construction. The accuracy of any pattern making method depends largely on relevant and Learning pattern making by trial and error is like learning to play. Apr 13, If you dream about making our own sewing patterns this is the best as how to create a downloadable PDF pattern and how to print PDF patterns. pattern cutting and the interest in this area has grown rapidly over the past that challenges the fundamental relationship between dress, pattern making.
|Language:||English, Spanish, Japanese|
|Genre:||Science & Research|
|ePub File Size:||26.37 MB|
|PDF File Size:||16.10 MB|
|Distribution:||Free* [*Regsitration Required]|
Page 1. Page 2. Page 3. Page 4. Page 5. Page 6. Page 7. Page 8. Page 9. Page Page Page Page Page Page Page Page Page Patternmaking caite.info - Free ebook download as PDF File .pdf) or read book online for free. Sewing patterns. Pattern Drafting for Dressmaking - Free ebook download as PDF File .pdf), Text File .txt) or read book online for free. How to do pattern adjustments.
As far as my research tells me the actual pattern making only dates back to the 12th. Unpin the bodices and put aside. Many people have helped along the way in the journey this book has taken, some to a greater extent than they know, and I am grateful to them all. As a flounce at the hem Figure Circular Lower Skirt Design Page 42 Yoke at the Back of a Skirt A shaped yoke at the back of a skirt gives a smooth fit across the area between waist and seat, particularly for those who have a sway back. Elena Filipescu. Page 28 Four Gore Skirt Method A This skirt has centre front, centre back and sideseams with only slight flaring on each seam.
I have an older version of Illustrator, and have never really used it. Congrats and best wishes in your new venture. This is exciting! Will have to seriously think about the Illustrator offerings to take your class.
Super keen in this! Thank you, this is fantastic!! Thanks for that heads up! This is the best idea ever, Melissa! This is great. I have had Illustrator and never used and was looking programs to draft patterns but they are so expensive.
I watched the free Lesson 1, but cannot find where to purchase the full course. What am I missing? Hi Jelly, how many lessons are included in the creating PDF patterns course? Can you estimate how long roughly in hours it will take to complete? Thanks for a great course Melissa. I have just released my first digital pattern on my blog. Your course was great and to a complete beginner was very easy to understand. I acknowledged that I used your course on my post about pattern making progress.
Your email address will not be published. This is my original work unless otherwise indicated.
If you are writing a round up and want to use a photograph from this blog, you may use only one photo, do not remove the watermark, provide a clear and easily seen link back to the post near the image and give clear and easily seen photo credit. Photos of children on this blog may not be used without permission. Other uses of any content or designs by permission only. Comments This sounds great Melissa! They can be pleasing design-wise and can be of a contrasting fabric.
Godets are often inserted into the seams of a gored skirt and can also be used in the legs of trousers. Spanish dancer style. Example using an A-Line Skirt: From here, rille up for the required length of insertion 23cm. Now form the triangle "ABC" by swinging out evenly at each side of ''X''.
The hem will be curved. The straight of fabric arrow on the Godet will be parallel with the centre line. A Godet in the sideseams is optional. Cut 6 from the pattern if this is required, otherwise cut 4. Godets set into a Six Gore Skirt are easier to sew and can give a spectacular effect when proportioned correctly.
Allow only a slight amount of flare at the side of each gore. Draft a godet pattern as before, making it the height and fullness to achieve the effect your design requires. Pin both pieces onto working paper. Swing out 2cm. N arne each piece. Eight Even Gores Based on a rectangle.
The waist is the top Swing out at the hem on each side by a small amount. This forms the foundation panel. It is ready to space for flare. Suggested spacing: Pin top of panel only to working paper.
Spread long skirts more at the second cut. Remember it is absolutely necessary to notch the seams at hinge points. Allow extra at the waist when elastic is to be used instead of a zip opening. Too deep a hem is not suitable and narrow overlocked seams are best. Pin onto working paper with the centre front on the straight. Alternatively, close in a waist dart as for a Four Gore Skirt method B.
Shape away any jutting hip angle. N arne the centre front "AB". To the hem at "B" add Bcm. Join "CDII. This addition pleats under, folded on the centre front line.
Mark this main pattern piece with a straight offabric arrow parallel with the centre front and "Cut 2". At "E" waist add 3cm. Join "GI" and "HJ". This is the pleat underlay. Mark this with the straight of fabric arrow parallel to the centre line and "Cut 1 only". For the experienced sewer no pattern is needed for this but if one is wanted, it is simple to cut. It can be seamed at both sides or only at the zip opening. Straight Gathers Type B Gathers falling to the hemline from a shaped seam or yoke need to be positioned and a drafted pattern is required.
Make a suitable number of slashes where the gathers are wanted. Keeping the hemline straight, space each strip evenly and according to the amount of fullness wanted. So that the gathers are correctly placed, mark their position on both the plain piece and the gathered piece. Figure Type B Examples 8! Adapted from Harem type trousers. To be effective the hem needs to be rather full but the waist gathers can vary to suit and need only be slight.
Straighten on the sideseam. This piece of pattern is cut to the fold of fabric. Figure Puff Skirt Sewing Instructions: Gather the bottom of the top skirt to fit and be joined to the underskirt at the hem. A Hobble Skirt has a wide band at the bottom. This would be a straight piece, doubled over and put on like the cuff of a sleeve. Walking becomes an art! The underskirt is still necessary. The principal of the underskirt holding the pouch-over in place can be applied to sleeves or bodices as well, guaranteeing the stability of the effect.
Page 39 Draped Gathers Draped gathers or folds lie across the figure at various angles and usually radiate out from one hip area or from a shaped yoke. From left to right is usual. They are mostly used at the front only", A full front foundation is needed. Sketch in your cutting lines in the direction in which you want your fullness to lie. They may need to be straight or curved. Where they disappear into a plain seam mark with a cross and leave hanging there.
Leave the bottom of the skirt on the straight and space upwards. An underskirt can be cut to the original pattern and this will hold the draping in place when the two skirts are sewn together. See diagram and note the straight of fabric arrow on it. Figure Restraint is the fashion note for drapes today but they were used lavishly to cover the bustle on the back of gowns in the mid 19th century, In the mid 18th century they created side panias in the immensely full skirts of the time.
They also appeared in the 's on formal gowns to break the plain styles fashionable then. Cut it out. Cut up each fold and leave hanging at the waist. N arne the corner "A". One straight side will be placed to the fold of the fabric. The other will be the sideseam. Cut two pieces. Before this skirt is cut out the selvedge should be removed as it will cause drag when a greater part of the skirt will be on the cross.
The skirt should be bung for several days then evened before a narrow hem is sewn. Once finished the skirt is better stored flat to save further stretch.
This one piece of pattern when placed to the fold makes the whole skirt with just one seam at the zip opening. Both of these skirts may be on a yoke with only the lower part of the skirt forming a circle or halfcircle. There will be less Half-circular Skirt fullness over the hip area. Cut off and set aside the yokes. Mark the centre front and centre back. The centre front would be placed to the fold but in some cases the centre back would be seamed for a zip opening. As a flounce at the hem Figure Circular Lower Skirt Design Page 42 Yoke at the Back of a Skirt A shaped yoke at the back of a skirt gives a smooth fit across the area between waist and seat, particularly for those who have a sway back.
Straight skirts are inclined to wrinkle in this area. The shape and size of the yoke will depend on the length of the centre back. It should not be too deep.
Rounded yoke shape for an average size: Shape in the yoke, starting 6cm. The yoke will now be curved. This curve helps to give a smooth fit. The centre back may be placed to the straight fold or the cross fold of the fabric. It may also have a centre back seam, as in trousers. The bottom end of the dart needs to be shaped away.
This can be done at the sideseam but as the yoke teams well with a flare or FourGore it can be closed-in to flaring or shaped out in the centre back seam. IVlI-J ;. It is as well to take a check measurement around the diaphragm but add easing as you are now in the breathing area. Similarly a bodice or blouse that is lowered into the hip area needs its working foundation cut from the full length body foundation to the required depth.
That way you will be assured of a fit over the fullness of the hips. Even with loose fitting garments it is as well to be aware of the body shape inside your design. Though given initially for skirts they should be applied to other patterns when suitable. Button Wraps overlaps Always allow sufficient for the size of the button you are using.
Where the facing is cut separately a seam width must be added and taken into consideration as it alters the possible position of a buttonhole. Facings For button-through skirts the facings are better cut separately and stitched. Turn-back facings should only be used on strong firm fabric or the edge is likely to stretch.
All facings, whether for button wraps, cross-over fronts, pockets or yokes, should be traced off the finished pattern. For use they must be in a comfortable position for the hands. Design-wise they should add to the garment and compliment its design. Some pockets are incorporated into design lines so are part of the shaping process. Others are patch and therefore an extra pattern piece. Mark the position and size of pockets on the finished pattern and trace off. Cut half the band width off the top of the skirt or trousers so that it will sit correctly.
Cut the band double on the straight of the fabric. This band would be cut from your pattern before seams are allowed.
Front and back can be joined at the sideseam and cut in one piece, buttoning at the opening. The fabric weight and the amount it frays will need to be considered. Heavier weight fabrics need wider seams to lie flat. Overlocking will eliminate the need for a neatening allowance. Where a zip is to be inserted allow a wider seam, which needs to be pressed flat, for the length of the zip.
Seam allowances are usually added to the traced off pattern piece and should be clearly marked to allow for change when cutting different fabrics. Each piece of pattern needs seam allowances. Seams to be sewn together need the same amount. Facings need the same amount as their main piece. Where no seams or hems are added state this clearly on the pattern.
Add all seams and hems, and mark each piece with its name and cutting instructions. When ''balance marks" usually notches are wanted, as a guide to pattern construction by showing the seams to be joined together, they should be put in at the completion of the pattern. Place the pattern pieces that are to be sewn together, side by side on your working table.
By careful measurement make balance marks on the seams of both pieces to correspond with each other. These marks are usually outward facing notches placed singly or in groups of two or three.
You may like to work out a code for yourself.
Where a pattern is fully marked, an instruction sheet is not necessary for experienced sewers. When laying out your pattern on fabric take note of the instructions on each piece. A lay-out chart can be made by marking the material width on a large surface like the floor and placing the pattern pieces to the best advantage.
Transfer the result in scale onto graph paper. Package your pattern marking the envelope with name, date etc. Show the front and back views of the finished pattern.
The fit of the garment will only be as good as the accuracy of the foundation. The foundation is only as good as the measurements taken. Straight-line darts are used for most pattern making as they are able to be folded, which is part of the "closing in" darts operation.
A curved dart can only be used in certain areas as it reduces the amount of ease and would for instance NOT be suitable for the straight type of underarm dart or a dart from the shoulder. It can be used to advantage in the waist and diaphragm area of a front pattern.. Because of the contours of the body, darts from different positions will need to be of different lengths and widths. In the front bodice of a woman's pattern all darts from the shoulder or neck shaping, "C" and "D" , must run all the way to the bust point.
Some of the others will need to stop short of this point by varying degrees but whatever the length of the dart its direction will make or break your design. Therefore the centre line of a dart is of the greatest importance especially in a tailored front bodice. This way even where several darts are used they will not conflict and no wrinkling of fabric will result.
Try folding out darts in various situations and you will soon learn the best way for them to lie. Usually when the back is broad or the shoulders rounded. Both darts need to lie in the correct direction.
It should be longer and narrower than a front bodice dart as a smoother line is wanted. Placed wen over to the side they will not interfere with the line of the garment.
Allowed for at the sideseam. As the function of these darts is to mould the flat piece of cloth to fit our shape they cannot just be left out of a well fitting garmene. You will now learn how to use these foundation darts to full advantage to blend with a design without intruding, while still maintaining the shaping that darts bring.
This "closing-in" of darts is one of the most interesting chapters in Pattern Drafting as it holds exciting possibilities and can give many different and intriguing lines to mould your bodice into shape. To illustrate: With the darts correctly placed it is your shape! Now you will learn how to Before you start, mark your bust point on a front foundation bodice.
Continue this line right to the bust point. Cut up this second line as far as the bust point. Keep the centre front on the straight. You will notice that the pattern has automatically opened up at the cut. Different spacing occurs according to With an extra wide dart you may wish to close in only part of it. When the shoulder dart is of no advantage it can just be left out of the foundation.
Any curves that accrue in the seam lines add another dimension to your pattern. Also some of the loose and baggy styles fashionable at present may not require darts either. However in both these cases it is essential that any extra length needed over the fullness of the bust is not lost.
Page 53 See the following examples for what may be achieved. These examples only deal with the re-location of bodice darts, not all the other design aspects of the illustrations. Example 1 Underarm Dart When personal measurements do not allow for an underarm bust dart. Often the reason for no difference between back and front lengths is an extra long back or even rounded shoulders.
This does not mean that the bust dart is not needed. To obtain your underarm dart: Rule in a shoulder dart. Usually 2cm. Allow for it as shown in Step 6. Cut from here up to the bust point. The pattern will automatically open at the cut. Rule in a new dart of a suitable length. This can also be done to increase the underarm dart when it is smaller than desired.
To obtain a dart from waist to bust point it is possible to simply add the extra needed onto the sideseam and rule in your dart. In fact this is often the only way this allowance can be made, such as in a straight through dress or when drafting for children or men. When closing in darts, the seams involved become curved in various ways. Do not straighten these curves as when they are stitched to the straight lines of a back bodice or a skirt they produce the moulding we desire.
The underarm dart remains. The side is now on an angle, giving a smooth fit. On both these examples you will notice the curves that are created in the seam lines. T FOL. This dart can be straight but the curving gives a neater fit over the diaphragm area.
Dart to be pressed up the sideseam. Useful in sleeveless garments to eliminate any gaping. The shoulder dart is not used as, because of its angle, there would be no worthwhile gain. The second drawing shows this dart incorporated into design lines.
A useful dart for women who are narrow across the chest compared with their bust measurement. Its main use is under the collar or collar and lapel of a tailored garment where other darts would intrude on the style. Figure Example 5 Example 6 The dart shaping incorporated into a Princess line. Body Shirt style. Straight-through Dresses. Two pieces of pattern are formed. A stitched in underarm dart could conflict with the softness of the gathers falling downwards.
The yoke piece cut from front bodice can be joined to the back and the shoulder seam eliminated. Where the shoulder dart is used it would be folded out in the yoke and incorporated into the gathers on the bodice. DE-b I;: Example from the seatline. Except in very stretchy fabric the dart allowance needs to be cut away to a seam width each side. The flare falls from the bust point and is therefore also suitable for maternity wear. If the hemline is now too full simply shape off the excess at the sideseam.
When more fullness is wanted for gathers allow extra to the centre front at the top and rule to hem. The new centre front is placed to the fold of fabric.
There are more factors involved in their design. A bodice can be part of the over-all style of a garment, a blouse or a top. Necklines are many and varied. Sleeves and collars are dependent on the bodice for their styling and fit. Here are a few examples to show how to plan and draft a bodice. In some cases you will use techniques you have learnt in the drafting of skirts. Shape in the neckline to the depth and shape required by the style.
Take one of these lines out through the underarm dart so that it can be closed in. A stitched in dart will often conflict with the fall of the gathers. See diagram. Style B: Style A Style B Figure Bodice gathered at neckline Page 62 Asymmetric Bodices Cross-Over Bodices For all asymmetric bodices, whether they cross-over or not, a full front or back foundation bodice is required so that the whole lay-out of the design can be planned.
The depth of the neckline and the position from the shoulder influences the amount of cross-over you can have. In some cases the cross-over line is curved to allow a deeper neckline with a wider cross-over.
This will hold the front edge. Back bodice to suit. Two even cross-over styles are shown. Style A: A plain bodice with the front edge curved to allow a deeper neckline. You would need to take steps to prevent this neck edge from stretching. Facing or binding separate. This one has a straight front edge with an added facing.
There are gathers under the bust into a raised waistline. One pattern piece only. This time however you will have to trace off one side and use the foundation for the other. Mark straight of fabric arrows on both.
Two Uneven Cross-over Styles: The righthand side curves over into the lefthand sideseam where there are folds to form draping across the front. The lefthand side is plain, except for a dart sloping from the Page 64 waist, giving shape but hidden under the top side. Take steps to avoid stretching the centre front lines.
The righthand side crosses over to button on the shoulder. The lefthand side need go only as far as the centreline. Good facings will be needed. Planning is the secret! Check Measurements for Empire Line and Sun Top patterns For measurements "H" to "J", tie a piece of string around the waist and another around under the bust, at the position of the seam ill the Empire Line garment or at the base of the Sun Top or brassiere.
Waist to From the waist up to the string Under Bust position, directly under the bust point. Shoulder to From the neck end of the Under Bust shoulder, over the bust to the string position. This dress line is best suited to the small figure. It is held in under the bust with a seam line.
This placing of the seam causes the bodice to loose some of its length over the fullness of the bust. To correct this take the check measurements "1" and "J", following the instructions of the chart but decide where the seamline is to go first, Diagram example: Curve the new seamline smoothly. Usually it is to give a flatteringly soft line to a dress, but in ell-in-one culottes it will allow for extra bending room at the back.
The garment must sit firmly at the waist to allow the blouson to remain in place. The waist can be elasticised. If the skirt is to be fitting, the zip must be sewn in the skirt part only with hooks and eyes used in the bodice. The zip being too stiff. With fullness at the waist there is no need for bust darts. They may be closed in to the waist or their width shaped from the bottom at the sideseam.
Diagram example: Close in the sideseam dart to the waistline. Magyar Styles usually have adequate room without alteration, but always check. The amount depends on the size of the pad. A medium sized shoulder pad requires lern. Re-shape shoulder lines and armholes. Much later they were to become a separate article. When the neck ruff was worn down instead of up it was called the "falling ruff'. The fullness went out of fashion and it turned into the "falling band", rather large and plain, going on to become the collar and badge of the Puritans.
A collar is an accessory to a garment and can be flattering to the wearer as well as serve a useful purpose. It must look as if it belongs to the design, so its size and shape are all important. Because flat collars are styled on a finished pattern it is easier to see if they are correct. All collars can be cut out in soft paper and tried on or pinned to a tailor's dummy to see if you have drafted correctly and obtained the effect you want.
Before you draft your collar, care will need to be taken with the fit ofyour bodice over the shoulders and around the line of the neck so that the collar will lie correctly. It is important that the collar is the correct size as once cut out its neckline cannot be altered without spoiling the shape. It is a good idea when possible to leave enough fabric for the collar pattern but not to cut it out until you have fitted the garment. When you are sure you have the neckline as you want it you can then check your collar for fit before cutting it out.
Button Wraps Buttonlaps Buttons were invented in the 14th Century. Before that clothes were held together with lacing, tie strings or clasps. The first buttons were made of ceramic or metaL At first women and men buttoned on the same side - right over left, but men changed to left over right so that they could unbutton and draw their sword at the same time.
A button wrap is the extra amount added to an opening which has its edges overlapping and usually joined by button and buttonhole. Hence the name. When deciding on a width for a button wrap always take into consideration the weight of the fabric and the size of the button.
If the overlap is too small, gaping will result. To be used as a guide only. Garments in light fabric add lcm. Blouses, shirts and pyjamas add 2cm. Dresses add 2. Suits, coats and skirts add 4cm. Double breasted garments add 7 cm.
No button wraps are required for zip openings but a wide seam allowance is helpful. The diagrams show the planning for single and double breasted garments. Page 70 r. Peter Pan collars lie flat with the garment.. Mark out and trace off these collars after the bodice patterns have been shaped, adding a button wrap if necessary, but before the final tracing off and before seams have been allowed. After drafting your bodice for the design wanted: The shoulders should touch at the neck edge and overlap by 1.
This 1. Average size 1. Overlap Extra large 2cm. Children lcm. Mark out the size and shape of the collar you require onto the bodices. Always measure from the neckline out. Take into account where the garment opens and the type of fastening. Unpin the bodices and put aside. It must be cut double.
When heavy or springy fabric is to be used the top collar needs to be slightly larger. Flat collars are attached to the bodice by a neck facing or a bias strip, which must be flat and stitched firmly in place.
Page 71 Examples of Flat Collars: Note the overlapping at shoulder point "B". Mark out a collar 7cm. Make the collar gcm. Shape in and trace off. Scallop the collar evenly.
Space at the centre back to allow for the opening. Trace the collar off and mark "CUT 4". Optional straight of fabric. They are usually of a contrasting fabric. Make the neck of the bodice larger so that it will not show above the collar.
Draft as for a flat collar but only overlap the bodice shoulder point by O. Cut double. The collar fastening is at the back. The curving over the shoulder will straighten on the figure. Trace off the collar with the centre front to the fold of fabric. Figure Example 5. Plan the collar on completed bodices as shown. Finish the neckline with a wide bias binding to tack under the bodice neckline.
Page 73 To test any collar cut it out in soft paper and try it on, attaching at the opening with adhesive tape. Creaselines The creaseline on a pattern is a guide line NOT a cutting line. The Stand The stand in any Collar or Shawl Collar is the amount the collar will "stand" up from the neckline before it turns over on its creaseline.
Take this into consideration when finalising the neck scoop. Standing Collars Block Collars Standing collars are styled and shaped on a block foundation. Unlike the Peter Pan type they do not lie completely flat with the garment but have their own creaseline on which they turn over and are raised above the bodice.
They stand away from the garment, sometimes hugging the column of the neck. This creaseline varies for a tailored or casual effect. The measurement above this line must be greater than that below it or the neck seam will show.
When there is a lapel this creaseline is a continuation of the lapel crease or turnover line. The measurement of the Block,' Length Half of the neckline, measured on the back and front of a finished pattern.
We are taking Bern. Take into account the turn-back on the creaseline. Standing collars are mainly placed on the fold of the fabric. Always cut double, making the top collar O.
An exception to this is for small articles of clothing in light fabrics Standing collars are the simplest form of tailored collars.
A further method is shown when outer garments are taught. Examples of Standing Collars Block Collars: II Page 74 Ex.
A larger top-collar pattern piece is necessary for heavy weight fabrics. The lapel creaseline continues around the collar. Attached to the garment with a facing or bias. There are two pattern pieces. Page 77 Combination Collars Some collars do not fit into any set category but mostly you will be able to adapt one of the collars given to suit your requirements.
You may not get it right at the first attempt so it is a good idea to cut the collar out in soft paper or a scrap of stiff material light dress stiITening is ideal and try it on for effect. A piece of sticky tape is handy to hold the collar in place. A lot of the styles today are not neck-hugging but are scooped out. The lower the neckline is the greater the difference between the neck edge and the outside edge. Where there is likely to be any drag on this outer edge it can be cut and spread to allow the extra needed.
The illustrated collar uses the "tailored suit collar" as its foundation. Cut and spread where shown, adjusting to get the effect required. It is nearest to a Peter Pan and will be easier to shape this way.
However it does rise at the back neck. Mark out and trace off the collar using the "flat collar" method. Then cut, spread and overlap at the back, thus narrowing the outer edge there and giving the collar "stand" at the back. It must be on the true "cross" or 'bias" of the fabric and so needs to be attached to the garment with care. Block size: Length Full neck measurement of bodice Width Four times the finished width of the collar stand This pattern is for the whole collar so cut one only in fabric.
Mark as shown in diagram. They can be unobtrusive or a striking fashion note. Lapels, their matching collars and the Shawl Collar type oflapel all have a Crease line or turnover line. As with a collar you can see if you have styled correctly by turning your drafting attempt over on its creaseline.
Because this creaseline is on an angle to the centre front the lie of the lapel changes when folded over. Code for Lapel diagrams: Finish the new neckline halfway along the button wrap "A". In traditional tailoring this centre front is raised by 1.
Fold back on the creaseline to assess if you have the desired effect. Shape in on the front bodice and trace it off. Go at least 5cm. For heavy fabrics add extra onto the outer edges as in block collars. When drafting the block collar to suit your lapel, finish the lapel pattern piece first. Then try your collar against it to get the size, depth and shape required. Lapels without a collar that finish at the shoulder line should have a creaseline that is ruled from the shoulder point to the centre front position, NOT 2.
Page 80 Ex. Planning a lapel without a collar. The finished lapel Ex. Like the lapel it turns back on a creaseline but then continues on to the centre back neck, where it is seamed. It is covered by a facing which is cut to the same shape except that an extra O.
A well designed shawl collar is most attractive and comparatively easy in construction. Many variations are possible and when notched can simulate a lapel and collar. When making a pattern, do the required styling first. Pin down. The angle of the back bodice depends on the scoop of the neck, The higher up the neck, the more upright the finished collar's stand.
Thus 2. Select a measurement between these figures to get the line you want. Point "D" is where the centre back of the bodice crosses the continuation of the creaseline.
Make sure that the back of the collar is wide enough to cover the back neck seam when folded back on the creaseline. If you are unsure, cut out a soft paper collar, double, attach at the back seam and try on Code for Shawl Collar diagrams.
Page 82 Ex. I Figure Example 5. IF" is 7. It is 2. Trace off a facing. Back view Figure Example 5. Any darts or gathers from the neck should be folded out first. These facings can be 5cm. A facing cutright to the armhole edge and going about 6cm. This also gives extra strengthening to the shoulder area. Neck facings can be used to attach your Peter Pan collar to the bodice. NEVER stretch a neckline into its facing. Figure Neck Facings Page 85 Shaped and Lowered Necklines When drafting a shaped neckline it is wise to take some extra "check" measurements to be sure of obtaining the righ t effect.
When viewed on a foundation you are inclined to look at the depth from the shoulder and end up with the plunge or scoop too shallow.