wrist. Mark back opening midway between centre line and side seam. Narrow at wrist 2. Narrow sleeve at wrist by 3cm. Shape seam. Cut from back elbow line to point 1 and from point 1 to wrist line. Pivot this section forward 4cm, to make a dart at elbow line. Halve the length of dart less 1cm. Mark in new centre line from point 1 to centre of wrist. Place side seams together at underarm and wrist.

Take 1. Cut up centre seam, overlap 1cm. Drop line from point of dart to wrist. Cut line, close elbow dart. Shorten dart. Make wrist opening. Raise armscye 1. Cut sleeve on the cross in woven fabrics. Shape in 1. Slash from armscye to neck of bodice. Open depth of pad. Cut across sleeve head and up centre line. Open out the same amount inserted in armscye. Divide into six sections.

Cut up lines, open approx. Grain line is in centre of middle opening. Shape in 1cm. Draw in curved shape. Divide lower sleeve into six sections. Cut away lower sleeve. Cut out pattern. Cut out, cut up lines. Draw a vertical grain line on a new piece of paper. Open centre line of sleeve evenly each side of line e. Open the two back lines 8cm, front lines 4cm. After reducing cuff depth measurement, add extra length, twice as much at centre back.

Cut out top and bottom sleeve. Open sections of lower sleeve at the top the same amount, overlap slightly at lower edge.

If not required take 1cm off shoulder edges as shown, add 1cm to sleeve head. Cut out, open sections amount required. Add extra depth to sleeve head and hem as shown. Mark balance points for gathers at top of sections 1 and 5.

Cut up sections, open out. Draw in darts. Trace round pattern shaping dart edges. Drop three vertical lines from sleeve head. Draw in seam line 4cm down. Wheel through top piece, cut out, open each section 1. Cut out complete sleeve, open out 0.

Lower sleeve head 2cm. Draw in depth of cap. Divide into sections, cut out and open till lower line is straight. Draw strap approx. Take 2cm ease from sleeve head. Cut up strap lines and centre line, open out as shown. Raise sleeve head 4cm. From strap, drop lines to quarter elbow line, then to quarter wrist line. Trace centre section. Join outer sections of sleeve at underarm and wrist.

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We hope you enjoy it: Winifred Aldrich Pages: Wiley-Blackwell Language: Englisch ISBN In this fifth edition, the chapter on computer aided design now has full colour illustrations and reflects the growing importance of CAD to the industry and as a part of fashion and design courses.

The rest of the book has been updated where necessary: Colour is now used to differentiate the main groups of patterns and with its tried and tested layout with clear text and diagrams, Metric Pattern Cutting for Menswear is an essential purchase for students of fashion and design.

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