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Unfold your button placket and trace it on another folded sheet of paper. Add ½” seam allowance to the bottom and sides. Do not add seam allowance to the neckline as it is already included in the pattern. Cut the piece out along the new edge.
Now it’s time to make the button placket. You will want to have your buttons picked out by now so you can determine the size of your placket. Buttons generally stop ½” from the top of the placket, but the rest of the spacing can be up to you. I will put my measurements in parenthesis and you can use them if you are planning on using 5/8” buttons.
Follow the curve of the top’s hem and mark 11” down creating a new hem. Make sure that the hem is square with the CF line for about ¼”.
Repeat the process for the bottom placket, but when tracing off the placket from the front pattern piece, you only need to mark the rectangle that is A-B.
on my new patternmaking/cutting table! i thought it was going to take three weeks to arrive, but it only took three days! awesome.
Extend the side seam line downward to the desired length. I added 11” to mine, so I’m going to use 11” for the tutorial, you can replace it with the number you chose.
These are all the pattern pieces you need to create your button placket along with the center back piece of course.
Draw a line parallel to and ¾” in from the CF line. A-B is the length of your button placket, mine is 5½” long. This is the part where the buttons and buttonholes will go. B-C is ¾” and C-D is ¾” as well. Draw a line from F to E, this creates the diagonal which becomes the point of your placket.
The piece you just made is the top placket and is the piece labeled ‘cut 1 self ‘in the photo. You will also need to make an interfacing piece for one side, which is just half of the placket pattern piece. Make yours like the one in the photo because when you cut the interfacing smooth side up it will fuse to the correct side of the placket piece.
Pattern making exhibition FEZ 2011 II
Railtrack and City-Diorama.
More information up: THE BRICK TIME
Make sure that your front and back pieces are the same length along the seam line. Place the back piece on top of the front piece matching the bottom of the seam and walk your pattern up to the top of the seam, be sure to exclude the dart intake.
One last thing… it can be helpful when sewing to mark the corner E on your fabric, so here we’ve punched a little hole through it to allow you to mark.
Lofting is the process in which a vessel designer's lines are drawn out full-sized and used to make patterns for the various parts of a boat.
The School teaches manual lofting and pattern development during the boatbuilding courses from October through mid-June.
Pattern development is a method in which two-dimensional drawings are used to make three-dimensional parts for the boat.
The term "lofting" itself comes from the usual practice of this art in a large open room, a loft, over the boatshop.
The purpose of lofting is to correct the small errors which are a part of designing a boat on paper. The width of a pencil line, for example, on a sheet paper can be several inches wide when expanded to the full-sized boat.
Before the advent of computer lofting, nearly all three-dimensional objects were lofted - ships, aircraft, boats, piping, air-conditioning systems for large buildings, and so forth.
There doesn't seem to be a great deal written about the development of lofting, and we have been unable to find a good history of its development.
Historically, small craft were built "by wrack of eye", that is - based on an earlier boat, and so on back into the mists of time.
It seems that half models were often used to develop hull shapes. The half model doesn't seem to be much known before about 1800, though this is far from certain. This could be because boat builders typically weren't recording their activities.
Half models are usually the hull of a boat, sliced down the centerline. Since boats are supposed to be symmetrical, there was no need to carve the entire hull shape. Once the builder had developed the shape of a half model, he recorded its shape ("took off its lines") and documented that shape in a table of numbers called the "Table of Offsets".
From that Table of Offsets, the boatbuilder, and later, the more specialized loftsman, would lay out the lines of the boat full-sized in a loft. From those lines, the loftsmen would develop the shape of the boat, and represent that three-dimensional shape in four views, usually superimposed on top of each other to save space. Those views are the profile view (the view of the hull from the side), the plan view (which is actually two views - half of the boat from directly ahead, and half the boat from directly astern), and the hlaf-breadth view (the view of the hull from directly above, looking down on it).
The TITANIC, for example, was lofted in this manner.
Once the lofting is complete, it is used to develop patterns for many parts of the boat. The body plan, for example, is used to build the molds which, like slices of bread define the shape of a loaf of bread, define the shape of the boat itself.
The Northwest School of Wooden Boatbuilding is located in Port Hadlock WA and is an accredited, non-profit vocational school.
You can find us on the web at www.nwboatschool.org .
Our mission is to teach and preserve the fine art of wooden boatbuilding and traditional maritime crafts.
We build both commissioned and speculative boats while teaching students boatbuilding the skills they need to work in the marine trades.
We sell our boats to help support the School. Give us a call should you like to discuss our building a boat for you.
You can reach us via e-mail at info@nwboatschool.org or by calling us at 360-385-4948.
You will also want the side seam to be square with the hem. This prevents strange angles where the seams meet, this way they will be smooth.
Now we will mark the seam allowance for the button placket on the front pattern piece. Mark ½” in from the A-B-E rectangle, I’ve done this in blue pen. Cut along that line.
Blend the hem line together until you are happy with it’s shape. You don’t need to add additional seam allowance to the hem since the shirt we traced already included it.
Pattern making exhibition FEZ 2011 II
Railtrack and City-Diorama.
More information up: THE BRICK TIME
White wedding dress made of natural fabrics - silk chiffon, silk satin & cotton. The top is hand made from cuts out of a vintage tablecloth.
Festival Directors:
Michael di Pietro
Shirley Rempe
Photographed and Edited by Arturo Vidich
SUMMER 2010 - FASHION RE/ACTION FESTIVAL
Culture Push and Jem Fabric Warehouse present Fashion Re/Action, a six-week series of studio workshops, collaborative events, and artist's talks exploring new efforts and strategies towards a more sustainable fashion system. Focusing on the power of the individual as a means of change in fashion, Fashion Re/Action aims to give beginners and professionals alike a platform from which to re/design and re/imagine what can be done with discarded materials. Through weekly Saturday workshops focusing on design strategies and creative construction techniques, we invite people to acquire the skills to become an active player in the fashion process and to reassess their ability as both a user and maker. All events are free and open to the public.
The series kicks off on August 14, 2010 with an intensive Remake Relay modeled after Culture Push's "Doing" events. Visitors are invited to use the donated materials provided to repurpose discarded textiles with the help of our experts and a wide range of equipment stations. Each visitor will be guided through the design process and various stations by our relay docents. The festival culminates on September 25th with a second Remake Relay, a fashion performance and competition for the most upcycled garment and creative use of recycled materials. Additional workshop dates include:
8/21 - Patternmaking with Ruffeo Hearts Lil Snotty
Learn construction and tailoring basics with our free recycled materials or your own clothing.
8/28 - Linear Materials
Repurpose old yarn, scraps and clothing into linear materials that can be reused to spin, knit, crochet and macrame.
9/4 - Natural Dyeing with textile artist/performer Travis Boyer
Give new life to an unloved piece of clothing with a unique indigo dyeing workshop/performance, one of the oldest natural dyeing techniques.
9/11 - Working with Remnants
See how a little can go a long way as we make "zero waste" hats, bags, undies and more with scraps and remnants.
9/18 - Wearable Sculpture
Using only found and recycled materials, repurpose the mundane into high fashion art objects.
9/25 - Remake Relay Pt. 2
The six-week Fashion Re/Action series is Culture Push's first workshop festival, growing out of several workshop styles the organization has implemented over the last two years.
Jem Fabric Warehouse aims to not only provide customers with all their fabric and notions needs, but to also foster a collaborative environment by holding a diverse range of events and workshops. Newly reopened at 355 Broadway below Canal Street, Jem continues to serve the wide creative community of downtown designers, artists, and crafters that it has for generations.
Fashion Re/Action will take place each Saturday from August 14th to September 25th, 2010, at Jem Fabric Warehouse, 355 Broadway between Franklin and Leonard Streets in Downtown Manhattan. Subways: 4, 5, 6, J, M, Z, N, R, Q, W trains to Canal Street. For more information please email cp@culturepush.org.
Watch this video on Vimeo. Video created by Culture Push.
1ST BRIEF
karma chameleon boy George
Screen printed backpack and jacket.
Ultimo Tafe Sydney Fashion design studio
Cal is returning to teach a weekend of patternmaking classes at the workroom this Spring!
(photo by Thea Coughlin)
White wedding dress made of natural fabrics - silk chiffon, silk satin & cotton.
The top is hand made from cuts out of a vintage tablecloth.
Here is a little elaboration on step 3... kind of a mirror layered look.
At this point I give up on the idea of abstract layering...
Back to the start
THIS IS PART OF A SERIES ON MY PERSONAL PROCESS ... GO TO THIS LINK TO VIEW THE FULL SERIES www.flickr.com/photos/thirddesign/sets/72157626629147675/...
Camryn writes:
My friend was having to do an orchestral concert and they had to wear formal attire. She had nothing and is not a girly girl, and she is thinking of getting into corsets. I needed to brush up on my patternmaking skills. This is the result, a steampunk coat inspired by a pattern for an Evangeline Ghastly doll with a victorian corset-based middle.
She loved a lot of your designs but we thought the steampunk feathers went best, and she likes dragons so that's why there's one on the front bodice (I don't have a good shot of the front of the coat). I hope that the colours turned out ok because they were nothing like on the phone and I had to colour correct them (i.e. the purple of the taffeta was more plum, but was a deep mauve on the pic at first!).
My friend really loves it and it was a hit with the rest of the orchestra.