Patternmaking

Unit: Science of Textiles and Manufacturing

Problem Area: Project Management and Construction
Lesson: Patternmaking

¢ Student Learning Objectives. Instruction in this lesson should result in students

achieving the following objectives:

1 Identify patternmaking tools.

2 Describe patternmaking techniques.

¢ Resources. The following resources may be useful in teaching this lesson:

E-unit(s) corresponding to this lesson plan. CAERT, Inc. http://www.mycaert.com.
Bhati, Mithlesh. “Basics of Pattern Making,” Fibre2Fashion. Accessed Jan. 10, 2019.
http://www.fibre2fashion.com/industry-article/5658/basics-of-pattern-making.
Camper, Brooks Ann. “Two Myths of Learning To Make Your Own Sewing Patterns,” Brooks
Ann Camper Bridal Couture. Accessed Jan. 10, 2019. https://brooksann.com/two-
myths-learning-make-sewing-patterns/.
Chancey, Jennie. “How to Resize a Pattern.” Sense and Sensibility Patterns. Accessed Jan.
10, 2019. https://sensibility.com/blog/tips/how-to-resize-a-pattern/.
“Create Clothing Patterns with Great Fit and Unique Style,” Clothing Patterns101. Accessed
Jan. 10, 2019. https://www.clothingpatterns101.com/.
Crim, Carla. “Making EPatterns Part One: Drafting & Grading,” Sew Mama Sew. Accessed
Jan. 10, 2019. http://www.sewmamasew.com/2011/04/making-epatterns-part-one-
pattern-drafting-grading/.
Flanigan, Marian. “How to Make Your Own Sewing Patterns,” EHow. Accessed Jan. 10,
2019. https://www.ehow.com/how_2042207_make-own-sewing-patterns.html.

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 Furrer, Suzy. “Patternmaking Basics: The Skirt Sloper,” Bluprint. Accessed Jan. 10, 2019.
https://www.craftsy.com/sewing/classes/patternmaking-basics-the-skirt-sloper/35395.
Garza, Julia. “DIY Pattern Drafting,” Bluprint. Accessed Jan. 10, 2019.
https://www.craftsy.com/blog/diy-pattern-drafting/.
Griffiths, Lori. “Measurements for Pattern Making,” FearlessMakers. Accessed Jan. 10,
2019. https://www.fearlessmakers.com/measurements-for-pattern-making/.
“How a Sewing Pattern is Born,” So Sew Easy. Accessed Jan. 10, 2019. https://so-sew-
easy.com/sewing-pattern-born/.
Reyes-Loiacano, Ruth Ann. “Getting Started: Pattern Making Basics,” Isn’t that Sew.
Accessed Jan. 10, 2019. http://isntthatsew.org/pattern-making-101/.
“Sewing 101 Pattern Drafting,” Fabric.com. Accessed Jan. 10, 2019.
https://www.fabric.com/blog/sewing-101-pattern-drafting/.
Smith, Nicole. “Create a Custom Sleeve Pattern,” Threads. Accessed Jan. 10, 2019.
http://www.threadsmagazine.com/2008/08/19/create-a-custom-sleeve-pattern.
Vandermeulen, Janet. “Sloper, Block, or Pattern?” 7 Pine Design. Accessed Jan. 10,
2019. http://7pinedesign.com/sloper-block-or-pattern/.
Wang, Alexander. “Fundamentals of Pattern Making: Pattern Notches,” The Cutting Class.
Accessed Jan. 10, 2019. http://www.thecuttingclass.com/pattern-notches-alexander-
wang/.
Weinberg, Craig. “What is 1D, 2D, 3D, and 4D? How is it easily understood by a begin-
ner?” Quora. Accessed Jan. 10, 2019. https://www.quora.com/What-is-1D-2D-3D-and-
4D-How-is-it-easily-understood-by-a-beginner.

¢ Equipment, Tools, Supplies, and Facilities

ü Overhead or PowerPoint projector
ü Visual(s) from accompanying master(s)
ü Copies of sample test, lab sheet(s), and/or other items designed for duplication
ü Materials listed on duplicated items
ü Computers with printers and Internet access
ü Classroom resource and reference materials
ü Props: (supplies for interest approach)

¢ Key Terms. The following terms are presented in this lesson (shown in bold italics):
> awl
> blending
> block pattern
> computer aided design (CAD) software
> craft paper
> cutting mat
> dart
> draping
> dress form
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 > ease
> facing
> flat pattern
> French curve
> grading
> hem gauge
> hip curve
> lining
> measuring tools
> muslin
> notcher
> pattern
> pattern drafting
> pattern markings
> pattern weights
> patternmaker
> patternmaking
> proportion
> prototype
> ratio
> rotary cutter
> sewing gauge
> slashing
> sloper
> tailor’s chalk
> tailor’s square
> toile
> tracing wheel
> trueing
> vary form curve

¢ Interest Approach. Use an interest approach that will prepare the students for the
lesson. Teachers often develop approaches for their unique class and student situations. A
possible approach is included here.

Let’s face it, commercial patterns can be a bit deceiving, and sometimes the
instructions can be a bit complicated, even for an advanced sewer.
Patternmaking is a skill that takes practice. The more a sewer plays with
patternmaking techniques—making adjustments, correctly using the appropriate
tools, and drafting a basic template—the more rewarding it becomes. Once a
basic template is created, it serves as a tool to create other patterns. Adding

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 your own unique design and perspective to sewing is very creative and satisfying.
So, let’s take sewing to a new level and explore the basics to patternmaking!

CONTENT SUMMARY AND

TEACHING STRATEGIES
Objective 1: Identify patternmaking tools.

Anticipated Problem: What is a pattern? What is patternmaking? What tools are

required for patternmaking?

I. Patternmaking tools

A pattern is a template used to create an article or articles of clothing.

Patternmaking is the design of a template for an article of clothing. A patternmaker
designs or creates the pattern templates for different clothing designs. These patterns
are laid out onto fabric. The fabric is then marked and cut to the specifications of the
pattern. Finally, the fabric is sewn to resemble the original clothing design. Several
alterations and adjustments can be made during the sewing of a pattern.

A. APPROACHES: There are two basic approaches to making clothing patterns: flat
pattern and draping.
1. Flat Pattern: Flat pattern is a pattern created by cutting fabric on a flat sur-
face in two dimensions (length and width); most lines are at right angles.
2. Draping: Draping is working with fabric on a stand or on a mannequin to find
out what the fabric wants “to do.” The patternmaker creates a rough shape on
the manikin and then marks, notches, and makes notes about each element
(e.g., sleeve, bodice, skirt, cuff, etc.). Then, the pattern is traced onto flat fab-
ric uses different techniques when creating a pattern template.
B. SKETCHING: A patternmaking drawing can be a 2-dimensional sketch that
illustrates the length and width of a design pattern. A 3-dimensional sketch
illustrates, length, width, and depth. This dimensional sketch adds volume to the
length and width measurements and is accomplished by adding curves or darts to
more realistically depict the finished garment. A 4-dimensional model is a
prototype that involves draping fabric onto a dress form or a person. While
creating the illusion of length, width, and height, the patternmaker is also able to
add space or gravity—that 4th dimension—to see how a pattern will “wear or
hang” on a person.
C. MEASURING TOOLS: Measuring tools are instruments used to calculate size or
shape to create an accurate pattern. They can be in the form of metric units,
(e.g., meters and centimeters) or as imperial units of the legacy system (e.g.,
yards, feet, and inches). These tools are used to collect measurements from a

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 person, form, or model. They are also useful in drafting patterns. Pattern drafting
is the process of producing a pattern by collecting and using specific
measurements from a person, a form, or a model. Measuring tools are essential
to ensure a correct fit for an article of clothing. Drafting tools are essential for
creating sketches and pattern templates to ensure a proper fit. Some necessary
drafting tools used to sketch or to create a pattern template include:
1. Rulers: A clear 18" plastic ruler is used by a patternmaker to create clear and
concise markings, such as legs of darts and seam allowances. A tape measure
allows a tailor to precisely measure around curves or corners. A yardstick is
used to measure fabric, hem lengths, and to check the grain line. A tailor’s
square is a two-armed ruler, shaped like an L used to draft or scale down an
existing pattern. It is often referred to as an L-square in which the long arm
measures 24 inches and the short arm measures 14 inches.
a. Curves: A French curve is a measurement tool that creates necklines,
armholes, and other curved lines. A hip curve is a measurement tool that
creates long, slightly curved, measurements for hips, thighs, and lapels;
inch measurements are on one side and centimeters on the other. A vary
form curve is a scale (ruler) that bends to shape a variety of pattern
template items: armholes, necklines, and side seam curves.
b. Gauges: A hem gauge is a ruler used to measure hemline folds to allow
hemming on the grain line. A sewing gauge is a 6-inch ruler with a
movable marker used to measure short lengths, such as the width of a
seam allowance.
D. MARKING TOOLS: The most common marking tools are an awl, a notcher, a
tracing wheel, and tailor’s chalk.
1. An awl is a pointed tool used to pierce small holes in pattern pieces. Awl
markings can indicate pocket placement, trim lines, buttonholes, or the end of
darts. It can also be used for piercing through and stitching two or more layers
of thick fabric in place, such as leather (a task for which a machine may have
trouble).
2. A notcher is an essential pattern tool that creates pattern markings on fabric,
such as darts, seam allowances, centerlines, and ease lines. It is also used to
help identify front pattern pieces from back pattern pieces.
3. A tracing wheel is a tool with a blunt saw-tooth or a smooth edge wheel,
used to transfer markings from patterns onto fabric. For the markings to trans-
fer, the patternmaker must use a special carbon transfer paper. A tracing
wheel is used to mark pleats, darts, buttonholes, pockets, or appliqués. It is
also useful for retracing patterns or transferring markings from draped muslin
onto paper.
4. Tailor’s chalk is hard chalk or soapstone used to apply markings, such as
seams, style lines, and darts, onto fabric or pattern pieces.
E. DRAWING TOOLS: An assortment of pencils and pens are essential for drafting
patterns onto the paper or transferring markings from fabric onto paper and vice
versa. They are also used for sketching, drawing, and marking various pattern

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 pieces and labeling pattern parts. An eraser is essential for removing unwanted
markings on a pattern template. Craft paper is a strong, durable brown paper
preferred by most designers for drafting and sketching patterns and templates.
Designers may also use this paper because it doesn’t tear as easily as other forms
of paper, which is an advantage when draping pattern templates on a dress form.
CAD software is computer software that creates precision drawings or technical
illustrations in 2D or 3D models. CAD software that can be used for patternmaking
and drafting include Adobe Photoshop, Illustrator, and Creative Cloud.
F. CUTTING TOOLS: Scissors are essential to cut patterns, paper, and/or fabric. A
rotary cutter is ideal for cutting through multiple layers of fabric. A cutting mat
should be used when cutting fabric.
1. Scissors/Shears: There are several types of scissors and each has a specific
purpose: applique, buttonhole, crafting, embroidery, pinking, tailors, etc. Scis-
sors intended for use on fabrics are never used to cut paper. Cutting paper
dulls the blade making it difficult to cleanly cut fabric. Shears (basically, scis-
sors with longer blades) may be used, also.
2. Rotary Cutter: A rotary cutter is a hand-operated tool with a handle attached
to a circular blade that cuts through multiple layers of fabric and a pattern
without lifting. A shear or scissor can shift layers when it slides under them.
Rotary cutters require the use of a mat to protect the cutting table and the
blade.
3. Cutting Mat: A cutting mat is a protective work surface that saves tables and
counters from damage and increases the life of blades, especially rotary cutter
blades. Most are printed with a right-angle grid and show a 45° diagonal line
for bias cutting. They come in a variety of sizes.
G. MISCELLANEOUS TOOLS: Pattern weights are weights that are used to hold
down pattern paper (craft paper) so that the paper stays flat and in place. They
weigh about three pounds and prevent the paper from moving when marking and
tracing. Scotch tape is useful for mending errors in the drafting paper or to join
two pieces of paper together to extend (alter) the pattern. It can also be useful
when using the slashing technique. A stapler can help to make darts and prevent
pattern pieces from slipping when marking or cutting. A staple remover eliminates
the staples from fabric or paper during the marking or cutting. Straight pins fasten
pattern templates onto fabric. Push pins can secure pattern pieces and help
transfer markings from muslin patterns onto paper.

Teaching Strategy: Many techniques can be used to help students master this
objective. Have students visit the basic tools and tool functions sections of
http://isntthatsew.org/pattern-making-101/.

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Objective 2: Describe patternmaking techniques.

Anticipated Problem: What is a prototype? What are common patternmaking

techniques? What skills do a patternmaker possess? What is a sloper pattern? What is a
block pattern?

II. Patternmaking techniques

A prototype is a sample or model that is produced from a concept, idea, or draft. A

patternmaker must be able to produce a prototype in order to present the design to
the client. Mathematics skills are necessary to create a pattern and to fit a garment.
Reading a ruler or tape measure is essential to accurate patternmaking tasks. [NOTE:
The E-unit includes a complete set of rules for reading an English ruler.]

A. MEASUREMENTS: Accurate body measurements are essential to creating flat

patterns and customized fitted patterns. Several measurements are taken and it is
best to have someone other than the client take the body measurements. Height,
bust, waist, hips, inseam, and arm are the most common measurements but
there are more. In order to fit a person for a pattern, a patternmaker needs a
blueprint of the person being fitted. This includes several circumference
measurements as well as vertical and horizontal measurements of the front and
back of the person.
1. Ratio: Ratio is a numerical comparison that indicates the relative sizes of two
or more quantities. The numbers can be any quantity: length, width, height,
etc. In the clothing industry, a physical standard was adopted that embodies
the idea of proportion. Using the standards for a “regular” body (versus a long
or a short body) assumed to be upright: the ratio of the waist to the seat is 34
to 40 (or 34:40) and the ratio of height to waist is 68 to 34 (or 68:34).
a. Regular length measurements for a woman:
(1) Height = 5 feet, 8 inches
(2) Nape to waist = 17 inches
(3) In sleeve = 18 inches
(4) In leg = 32 inches
b. Regular girth measurements for a woman:
(1) Bust = 38 inches
(2) Waist = 34 inches
(3) Seat = 40 inches
2. Proportion: Proportion is the relative size and scale of a design or pattern ele-
ment, in relationship to other parts of the whole design or garment. The
human body is the most universal standard of measurement. For example, an
excessively large textile pattern can overwhelm the form of a garment or a dec-
orative interior piece (pillow, wall covering, window covering).

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B. PATTERNMAKING SKILLS: To create a pattern template and/or a prototype,
patternmakers may create a sloper or block pattern and then apply the skills of
blending and trueing.
1. Sloper: A sloper is a basic paper garment pattern that is created for specific
body measurements and does not include seam allowances, wearing ease, or
any other design elements. It is a tool used as the first step toward making a
block pattern. There are six basic slopers: front bodice, back bodice, front skirt,
back skirt, sleeve, and pant.
2. Block Pattern: A block pattern is multiple silhouettes of basic, custom fitted
patterns (slopers) from which other patterns, sizes, and styles can be created
and mass produced. Block patterns are used in an industrial production set-
ting. When creating blocks and slopers, it is important to “blend” and “true” a
pattern.
3. Blending: Blending is the process of smoothing and shaping angular and
curved lines of a pattern ensuring all pattern elements “come together” and
are clean.
4. Truing: Trueing is ensuring all the corner points of the pattern come to a 90°
angle and that the seam lengths are even. Trueing also ensures that any darts,
pleats, etc. come together to give a finished and even look. Blending and true-
ing help ensure the pattern is neat and that no inconsistencies are visible
when sewing. Copying the original block or sloper pattern onto paper, when
creating a new pattern, ensures the original pattern stays intact.
C. CONSTRUCTION SKILLS: A patternmaker must know how to manipulate darts, add
or reduce fullness to a garment, change the size of a finished pattern, allow for
wearing ease, and create new patterns from existing patterns or garments.
1. Dart: A dart is a fold or a tuck that comes to a point and gives a garment
shape and better custom fit. Patternmakers must manipulate darts to give a
pattern or template a proper fit for the client. The process includes taking a
basic sloper and adjusting the beginning and end point of the original dart to
create a more flattering fit for the client. Standard darts are shown on the
sides of the pattern, however, they can be placed virtually anywhere on the
pattern to ensure that the fabric fits the natural curves of the body. Darts can
also be used to add other features such as gathers and pleats.
2. Slashing: Slashing is a cutting technique used to add or to reduce fullness.
Slashing and spreading a pattern adds width or length to a pattern. Slash and
closing is a technique to reduce fullness. Spreading the slash cuts creates an
open or fuller pattern such as that of an A-line skirt or dress. Slashing is used
to create ruffles, flounces, or pleats for a pattern. If a patternmaker is looking
to close a slash to reduce fullness, it can be done by closing darts.
3. Grading: Grading is the process of changing the size of a finished pattern. The
purpose of grading a pattern is to provide multiple body types and sizes at the
same proportion, fit, and shape of the original flat pattern. Slashing and pat-
tern shifting are the most common ways to grade an original pattern. Slashing,
or cutting and spreading the pattern, is more accurate than pattern shifting.

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 Shifting is the process of moving the original pattern horizontally and vertically
along a central axis to change the pattern size.
4. Ease: Ease is the minimum amount of space that a garment needs to allow
for comfortable body movement. Body measurements and garment measure-
ments will differ to allow for wearing ease. A positive ease is used for loose fit-
ting garment designs, while a negative ease is used for form-fitting designs.
When designing patterns, it is important to include ease, whether positive or
negative.
5. Existing Garments: New patterns are often created from an existing pattern or
from garments. To do so, the garment seams are opened and each piece is
marked with construction details that need to be considered when creating the
new pattern templates.
a. A facing is a piece of fabric turned to the inside of a garment that is used
to finish the raw edges of the fabric. A facing hides construction details,
supports the shape of the garment, and gives a garment a clean and
polished look. Facings are mostly used to finish edges in necklines,
armholes, hems, and any other garment opening.
b. A lining is a layer of fabric that is stitched separately and then attached to
the inside of a garment. Its purpose is to hide inner construction details
and add shape and support to a garment. It also creates opacity and
makes the garment more comfortable to wear.
D. PATTERN MARKINGS: Pattern markings are symbols on individual pattern pieces,
that indicate how the pattern pieces should be sewn. Pattern markings fall into
three general categories: fit adjustments, cutting guides, and construction. Grain
line, fold line, and notches are basic pattern markings on all commercial patterns.
Layout and cutting guides as well as construction markings are essential during
the sewing process.
1. Fit Adjustments: A double line that is parallel to the grain line and is used to
add or to take away length: lengthen or shorten here. Other fit adjustments
include size selection lines (pattern tissue often has multiple size lines
imprinted) and circumference measurements (e.g., a circle with crossed lines
indicates where a pattern has been designed to land on specific body
measurements).
2. Cutting Guides: The phrase “cut on fold” is common on patterns: center back
fold or facing fold. Grain lines are marked on all pattern pieces to indicate how
the pattern piece is to be laid out on uncut fabric, in relation to the selvedges.
Grain lines are usually placed parallel to the selvedge edge of the fabric.
3. Construction: Pattern markings for construction indicate how the pattern
pieces are sewn together. They can show how to distribute ease, create darts,
and where to gather. Crucial construction marks include: notches (triangular
marks), dots, squares, and large triangles, darts (series of dots that create a
triangle), tucks, pleats, buttons, closures, appliques, stitching lines, waistline
markings, and pocket placements.
4. Helpful Markings: A pattern usually has markings that indicate the style num-
ber of the pattern and the pattern size. Individual pattern pieces have their

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 name written on them, along with view letters. Patterns also have lining and
interfacing information.
E. FITTING AND FINISHING: Patternmakers make a test garment of muslin (a toile) to
ensure proper fit and design before cutting into the actual garment fabric. A dress
form is utilized to design, drape, and fit garments.
1. Muslin: Muslin is unbleached woven cotton fabric that is inexpensive, plain,
lightweight, and ideal for draping. It is better to use muslin than paper,
because muslin is easier to alter and it is easier to create folds, tucks, and
lines.
a. Process: Patternmakers mark, pin, cut, and even sew the muslin fabric at
this point in the fitting process. When the muslin pattern is perfected, it is
unpinned and carefully marked and laid out onto paper. Then, the paper
pattern pieces are laid out on and cut from selected (often more
expensive) fabric.
b. Toile: A toile is a garment made from inexpensive fabric to test a pattern
before the actual fabric is used. Because a toile is commonly made from
muslin, it has become common practice for patternmakers to refer to a
toile as a muslin.” A toile is created to ensure the fit of a pattern before
cutting more expensive fabric, such as silk or linen. Alterations are often
made in the pattern pieces before cutting the expensive fabric.
2. Dress Form: A dress form is a three-dimensional model of the human body
used to design, drape, alter, and fit garments or patterns. Dress forms are
usually a torso constructed of a hard interior and a fabric or foam exterior (use-
ful for pinning). Some forms are made to a client’s measurements, while oth-
ers are adjustable. Dress forms are not mannequins. Mannequins have a hard
outer shell and represent the entire body. Dress forms come in a variety of
styles including torso, display, professional, bifurcated (that include legs), and
adjustable. Dress forms are available in male, female, child, and infant
models.

Teaching Strategy: Many techniques can be used to help students master this
objective. Use VM–A through VM–C and http://isntthatsew.org/pattern-making-101/ to
review patternmaking techniques. Assign LS–A to have students create a sleeve sloper
pattern. Assign LS–B for students to create a prototype of their sleeve sloper.

¢ Review/Summary. Use the student learning objectives to summarize the lesson.

Have students explain the content associated with each objective. Student responses can
be used in determining which objectives need to be reviewed or taught from a different
angle. If a textbook is being used, questions at the ends of chapters may also be included
in the Review/Summary.

¢ Application. Use the included visual master(s) and lab sheet(s) to apply the
information presented in the lesson.

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¢ Evaluation. Evaluation should focus on student achievement of the objectives for the
lesson. Various techniques can be used, such as student performance on the application
activities. A sample written test is provided.

¢ Answers to Sample Test:

Part One: Matching
1. f
2. h
3. j
4. b
5. d
6. a
7. i
8. e
9. g
10. c

Part Two: Completion

1. patternmaker
2. prototype
3. sloper
4. dart
5. slashing
6. ease
7. block pattern
8. muslin
9. trueing
10. pattern markings

Part Three: Short Answer

Grading is the process of changing the size of a finished pattern. The purpose of grading
a pattern is to provide multiple body types and sizes at the same proportion, fit, and
shape of the original flat pattern. Slashing and pattern shifting are the most common
ways to grade an original pattern. Slashing, or cutting and spreading the pattern, is
more accurate than pattern shifting. Shifting is the process of moving the original
pattern horizontally and vertically along a central axis to change the pattern size.

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 Sample Test
Name ________________________________________

Patternmaking
u Part One: Matching
Instructions: Match the term with the correct definition.

a. draping f. pattern
b. flat pattern g. pattern drafting
c. French curve h. patternmaking
d. hip curve i. toile
e. notcher j. vary form curve

_____1. A template used to create an article or articles of clothing

_____2. The design of a template for an article of clothing
_____3. A scale (ruler) that bends to shape a variety of pattern template items: armholes,
necklines, and side seam curves
_____4. A pattern created by cutting fabric on a flat surface in two dimensions (length and
width); most lines are at right angles
_____5. A measurement tool that creates long, slightly curved, measurements for hips, thighs,
and lapels; inch measurements are on one side and centimeters on the other
_____6. Working with fabric on a stand or on a manikin to find out what the fabric wants “to
do.”
_____7. A garment made from inexpensive fabric to test a pattern before the actual fabric is
used
_____8. An essential pattern tool that creates pattern markings on fabric, such as darts, seam
allowances, centerlines, and ease lines
_____9. The process of producing a pattern by collecting and using specific measurements from
a person, a form, or a model
____10. A measurement tool that creates necklines, armholes, and other curved lines

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u Part Two: Completion
Instructions: Provide the word or words to complete the following statements.

1. A person who designs or creates the pattern templates for different clothing designs is a/an
_________________________.

2. A sample or model that is produced from a concept, idea, or draft is a/an

_________________________.

3. A basic paper garment pattern that is created for specific body measurements and does not
include seam allowances, wearing ease, or any other design elements is a/an
__________________________.”

4. A fold or a tuck that comes to a point and gives a garment shape and better custom fit is a/
an _________________________.

5. A cutting technique used to add or to reduce fullness _________________________.

6. The minimum amount of space that a garment needs to allow for comfortable body
movement is _________________________.

7. Multiple silhouettes of basic, custom fitted patterns (slopers), from which other patterns,
sizes, and styles can be created and mass-produced, is a/an _________________________.

8. Unbleached woven cotton fabric that is inexpensive, plain, lightweight, and ideal for draping
is _________________________.

9. Ensuring all the corner points of the pattern come to a 90° angle and that the seam lengths
are even is called _________________________.

10. Symbols on individual pattern pieces, that indicate how the pattern pieces should be sewn,
are called _________________________.

u Part Three: Short Answer

Instructions: Answer the following.

Describe the process of grading in patternmaking and differentiate between slashing and
patterning shifting techniques.

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VM–A

SLOPER PATTERNS
A sloper is a basic paper
garment pattern that is
created for specific body
measurements and does not
include seam allowances,
wearing ease, or any other
design elements. A
patternmaker is shown tracing
a sloper onto craft paper so
that she can customize the
pattern without altering the
original sloper, which will then
be added to his/her block of
patterns.

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VM–B

BLOCK PATTERNS
A block pattern is multiple silhouettes of basic, custom
fitted patterns (slopers) from which other patterns and
styles can be created and mass. The image shows several
patterns that have been altered from original slopers.

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VM–C

DRESS FORM
A dress form is a three-dimensional model of the human
body used to design, drape, alter, and fit garments or
patterns. Dress forms are usually a torso constructed of a
hard interior and a fabric or foam exterior (useful for
pinning).

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LS–A
Name ________________________________________

2D Sleeve Pattern Sloper

Purpose
The purpose of this lab activity is to create a custom 2D sleeve pattern sloper using your body
measurements.

Objectives
1. Take your measurements using appropriate tools.
2. Use your measurements to make/draft your sloper on drafting/craft paper.
3. Complete a pattern template of your custom sleeve and cut out the sloper.

Materials
t lab sheet
t device with Internet access
t pencil, eraser
t tape measure
t French curve, tailors curve, vary form curve
t clear ruler
t cutting tools
t craft paper

Procedure
1. Review your class notes about 2D pattern slopers.
2. Access and read the Threads website article, “Create a Custom Sleeve Pattern” at
http://www.threadsmagazine.com/2008/08/19/create-a-custom-sleeve-pattern.
3. Work with a partner to get your exact body measurements for the custom sleeve pattern.
4. Using your measurements, make/draft your sloper on drafting/craft paper.
5. Complete a pattern template of your custom sleeve onto drafting paper and cut out the
sloper you have just created.
6. Turn your completed lab sheet and sketch/pattern piece in to your instructor.

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LS–B
Name ________________________________________

Create a Prototype from a

Flat Pattern Template
Purpose
The purpose of this lab activity is to create a prototype using the sleeve sloper pattern you
created in LS–A.

Objectives
1. Demonstrate 2D/3D/4D patternmaking techniques: alter, transfer, pin, mark, and sew.
2. Develop a prototype from a flat pattern sketch and craft paper template.
3. Try on the sleeve sloper as many times as necessary to create a ‘perfect prototype.’
4. Update your sketch and craft paper sleeve sloper.
5. Display your finished prototype.

Materials
t lab sheet
t dress form
t muslin
t straight pins
t shears, scissors
t sewing machine
t needle, thread
t pencil, eraser

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Procedure
1. Use the sleeve sloper sketch created in LS–A to create a prototype using a dress form,
pins, and muslin and other tools provided for you.
2. Using your LS–A sketch and craft paper template:
a. Alter Your Pattern. Review details of your flat pattern sketch and the craft paper
template. Determine if any 3D effects should be added to the pattern template to
give shape or volume. [TIP: Ask your teacher to review and confirm the sequence of
alterations you propose before making those changes.]
b. Transfer Pattern to Muslin. Mark/trace the sleeve pattern template (sloper) onto
muslin fabric. Then, cut out the sleeve.
c. Pin, Mark, and Sew. Pin, mark, and sew your fabric sleeve.
d. Try On For Fit. Try your sleeve on. Make any needed adjustments to customize the
fit. For example, manipulate your fabric to create the lines and silhouette just like in
your sketch or, if they are not in your original sketch, they may need to be added to
the sketch, (e.g., darts, pleats, tucks, etc.). Manipulate the fabric template as
needed. Update your sketch.
e. Final Adjustments. Make any necessary adjustments and try on repeatedly until you
have a perfect fit prototype. Update your sketch.
f. Adjust Sloper. After final prototype adjustments, add or remove any details until you
are pleased with the final sketch of your template. You may need to remove stitches
and transfer those markings onto your sloper. (Remember, a sketch is a preliminary
vision, it can be manipulated several times before a designer is satisfied.) Please
make any necessary adjustments to your sketch using a different color pencil or pen
to show the adjustments made to your final prototype. (This final template may be
added to your sloper collection.)
3. Display your completed sketch, template, and sloper.
4. Turn your completed sketch, template, and sloper in to your instructor.

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