Drafting a Sleeve from scratch and Sleeve Variations | Caroline Barulis PurePatternCutting | Skillshare

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Drafting a Sleeve from scratch and Sleeve Variations

teacher avatar Caroline Barulis PurePatternCutting, Pattern Cutter & Maker

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Final Sleeves Introduction


    • 2.

      Drafting a Sleeve block from scratch the cheat way


    • 3.

      Shortening a long sleeve


    • 4.

      Drafting a Flared Sleeve


    • 5.

      Drafting a Bell Sleeve with cuff


    • 6.

      Drafting a Capped Sleeve


    • 7.

      Adding height to a sleeve head for shoulder pad


    • 8.

      Drafting a Gathered Sleeve head


    • 9.

      Drafting a Raglan Sleeve


    • 10.

      Drafting a Kimono Sleeve & Conclusion


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About This Class

Course Outline:

1) Intro

2) Drafting a Sleeve block from scratch the cheat way

3) Shortening a long sleeve

4) Drafting a Flared Sleeve 

5) Drafting a Bell Sleeve with cuff 

6) Drafting a Capped Sleeve

7) Adding height to a sleeve head for shoulder pad

8) Drafting a Gathered Sleeve head 

9) Drafting a Raglan Sleeve

10) Drafting a Kimono Sleeve and Conclusion 

We will cover:

- An explanations of pattern terminology and labeling up of patterns

- More advanced understanding of sleeves 

- Creating a sleeveless block to fit to your bodice block found in my other courses

- Creating multiple sleeve variations from designs and sketches

- Sleeve alterations from the block 

- Understanding how sleeves work 

- How sleeves can add a different dynamic to an ordinary design 

- Technical issues regarding sleeves such a adding height for shoulder pads 

What am I going to get from this course?

  • Learn the tricks of the trade
  • Learn the techniques of how to make patterns and variations of pattern requirements 
  • How to create your own sleeve block that will fit into your existing bodice block found on my other courses 
  • Handy ways to create and draft a sleeve block 
  • Look at how to solve tricky problem areas and variations on specific sleeves  
  • Experience different ways of how to make sleeve design and variations 
  • How to manipulate a basic sleeve block into varied designs 

Course Requirements:

You should come with a passion to learn pattern making or a basic knowledge to learn more. 

All of the lectures are delivered by video. The content is a fabulous introduction to the wonderful world of Pattern Cutting & Making. Which is the key skill in garment making. At the end of the course you will be ready to move forward in your pattern cutting journey.

If you want to enhance your career in one of the most competitive careers on the planet, then this is the course for you.

This course is designed for:

- Fashion students

- Fashion lovers

- Industry professionals 

- Hobbyists

- Pattern cutters and makers

- Aspiring home dressmakers

- Fashion enthusiasts

Equipment you will need is: *Basic Bodice block/sloper. *Please note I have a separate course on this to draft your own bodice block.Pencil, Ruler, Rubber, Calculator, Measuring tape, Pattern paper, Notcher, Tracing wheel

Meet Your Teacher

Teacher Profile Image

Caroline Barulis PurePatternCutting

Pattern Cutter & Maker


I'm Caroline, a Creative Pattern Cutter and Maker and specialise in draping and modelling on the stand. I have worked at the heart of London and Paris fashion for over 20 years and have focused my career in the luxury and ready-to-wear sector, creating iconic garments for the stores and catwalk along side bespoke/couture and made to measure garments. I have worked for a large number of design houses, fashion magazines and stylists including designing and pattern cutting for high profile clients and celebrities including Victoria Beckham, Sienna Miller, Lady Gaga, Beyonce and The Duchess of Cambridge. I'm so pleased I can now share some of skills I've learned along the way with you!

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Level: All Levels

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1. Final Sleeves Introduction: Hello and welcome back to my courses. I am Caroline Morales and I am here to bring you an amazing new course on sleeves, drafting sleeves, sleep alterations, adaptations to sleeves. You name it even if your cuffs thrown in for good measure. So a couple of things that you'll need is, well, the most important thing is your 4D block front and back. And if you don't have one of these, there is another course that I've got on how to build your body's block and slope from scratch, front and back. So I've got my these are UK based size. You can buy them online, you can find them in other stores, but I encourage you to build your own because they're all so unique. And then with that, we can help draft your sleeve block from that. So the first part of the course is actually drafting the sleeve from the body block. And I've had so much interest about doing this. And that's why I bought this course to life for you because I had all of these fab courses on body blocks and, and drafting and upfront about policies and everybody said, but I need to know about sleeves as well. So this is one just for sleeves. So the first part of the course is all about drafting a block or slow car from scratch. My crafty little cheats guide to help us do that. And then there's loads of different lessons after that about different styles of slaves. Everything from rag gland. We've got fled sleeve, shortening cap sleeve, a kimono sleeve, right gland sleeve. Um, yeah, we're doing all different ways of drafting as well and also some slush and spread formulas and lots of cutting and sticking and taping and me getting messy. But a few things, again you'll need is your blocks initially, and then you'll have your sleep block after that. Or you can work on your half or quarter scale blocks and it's absolutely fine. I do work in full-scale measurements though, so just bear that in mind. Your rulers. I love my grading square, but this is a very handy tool for curves and your arm holes. This is a pattern master or a French curve. Again, I've got an, I might begin as course and my the slope because I've got lessons on there specifically all about equipment, so you can go and check those out before you join. A pencil and a trustee rubber your measuring tape most definitely a bit of sticky tabs, always handy. And a calculator if you're struggling in that department like I do. And it doesn't matter how you draft or anything like that. I've just got a piece of plywood over my dining room table and a nice role of pattern paper. You can do it on anything you'd like. I've got my mannequin here. You don't particularly need your mannequin that just come with an open mind and a sense of humor. And I'm so pleased to bring you this new course on sleeves. I hope you enjoy it. 2. Drafting a Sleeve block from scratch the cheat way: Lesson two, drafting a slave from scratch. So in this first lesson about sleeves, I'm actually going to show you how to draft a sleeve block from scratch. Now I do have a previous course about drafting slopes, slope as and blocks. Lesson two, drafting asleep from scratch. Now, in this first lesson, I'm actually going to teach you how to draft a slave from scratch. Don't let all of this confuse you right now. I'll go over all of this. But this is what a basic bodies block looks like. This is a little bit wear and tear, sorry, this is my regular block that I use for everything and it's probably a, well, it's quite a few years old. You can use also your half scale blocks or quarter scale block. So they will look something like that. If you find that easier to work on a smaller scale. But I'm gonna be working with real size measurements for a UK base size eight. So this, obviously, this method can be used for all sorts of slaves. Don't take the measurements as gospel, like I say, with all my courses, I do use a base size UK eight, size eight, so the measurements can all be interchanged. I also have a course on grading if you need to grade up your blocks afterwards. What I would suggest is you go and look at my course about making your own block and slope, or if you're unaware about what this is, I'm not gonna go over it hugely here because I do have a separate course all about that. But it is, you're really basic outline of your fixed measurements, whether that be a US, UK size, 8101214, whatever, or your own body measurements. It's just kind of almost like the outer shell, the skin of your flat pattern on the half scale, on the half block, the front and back looks something like that. The back and the front. And that's what it looks like without all of the manipulation, but it's with all the suppression that's built in. I've got a separate course on that. That's your bodice front and back and are from popular demand. I have been asked to do one on sleeves. So what you do need to have before you draft this sleeve is your base size block, whatever you're using because you do need that arm whole shape to create your sleeve block. So in the end it will look like that. So in my blocks and slope as course, you'll have a front and back bodice, which we interchange into dresses and things like that. And I've got other courses all about that. And this one is all about drafting your sleeve and sleeve alterations and adaptations. But what you do need, like I said, you do need this arm hole curve to create this shape that goes in. Now, I have been taught how to draft sleeve crowns and sleep heads. So many times over the years, I've been in industry for nearly 20 years. I know I don't look at but I've had it taught by Savile Row by I won't name names because they, I've been taught by some really prestigious universities and colleges and professors. And some of them have got some really complicated ways. And then I went to one person and they showed me this really easy way and it might not be for everybody. It's with anything you find your method that suits you. But like I say, I know quite a lot of complex patterns, but some ways I was taught was so complicated. I just thought, Oh my gosh, I can't get my head around all of that and it's just too much. And I was drafting really quickly. I almost needed to have like a quick fix cheats version. And I'm going to show you that right now. Honestly, it's saved me 15 years of pain. I think after trying and trying and trying to get my head around whatever it was I was trying to achieve and not achieving it. Again, the measurements, they are fluid and flexible. I'm gonna show you a really cheap, easy way of drafting asleep. And like I say, it is interchangeable. It is fluid measurements. You do need to manipulate a few lines. Pattern drafting is like an artwork, so it doesn't have to be so rigid. I get a lot of questions online about my arm holding quite look like that. So do I need to move that is all fluid and it's all smooth. So you do need to work with curved lines and move things around if it doesn't look quite right, but that will come with practice. So I've just drawn this little sketch for you here just to show you basically what we're going to do. So the most important things is you need your front and back body, like I just said. And we're gonna just this red line here. It's going to marry up to these ones here. And i'll, I'll keep bringing this back to show you. So don't let this worry you quiet just yet, but I'm just going to show you what we're trying to achieve from working with these measurements here that are set, these red ones are set this from your arc, which is your, your balance marks on your front and back body. This is your back with the double notch here, and this is your front with the one notch here. So these measurements are incredibly important and they are fixed. This. Area here from the notch round the top of the shoulder, don't forget, these will join up and become your shoulder. They are a bit more fluid and we require something that's called ease. And that is adding a little bit of extra length in the fabric or lengthen the pattern. And that is again, interchangeable depending on your fabric. Softer fabrics require a little bit more ease than heavier fabrics. If you can imagine a shift on, you can manipulate it a little bit more at ease, a bit more in than you would with say leather or wool or something like that, That's a bit stiffer. So yeah, these measurements here are incredibly important. Just gonna move out the way. What I'm gonna do is I'm just going to use my grading square. I've got my green line on my body. I'm just going to square across from my right on my underarm point there. And then I'm just going to square up on my buddies and that right there is a 90-degree angle and I'm going to do exactly the same. Gonna square across my center front. Here is my is my vertical point here. Go into my underarm point, and then I'm going to square up again and then again that there is my 90 degree in point. So you can see what I've done there. I've just squared up, square down from my balanced marks here. These balanced marks, they come from being the most inwardly point of your block, the most inwardly point of your block. And you see that right on the if I was to carry up, you can't carry the lineup. You can't go anymore in those balanced marks, sit there, there is lots of terminology and lots of different measurements that require certain balanced marks for certain things. But this is just really keeping it so, so simple. And this is just how I've worked and I just find it works for me. If it doesn't work for you. Apologies on that one, but for me, this is my method that works for me. So if I've got my block, my balanced marks on the inwardly points, if you like, towards the center front and center back balanced marks. And this measurement here is always fixed. So the other really important thing you need to do to draft the body, you're asleep block, excuse me, is you need to have your chest measurement and your chest measurement or your bust measurement is your widest point. It really kinda whereas the neutral point, the bust point is of your, your block. Don't forget we're working on women's wear, but it does, it is the same method for men's wear as well. Again, the measurements will change, but the theory is the same. So your chest measurement here, and I know my blocks are only on the half because that's how we work with blocks because we work on a half assuming a garment symmetrical unless the design is otherwise, but we just work on the half at the moment so that we always know we've got the same measurement on both sides. So what you do need is your full your full not half, full chest measurement. Now, my Brock actually says 89 cm here. I'm just going to round it up just for easy math, just to keep it really, really easy for you. So I'm just gonna round it up to 90, which is completely, completely acceptable. You can add 0s and a garment, but I'm just gonna make it 90 cm, just make it really easy. So all of that on the half and all of that on the half life laid out front and back. Total bust measurement is 90 cm and that is what my total is for my bust measurement on my widest point here along my block. So remember, I've got 90 cm, sorry, I'm working in centimeters. I'm here in the UK, but you can change that up 2 " it all kind of, well, definitely stay the same. Now the other really important thing you need to do, just to draft this block, we need to divide that by, by three. So we need to divide it by three. So that is 30 cm. So you need your full chest or bust. Which is that for my UK size eight. Roughly. Again, it can be fluid. I get this question asked a lot, but no garments the same when you walk into one store and the next door, you never get one size the same as the other. There's about a two-inch kind of leeway between sizes. So again, this is just very loose, flexible, set within some guidelines, but yet we're just using that as a base, divide it by three. And that's 30 cm. So to start off with what we're going to do is I'm going to draft a straight line right across here. Like that. Lovely, right? So then what we need to do is get your body's block, front bodice book. Can you see how I've laid those lines up here? This line right across here. So I'm going to mark the edge of my point here of my arm Hall, my front bodies arm hole. And I'm going to replicate that line there up to that balance point. Only that bit there. And you have something that looks like that. So you know, the underarm of your front will be exactly the same as the front arm hole of your body. So you know that those two points will marry up. Now that 30 cm here with your bus now comes into place. And again, this is a very loose measurement. I know I keep repeating myself, but some designs or wide sleeved and narrow sleeves, this all comes down the line with designs and the fabrics and everything. This is really developing your block, your skin measurements. You can add ease in afterwards, which is a little bit more flexibility and all that stuff. But this is really just to get your base shape. So again, I'll show you this late comes later in the course, all sorts of different styles that you can do after this. But this is really just to get your block measurement that looks something like that. Front arm hole. You've just replicated. That's exact same shape. I'm going to just put that aside because we're going to use that again in a minute. Then we need your back arm hole. But you're thinking where on earth along this line do I put my back arm? Well, that's where the 30 cm comes in. Again. So that's your loose guide there. And again, all these up afterwards and see what it's like. If it's a bit, you know, not wide enough, long enough. That's when changes come in. You can see there. So I'm measuring from my underarm point there right at the underarm point which is where it hit there. I'm going to go across my line to 30 cm. Mark a point there. And then I'm going to do exactly the same. Just make sure that line is either going to do exactly the same with my back arm hole here to my balance marks, my double. Go to the top one just to remind you it's your back. And then you've got your back underarm point. So you've just done gone like that across there. And there's your back under arm point. So you can see it's starting loosely to take shape. We've kind of got a little bit of a, an underarm going on under here. So what you want to do now is find the middle of your points here in the middle would be 15 because we've gone across 30. So find the middle point here and just do a little point here. And then what you want to do is square up and down. Go quite far. Down here. We're going to draft a long sleeve block. Now again, there are lots of different methods to the madness, but again, with a UK based size eight within really nice fitting, neat, tidy block, which is what we developed in the first course. My measurement in my head. Well, not in my head. The minimum from the underarm point here, which is here, which is right under the cuff, bigger arm. I always know in my head, which is this point here up here. I always know there's a minimum of 15 cm. If I go below that, I always know I'm going to have a really short sleeve or it's going to pull on my sleeve, or it's going to pick up on the outside and it's going to drag or it will make the cuff to shore or something like that. So I've always got in my head with a UK based size eight with this really nice neat fitting arm hole from your block development. That with a nice fitting arm hole, I can never go below 15 cm on my crown and that will develop the length of my sleeve. So from there as the underarm point, that almost becomes like where my bicep will be and I'll talk about that in a minute. And then hit from here upwards, the outside edge of your sleeve is where it goes over the shoulder. So I always know if I've got a point there at 15, I can never go below that. You can go above it slightly and I'll show you how to do that in a minute. But I know if I go below that point, i'm I'm in trouble. So what you need to do is this. This is where it gets a little bit loose and you have to use your imagination a bit, but it will come with practice. And yeah, it's worked for me. So hey, ** the top point here of my my top of my back arm hole. You want to do is get your measuring tape on the curve, on the edge here and measure the exact edge. And this is your net edge. By the way, there's no seam allowance blocks on no seam allowance. So this is your stitch line up, if you like that for me here from my top of my balanced mark, which would be here along the top of my edge of my sleeve. Arm hole is 12 cm. And then do the same with the front. Get your measuring tape from the top of the balanced mark here, run it along the edge to the top of the crown, and it's 11.8. Okay? So with this, I always add again at least 2 cm. Actually, it's often between about 2.4 and this is where your ease comes into play. So we're basically from here, round here, we want to have roughly 11.8, and from here to here, we want to have roughly 12 cm. But what I would do is I would add at least one or two to 4 cm. And again, 4 cm is quite a lot. And this comes a lot more with thinner fabric. So it really does depend on your fabric. Again, the easiest, really important because your arms moving all the time. You're lifting your arm up, you're moving it forward, you're moving it backwards. You do have that shoulder bone, don't forget. So you do need a little bit of extra and don't forget, we're trying to make effectively a flat piece of fabric go over an arm hole, curve that bone in your shoulder. So the extra 0s in that fabric, in the pattern here that will then relay onto the fabric. It does give you that little bit of extra movement in the top of that crown that would go over the bone on your shoulder and it just gives you that little bit more movement. So it's quite important that you do have a bit of ease and when you get into so that in, you can just do a little tight row of stitching there and I pull it in and you'll find that when you run, run a little bit of a stitch on, on that, on this piece here, just to kind of ease that into place onto, onto your arm hole, you'll find that the fabric wants to creep over a little bit and it will just form this like natural little curve. And that's what we want to have on the fabric to creep over your shoulder bone. So what I'm gonna do is I'm going to add 3 cm is from here to this point. Don't forget this point here, and this point here never changes. These are always fixed. Here. We do a bit of manipulating because that's where your shoulder bone comes in and where you are. Your movement comes in. This is your underarm point, which is always a net. So we've got 11 point 8.12, and then I want to add another three. So we've got 11.8. Whoops. Don't know why my calculator not working 11.8 plus 12, which is 23.8. And then we want to add three. So I've got a total of 26.8 cm to get from there to there. And I need a nice shape. So this is again where it gets a slightly fluid and don't judge me on this one, but it will come with practice. So 26.8 on your measuring tape is roughly well, it is put your finger on it. So what you wanna do, and this is, this might sound a bit crazy, but somebody showed me this years ago it was a somewhat incredibly respectable as well in the industry. And I was like, Wow, if you're doing it and you're doing courses on this and have universities for this. I am doing this and I'll tell you what, it's got me out of some trouble in my years and I've never looked back. I always do it like this. So yeah. So you want to put your obviously you're zero-point on your front balanced mark in your 26.8 on your back balanced mark there. And you have your you want it just kind of pop it in. It's incorrect, right? This is incredibly loose to do magic, magic because my measuring tapes a bit bit bent. So yeah, it's you can see what I'm doing. Yeah, it's it's very, very, very loose. But what I'm gonna do now is I'm gonna get my French curve. And I'm going just marry up. Basically your front balanced mark to that top point. You remember I said I put 15 centimeter, That's my almost like my limits there. And again, I've put this three centimeter easier, but it can again go either way. I feel like I'm going to have a little bit more 0s going in here. So I'm just gonna put a nice, nice shape on it like that. And then here. I'm going to put a little bit and this will come with practice. It won't come. What I'm gonna, what I'm gonna do and this does often happen. Don't, don't worry about that. Because you, you know, if I carried on that line, it might create this kind of weird in my arm. Hold it I don't want, but that is fine. We can just run that back there and re-put my balanced marks in on that line there, don't worry. Then you've got a really, It's incredibly loose but a very nice shaped arm hole. And you will find that that will fit into your arm hole, give or take. What you do want to make sure is your front which is here. This is your back. Your front always has a little bit more shape. On that front. It always has a little bit more than this one here. And I'll tell you why because it goes over your front shoulder bone. It goes over the bone on your front shoulder and the way you can do that, and I'll show you at the end, you, if you fold it over. Well, actually I'll show you now. You want to have a bit more, bit more curve. Let me see. If I fold that over at those points. You want to have a lot more curve on the front arm. Then on the back. The back is a little bit shallower because you've got your shoulder blade and it's a little bit shallower. So from your balanced point up to the top of the crown, you want to have a bit more of a shape than this one. This one's a bit more of a smoother line. That one's got a bit more shape as well. And again, these can be worked into these lines when you can see how rough and ready my patterns get. The other movement is you want to have your front curve more scoops than your back. And that will just become natural because of your blocks here. Because your blocks here, again, you've got quite a straight back. So your back arm hole goes quite straight up the back of your body, whereas your fonts got a lot more of a horseshoe shape. You see that curves a lot more acute because it goes around and under the front of your arm hole and your arm naturally moved forward this way. So you need to the fabric scooped out here. You don't want to have that filled in, otherwise you won't be able to move your arm forward. So that has a lot more of a scoop here, which is evidenced in here. So the front arm, whole shape of your crown always looks a little bit more inwards than that one there. Can you see what's going on there? I hope that's not too confusing. So bringing me back to my original sketch here. So you can see where the red and the red of your arc of your arm holes are the same as the red here and here, and that's not to be moved. I've just moved that line inwards a bit just to kind of join those lines together quite nicely. But those measurements don't move. The angle of it moves slightly, but not the measurements. And it's only the yellow line here with the ease, this one can be moved a little bit. And you will find when you just you can really measure those lines back again. Here. 26. Oh, I've got I've got about four, 2 mm more ease. I went to 27 that measurement there in the end. That's not bad, going from a to B. And I still managed to hit that minimum point at the top there. So I know again 12 these up afterwards and see, but this is just my way of doing it. Well, it's not my way. I stole it from somebody else, but it's a, it's a many of the garments out there. I've put the sample on it. So what you need to do now and you can see that your sleeve is starting to take flips, is starting to take shape. So you've got this but you know, you need your length of your body's in here. So again, a UK states size eight, minimum length to your wrist or standard base, and this is the top of the crown. Now this is right on the edge of the shoulder, right where the edge of your I'm shoulder is zero point and that point there is right on that tip of the shoulder point. So then this is the outside of your sleeve. Now, this line here will eventually hit your wrist if you carry on down the outside of your arm hole. So that minimum requirement there for UK size eight is again approximately 60 cm. So I'm just going to go down there. So that was the top of the crown, their chest to the bottom there and do a mark there for 60 cm. Again, you can have longer sleeve, shortest leaves. I'll go through all of that. But that is what we're just doing for our base size. Then what you want to do is square across. Here, like that, right nearly there. So this now is your wrist opening. We're not going to worry about openings just now. We're going to assume that you can just put your hand in and out without it being too tight or anything like that. Again, a minimum real requirement to get your wrist in and out of a slim fitting, a nice fitting wrist is anything between about 20:21, 22, 23 centimeter something along those that vibe here. Something, again, it's not set in stone. Everybody's got different size, Risks, blah, blah, blah. My block is 19.5, That's very slim. That's a, that would need a fast and again, it's somewhere, that's a real skin measurement. So I'm gonna do 22 just so that we know that we can get our hand in that cuff. Anything wider than that. It's going to be hanging around your wrist of it at your own risk measurement. Don't forget you've got the width of your hand to get in there. So don't do it too slim, otherwise you will need to have an opening in there. But 22, we know we can get our hands in. That is very slim, like I said, but this is the block. We're not doing design at this point. We are just doing a slim fitting block so I can get my hand that's 22 cm. I can get my hand in there without an opening quite nicely. So right, so 22 cm. So we need to go out either side of your line here and this will eventually become your green line, assuming that we're going to be cutting on a straight grain here. So half of 22, either side of that is 11. There we go. So guess what we do now. We join the dots up. Get my big long ruler for this one just so that it's very accurate. There we go. There we go. And that is you're incredibly simple. Cheats way of drafting a sleeve. And you can choose what this is now the inside, this is your underarm here. This would run down that point there to always, a good practice is to just fold that over on the pattern and just make sure that they join up. You can see under the paper they join up and it would also be good practice to put some kind of balanced mark along there somewhere. You know, you can do it at the elbow or something like that. I'm just going to use this as a guide so I know where my elbow is and marry it up to the other side. Using this paper you can see the other side. And so when you're stitching up, you know that they all join together with long pieces. I'll just write the measurements on here for you so you can kind of see. So that was roughly 30, That was about 60, and that was about 22. And that minimum, that was 15. And that's a UK. Eight. 3. Shortening a long sleeve: Lesson three, shortening a long sleeve. Great, So now we've got our sleeve or beautifully marked out. There was just a couple of things I just wanted to touch on that are really important. The follow-on from drafting out the initial sleeve crown and the upper bit of the sleeve before we move on to shortening it. And that is when we have that initial measurement of 11.8 before the ys was put on you remember I added on 3 cm is the best thing to do. Here's what I always do. And this is to get the really important balance mark that comes so that the top of that sleeve will join. At that point there on the sleeve, we want to get that point. They're joining exactly at that point there. On the sleeve. It would be that notch there, which is called our pitch point. It's right at that top of that point where if you walked that sleeve crowned round like that, you would, with ease, that would be equal measurement between that balance mark there and then that with a bit of ease. And then that point there would be exactly in the middle. And it isn't always on that initial line that goes up there as I will show you now. I'm sorry, I know we're supposed to be shortening sleeves, but this is really important before we do sleeve development from your balanced mark there, if we remeasure up 11.8, I've just put a little I just put a little mark there. From the top of that mark there, the pitch point, the soil, the balanced mark that up, that was 12 centimeter and you can see it's not quite in the middle. So if I was to put my pitch point at the middle there, my sleeve would be swinging backwards, would actually go backwards and it would be balanced wrong. So it would actually be balanced wrong if I put that pitch mark right on that line up there is, you can see it's not in the middle of the ys points. So what you want to do is measure in between those two points, which should be about the 3 cm because that's the extra measurement we added in. Remember? So it's three. Well, I've got a big fat sharpie. Don't forget to use your nice pencils -3.2. So what you want to do is find that middle point right there. So mine would be 1.6 right in that middle. And then it would be 1.6. That point there. That point there is my pitch point. That is when you're sewing, that is the point that then would join up together. So we know we've got an equal amount of ease between there and there and an equal amount of ease between there and there. And that's when you find that your balance on your sleeve or sit exactly right. And then the one other thing that's incredibly important is approximately 2 cm down from your immediate underarm point, about an inch or 2 cm, 2.5. I've just drawn this dotted line in. This would be classed as your bicep and that would be the widest part of your sleeve there. And whenever you have a spec sheet or a measurement sheet and anybody asked to put in your bicep measurement, It's never normally the top right underneath your arm whole point is always about an inch steps down where this slightly the wider part of your underarm is. Let's get onto the cloth. And now we've got those all important measurement. I am going to mark on to my new fresh slave, my new Nice pitch point. There we go. So we can get rid of that. And there we have our nice fresh leaf. And so we've got a full length sleeve here. We know that this is our wrist measurement. And so it really is that simple of a task to do. What we want to never move, really, if we're not moving, the design of the sketch is this area here. Because that is that area here where it goes over your shoulder and your crown and that's where the ys is over your shoulder bone that's here. So that will never really be affected unless we move the design of the arm hole here. But we're not moving the design of the arm hole. What we're doing is we're just moving. You can see actually it's just above the elbow point here. Or again, this is all design pending. There's no set in stone. Anything now from design wise, you can shorten it, lengthen it, do whatever you like. So once you've got your base measurement is in there, it's all working within your foundations. So what we want to do is we want to keep that area exactly the same. Don't move that area. And this red line here is the line that we're going to be moving. So it's from your underarm point here, we'll let your bicep area, which is what I just spoke about. We're going to just move it from that point so we know we don't ever have to move then our bodies, so we don't need to touch this part. We know that that part is going to be correct. The arm hole is going to fit exactly in that arm hole. That's one less job you need to do if your chest altering a sleeve or adjusting asleep length or something like that. So it really is a case of just moving that line up or down. So it really is that simple. So we get that line and we're going to keep it exactly at a right angle to our grain line. And again, it's designed pending. This is approximately approximately my elbow area, which is roughly again, it's very loose but it's about 20 cm down from your underarm. Again, that's quite a loose measurement. But I'm just going to use that as a guide to just show you. We're just gonna go above that elbow point there. So if I know that, that's my elbow going to use that line to just measure it on yourself, measure the design, measure it on a mannequin, something like that. But I'm just gonna go, um, let's say 3 cm above that. And then square across. That should match perfectly like that. That's my new sleeve lengths so we can get rid of all of this. This is now all void. And again, this is keeping it a fitted sleeve. But we can make that slightly wider, especially if we've got something like a t-shirt. You often have a t-shirt with a wider opening or a squared off opening. You don't often have it tapered in where the t-shirt is quite roomy. Again, just make sure that these lines measure up. You can flip these over. And she has married those two underarm points and that cuff point now just make sure it's all marrying up and that should again run perfectly down on that brain like that. So what we want to do is just square that from the underarm point along that line. Marriott from the underarm point, they're married that down there and again, that's my right angle. We do the same on the front of the sleeve. Again, that's now my new right angle. So it's a complete square. So this line is now void as is that one. And that is your new short sleeve. And again, after this is when you put all your seam allowance and your markings. Don't forget with sleeves. And I've seen this so many times. Never write on it. Cut two. We know we want a left and a right. We're assuming we've got a left and a right t-shirt if our sketch looks like this, never write cut too, because what the cutter will do is cut two of them. So you'll get to left sleeves or two rights leaves. You want cut a pair so that they cut one like that and flip the pattern or fold the fabric whichever way, the factorial, whatever way you're doing it, whether you've got print or anything like that. But you never want to cut too, because you'll have two of the same side. You need a pair, a left and a right, and then that's your new slave. 4. Drafting a Flared Sleeve: Less than four fled sleeve. So we're going to develop a fled sleeve, something like this sketch here. So again, we always want to start with our base sleeve block that we've got here, excuse me that we've got here and we developed in the first lesson. We always normally start with this before we do anything to do with design, you can see it's gone from this. And then we're going to add some kind of some manipulation to the pattern and create a flared sleeve, something like this. And again, it will varies with fabrics. Something like this might be quite nice for a chiffon sleeve, a gown or something in Jersey, something like that. Something that's quite nice and fluid. Again, it's all fabric and design pending. So let's start. So as you can see, this is my initial block here, which is here. And what we're going to do is we're going to do some lines up it marks and lines, and essentially do a method that we call slash and spread. We're going to slash up those lines and open it out and create this volume here. So what we want to do effectively, again is keep the crown of our sleeve the same. We don't really want to touch this area. We know that this sleeve here fits into our bodies arm hole, again, depending on if the design has changed the arm whole shape, which we know in this basic sketch, it hasn't. So we want to keep all of these lines, stitch lines exactly the same as the body so that they know that they always join up. And we just want to tamper with the bottom bit of it here that effectively it doesn't do enough to anything. So you can really just do what you like. Okay? So excuse me. So we've got our initial block here. Again, we've got a full length sleeve. Again, this is variable to do with the length of your sleeve. In this sketch, particularly, I've just shortened it. I haven't done it to the wrist. You can have a long wide sleeved to your wrist. You can have it short if you want. It's completely up to you. But just for the purpose of design, I've just done it around about the elbow length, just to give you a bit of variation. So what we'll do is we'll do the class before, we'll shorten it up. And then we'll open it out so that you get a shorter fled sleeve. Okay, so I'm going to do the formula that we did before and we're just going to raise up that line there from the cuff up to slightly our elbow mark or slightly below. We'll do it slightly below, something like that. So you can measure on yourself or on a mannequin, or on a friend or anything like that. This is your underarm point here. So if I just measure my own underarm point, oh, I'm gonna go something like a really, I'm gonna go somewhere about, let's say 30 cm down. So it's kinda like a middy kind of length underarm point down this inside our measurement, 30 cm again. And you can obviously, like I always do, you flip that over, check your underarm points here, and then check these points here are joining because you never know you could have a bit of a squiggly line or something like that. So just always make sure that these points obviously match because they will be stitched together. And then you want to square across using your central point there. And then square cross, something like that. And again, we're using net measurements. These haven't got any siem announces on these artists blocks. I always developed the patterns where you do it on your stitch line, your net line so that you know, all the lines fit together. And then the last thing I always do is add on all my seam allowances. And if you're unsure about that, again, I've got various courses about adding on seam allowances. I'm not gonna do it so much here because we're not developing all the patterns into 12 and all that stuff. But on all of my blocks and my beginner's classes for particularly, I've got lots of lessons on how to label up your garments properly, adding on seam allowances that the jargon we use, all the vocabulary that we use. But this is just purely about the pattern manipulation. So we've shortened that line up here. So this now becomes a void. So what you want to do, and as you can see in my sketch, I've just divided it up into rough sections. It doesn't need to be like perfect sections or you don't want to do is just add in loads of volume on one area of it and not another area of it. You want it to be very equal. You don't want to have a really full front of the sleeve and a really narrow back of this leave. If you want a really nice fluid sleeve like that, you want to split your pattern up into I'm quite even spaces. So i'm, I'm going to just divide this section up. Use this as you obviously your central point. Then I'm gonna go, I'm gonna mark 5.10 and then 5.10. And again here, 5.10, 5.10 artists went out either way like that. And then we're gonna choose square up and down. Artists do that dotted line just so you can kinda see. And again, this has nothing to do with the design. It's all just to do. With how we're going to eventually slash and spread this pattern open. So go right up to the top, right through to the bottom. And again, it doesn't need to be six sections or four sections, but you just want to have it evenly spaced. So it looks something like that. Then what we want to do is you're going to cut this out. Make sure you do it a lot neater than me. I'm just doing it quickly so that you can see, excuse me, losing my voice today. Make sure you get a nice and makes sure if you've marked your balanced March on the outside of your paper, just make sure that they're on the inside so that they don't get lost when you cut it out. Let's get rid of that. Excuse me. So it looks something like that. Now we want to do is because we've got the volume in the bottom and not in the top. We open up the bottom and pivot it that way out. So I'll leave that there so you can see. So we're gonna go right from the bottom of that slave all the way up through the bicep. We're going to go as far as we can and just don't cut through that same there. Because we know that that measurement and length of that seam there is the one that fits into our arm hole. We just want that to stay exactly the same measurement so that we don't work into that arm hole or anything gets bigger or smaller. We know that our pitch points joined the same. The only thing that will be changing is the angle of the lines, but we know that all the lines match back. Sorry if you can see the top of my head to try my best to not get in the way. Alright, so we have something that looks like that. Now can you see why we call it slash and spread? Because it looks Something like that. So get yourself another bit of paper. And again, this is all depending on the design. So you could open it really far out if you wanted to know. Let me get another piece a bit better. I thought so I could fit it onto that piece, but clearly not. So what you want to do now, again, this is all depending on your design. So you could have it slightly flared at the bottom. That's just like a little little opening here. Or you could really go to town. Excuse me. Gosh, it's such messy work or this pattern cutting stuff, isn't it? I get all my stuff all over the place. Well, you could really go to town and really, really open this up like this. But what the most important thing is that we always know that that measurement at the top here is going to fit into our arm hole. So then what I what I do is I tape it down. You just want to tape it down loosely. Try and make these pieces, these gaps even do give it a measure. Again, I'm just doing it quickly just for the sake of for you to see. But if I did this properly, I would be measuring the gaps here. That's 10 cm. Oh gosh, not about 10 cm, 9.5, not bad. Let's do ten here. I'm just measuring these gaps here too so that I get an e equal splay at the top and bottom. Make sure these lay flat. Again. Make sure this is all done nicely. I'm just doing this quickly so that you can see what's going on 10 cm like that. If you're unsure, again, you can fold your pattern over and just make sure that these lines all join up. Then what you want to do is just two. Now, this is your new cuff. They all knew him. And I'm just drawing it in loosely to see, but this will now be a really nice smooth line. Can you see what I've done there? I've just married those, all of those points back up like that. Then you draw in. Now the outside or the lines of your pattern. You've got your balanced marks here. Very important balanced marks. And then I would use my, I love using my greatest square, but use, now, you're nice French curve to draw it in. Again, I'm just doing this for the sake of you to see, but what you need, because we've opened this out, we've obviously got slight kinks in our sleeve crown. It would be up and down, a slightly bumpy, but that needs to be now a really nice smooth curve and it can be worked into once you've removed the pattern. And then if you're unsure, you can go back and double-check that measurement fits in with your arm hole. So let's lift this off. I can get rid of this now. There's your new fled pattern. So then what we can do is we can fold this over and just check these lines, come out there. The underarm point to this point here. And I just folded it over and found my new straight grain like that. 5. Drafting a Bell Sleeve with cuff : Lesson five, bell sleeve and cuff. So now what we're going to do is develop what we call a bell sleeve. And it has variations of names, but it's predominantly known as a bell sleeve and it's very similar to the fled sleeve that we saw in the previous lesson. But this one has it now tapered back in at a cough, as you can see. But the first, initial stage is exactly what we did with the fit and the flair stage before the slash and the spread. So you cut up the pattern and you open it out so that initial stage is exactly the same. Now with the bell sleeve, I've just made this so that it ends up around the cuff area. But what I did before I slashed up is I just removed that length of what that cough would be. The cuff. I'm saying again, it's all depending on design. It would be 5 cm depth on that cuff. So what I did was remove 5 cm from the initial length of that sleeve to allow me to create then a cuff to go back on. So they would go back down to that measurement. Now, then what you do is you minus that 5 cm off of there. But this is where it gets a little confusing because with the bell sleeve, you don't want it to just be gathered and straight down. You want to have what we call a blues on, over that sleep. So a little bit of a lip, a little bit of a drag, something like that. Um, so it was quite literally Blue Zones over that measurement. To get that a little bit more of a drag. Again, this is depending on design. You could have a really over the top drag that goes right down asleep. Or you could just have a little puff, something like that. You just don't really want like a bell sleeve just kind of getting straight down onto the cuff because if you move your arms, it will, will pull up and then you kind of lose that lovely bell shape of it and that lovely blue zone. So uv minus the length of the cuff width, that will create 5 cm. For instance, it could be two, it could be one. You could have no cough in which you'd remove know length of the bottom and you'd gather it into maybe a nice binding or something or a lining inside. But this particular one for design purposes, much like a shirt, I'm going to do a five centimeter rectangular cuff. So that's just for my purposes of showing you, but it doesn't need to have a cough at all, which means you wouldn't remove any length off of that. And it would do exactly what we did on the last lesson and do a slash and the spread, and that length would always be the same. But I've shorten this 5 cm but just before you've shortened it 5 cm, like I was just saying, you want to add a little bit on for that lip to go. Little bit down, a little bit caught up into that calf measurement, so it's not quite so rigid. So again, just four, again, just for the sake of the fabric and my design, I'm going to add on another three back onto that length. So what I only did actually is take off too. So I removed five for the cough, but then I added on three for the blue zone. So actually, I only took off two from that initial length. So in hindsight, if we were to go back to our original block measurements of that being 60 cm from the top, I actually only move to, so I've actually only move. That measurement would be 58 cm and then a five centimeter cuff. And that would allow me to still have again, depending on design, still have a 60 centimeter length sleeve. But I've got that little bit of three centimeter lip of that fabric, Blue zoning underneath that. So actually on paper it might look like it's gonna be too long or too short, but don't forget which is allowing a little bit extra for that little bit of a lip. I hope that makes sense. Again. Try it out, see if it works, see if they still try and trial and error. So this measurement here is going to be a full length sleeve, but I've removed a little bit for the cuff, but then added back on to allow for that blue's on. So that's where I get this measurement. And then I did the lesson before and I did this slash, slash and spread opening. I'm not going to repeat myself on these lessons all the time. Just flip back to the lesson before and see that method of slashing and spreading. And we know that that measurement there will keep onto our body shape, which has concentrating on slaves at the moment. So what we want to try and do is get that men gathered back into that cough and create a cuff. So we're going to work again on a UK based size eight. And when we went again, my original video lesson was about block building and the cuff measurement. And I used a guide of 22 cm. So I'm just going to stick with that 22 centimeter risk measurement just for the ease of this lesson. But again, the risk could be bigger, smaller, wider. You don't, you don't have to have anything at all. So what we want to do is create an opening on our cuff that it sits here. So we have this nice cough and much like a shirt that opens out and then it closes back. And what you want it to, where you want it to sit in this area, you don't want it to sit on. You can have openings on the scene which is the underarm scene, which would sit there. And that's absolutely fine. There's nothing wrong with that. But classically or with a shirt, they sit just inside the other side of that same towards the back and it's normally where that wrist bone is somewhere here. So to find that, you find the back of your sleeve which is here. We know it's here because that's our double notch for the back of our sleeve crown. And this is the central point of our sleep. This is the outside edge of our sleeve. That point here is somewhere in-between the outside edge and the inside edge of our sleeve. So it would be somewhere around this point because it's somewhere. This is the outside edge here running right from our outside. That's the inside arm. So it wants to be somewhere in the middle. So we quite literally find the middle of this area. And again, it doesn't need to be exact at all. This is a really rough, loose guide. Just to show you. So I'm going to measure along that line from that point there. 38 cm. So half of 38, and we've got 19. So again, measure back 19 cm. And that's your point there. And you want, you don't want it to lie, lay parallel with that. You want it to, because we've opened this out so it all needs to run quite smoothly. So a nice opening for a cuff. Again, this is very variable, but I'm gonna do 10 cm just to make it easy. 10 cm is quite a nice Rumi amount for an opening. You can you can open a cuff like that. You don't have to have it that wide. But we're going to, if I had an imaginary line marrying up to that kind of pitch point where we've slashed open. You want it to be something like that and that would be your opening for your cuff. And that lays it nicely, really nicely in line with that opening. If I did it in line with that, it would be off grain because it would be, it would actually fall like wonky. So you want it to fall in that sweep of that. I'm opening like that. So now something else, Just a little tip for a nice little blue zone. Is that you just want to add a little bit more length to the back here and then just shave a little bit off of the front. So it becomes this kind of almost like S shape. And I've done it quite over the top here just for the sake of for you to see. But can you see that sweet there, sorry, it's back to front. This is the back here that you're looking at, but it would be longer at the back here and shorter at the front here. When these two seems married together, it creates a really nice circle. And you just get this really nice kind of, um, It's, it, it won't affect your dress. It was only very slightly. That looks very dramatic. So only very slight even to a centimeter here. And then somewhere in the middle here, a centimeter. And then this would be your zero point. And so you would just doing this by high because I've done it a few times before. That would be your kind of back to zero point as was that'd be if shaved off a centimeter here. Then you're just going to add it back on here. And you don't have to do this. It's just a nice little tricks of the trade. That's why I'm here. Can you see now that that's lengthened 1 cm? So just make sure if you want a ten centimeter opening, drop that down 1 cm. I'm just going to leave that there. It's an 11 centimeter opening now. It's absolutely fine. And we're going to remove that. So you can see I've got this little wave here, so go shorter here and then slightly longer here. Just make sure when these points get stitched up together, it makes a really nice smooth curve. And again, you don't have to do that. It's just something a little. A little pattern cutting hack. So what we now want to do is we will not now gathered back into a fixed measurement. We want it gathered back into your cuff measurement and we set our cuff was going to be around about 22 cm on the full circular. So we said it's going to be 5 cm. So I'm just going to draft a really quick cuffs. So drafting along here and square down. And then mark 5 cm. Sorry, I'm going to add on mark 5 cm here and join these up and make a 22 by five centimeter cuff. There we go. And it will quite literally could be that easy. You can cut that out, cut that out and that would be 22 cm. Add that, add your seam allowance on a cut that out and then have one for the outside and one for your lining and have it backed out on that bottom seam. And what you'll find is these two edges would, but together, they would but together perfectly like, like that. And what you can do, and it's very, very common on bridal dresses or anything like that. U2 edges would, but together like that. And you'd have a nice little button placement or something here. Maybe you it's due. I won't mark it on, but you can have button placements and rulers or something and they, they would bump together like that. But what is more common is you can have a bit more of an extension. I've drawn a little bit more of an extension here and it's particularly common in shirts evening where you would often find it like this where they just bought it together. And that is literally your pattern piece. Or you could have that on the folded edge and extend that down by another five and put that on the fold and that would create your lining and back out on the inside. But you can do a little bit of an extension, for instance, we could add on to centimeters to this edge here, just so that when your edges come together, then you've got a little bit more fabric underneath. Like that. I'll now show you 22 cm without the wrap, your edges would but together exactly like that and that is absolutely fine. And then you can have some lovely little rule lows, coming and joining and doing something like that, and some button placements on that. But what I've done is I've just added that to centimeter extension just so that you don't see skin there. And that's absolutely fine. Again, it depends on the design, but it just so that you don't see any skin if that doesn't join together properly or the ruler loops are a bit loose or something like that. You always see the fabric. Now what the most important thing is is that this opening you'd think would join somewhere at the sleeve edge. But the opening is here. It's exactly where this is. So when you've got this cuff on, that's where it sits. Where the opening is. Excuse me. That's where it would say it's not on the inside there. It's just there where that bone of your wrist is like I was saying earlier, that there that point there, that green is that point there. And then so that would gather into all of that and that would join there. So we know that that measurement here is 22. So all of this bottom edge here gather to 22 centimeter all the way from there. Right the way round. And this becomes an opening. What you would do here, because we've obviously got a slash here, so you've got no seam allowance. You're thinking how can, how can that be an open YouTube can't just cut into the fabric. Well, you can cut into the fabric. But what you need to do, and this is for evening wears his very different to shirting. So with shirts, you would actually cut out an actual section here and create a pocket that would go on to that. I'm not gonna do that just yet because, um, I would do that in my men's wear course and my tailoring course. But this is for the women's wear. This is my design here. So you can see it's just like a little flashlight you'd see predominantly in eating a gown or a silk fabric or something like that. So you slash up that FAB up there. But what you do on this bottom edge, so I've just gone like a half centimeter either side of that opening and that would just leave a little bit of seam allowance and you really would taper it off to nothing. That point is a very, very delicate point. You just need to be very, very accurate with that. You could put a little bit of fusing behind that just to kind of put a little bit of emphasis on that. But just be careful if you've got a shear fabric that you don't see that through it. But that becomes a really, really type point over very delicate area where you're really putting the fabrics going to nothing but you can take a smidgen off either side of here. I've just done it quite wide so that you can see it on the paper. But that would become then create a seam allowance for you so that you can turn that in and have a nice pin him or a nice binding or something like that and turn those in. But I get out with lining. If you've got one of these in a pair or something, you can drag it out and then take us MIT enough either side. And then half a centimeter either side won't make a huge difference to your gathering ratio. Again, this is all designed to pending. You can open this up really wide and have it already gathered in. Just make sure it always comes back to that measurement. And then that will Blues on back to you or cuff measurement. And your cuff, like I say, can either stay like that with your seam allowance on this is Net, don't forget this is net measurements. This has got no seam allowance on it whatsoever. Or you can have it on the fold and you would put an extra 5 cm on the bottom and fold that up. 6. Drafting a Capped Sleeve: Lesson six, kept sleeve. I'm going to be developing a cap sleeve in this lesson. So I've drafted out the crown of my sleeve. I haven't quite gone down the full length to my full sleeve capacity. Don't really need to do that. So I've just kind of created a mini short sleeve, if you like. I've just cropped it off a little bit further down that I need just to show you. But by all means drop the whole thing and you can measure backup. But I've just got the crown area because we're just creating a little cap sleeve which really only concentrates around this area. So it's a combination of methods. It's a little bit of cropping up and also a bit of slash and spread, just a small bit. So, yeah, learning a few bits that we've already done on the lesson before. Again, this is all designed depending you could just have a little tiny bit of a thrill on the outside of a sleeve if you wanted. But this one, I've just got a little bit lower than my bicep. I'm going to use the underarm point and go a little bit lower just so that I've got a bit of fabric to stitch together and then create a little bit of a cap, something like that. So again, just for pure design purposes, I'm going to create a little bit of a cap area here and then work into there. So first thing I'm going to do is again, I'm going to go down to centimeters. It doesn't need to be too. Like I say, this is just for purposes of design. It could be nothing. It could the crown, the cat could start here if you'd like and not have any sleeve under the arm. I'm just going to have a little bit to a so I've got a little bit to stitch up. Then the length of my cap, I'm going to say is going to be 8 cm, so it's going to sit something like that. So I want to create a really nice fluid shape That's going to join them. You don't want to have a line that's going to join a to B, something like that because it doesn't flow nicely. You want to flow it really nice and echo that shape of the arm hole as well. And also think about when it's stitched up, what it looks like, when it's like going round so that you want that to be a nice curve, going round, something like that. So you want to echo, again, I'm just doing this by eye. That use your French curve or something. Again, you can join these up, something like that so it flows really nicely. And notice I've just done it to that central point because what I find quite good. That's over to get your other keys. You could echo that line through. My Alexa is just decided to try and join in with my lesson. Sorry about that. She can Whitehead term. So yeah, Did you see what I did? I just joined that line underneath and I can see through the paper and then I know I've got a similar line that looks like that. And you could actually leave that like that and that would be an absolutely perfect caps leave. That would be absolutely fine. I'm just going to open it out a little bit just because if I just stick it in like this, it's gonna be a really tight fitting cap. It's gonna be really on the shoulder and it's not gonna be much room for movement. So just on my sketch, I've got it just a little bit set out by that. So I just want to kind of open out that bottom edge of it and it's not quite like a short sleeve or the flair where we you could just draw that straight line in and it would be a little bit wider. This is a nice curve. So I just want to open it out, but because it is so up in that crown off that sleeve head, It's it's such a tight fitting area. I just want to open out that bottom edge a little bit. So I'm gonna do that method that I did with the, with the fit and the flair. And I'm just going to divide this into a couple of sections and I'm just doing it by eye. But it's exactly the same method that we did for the fit and the slash and the spread method for opening out that bell sleeve. I've gone through those balanced marks. You don't need to, but just make sure you go up in those lines. So this area now or becomes void and we're working on that area there. So again, exactly the same process as we did with the slash in the spring. Again. Remember I don't have seam allowances on these patterns. I'm working just nets. If you've caught up to those stitch lines and walk through them, like I'll show you now. You know, that that line, as long as it's not tampered with this one here on the crown is going to fit your arm hole because we know that this measurement isn't going to be moved. So get a fresh piece of paper. And then we're going to do like we did with the slash and spread method. Keeping our balanced smart, not cutting through that top seam there. And then we're gonna chest open those out like that. And you'll find what happens is with this because we've gone shaped up and now we've opened it out. This area now becomes quite a bit flat. Which is actually, you know, that's part of the idea. That is, that is the idea that this now like my sketch, becomes flat on this area here. So we're going to take that down like this. And again, this is all depending on your design and how you want your design to. How, how, how spread out you want it. I'm just doing this quite roughly just to show you to take down those sides like that. So you can see what's happened. We've opened that out now and that's become quite a lot flatter. So we could do one of two things. We could do what we've shown you that and actually, excuse me what's going on with my throat today, I've been talking so much. Extend that down of it. We want to find the middle of this leaves. I'm going to just pull that over again and find my two underarm points and find the middle of my sleep because this is really important, That's my underarm point. Knows, will join together. So doing that, I've now found again My, my, my center point, don't forget my pitch point is hang slightly off that it doesn't always, it's just because of the method that we use. But I can now go straight across. I could manipulate. I could go here. And then I can kind of go straight across something like like that. You know, so that's my new cap, something like that. Or I could bring in these side slightly Marriott up to underneath the hood, just see a faint outline there. And marry that up. And I could have a new little shape like that, just for instance. But we just need to make sure that these edges, when they're stitched together, don't create these points, which is why I continued that curve there like that so that when they joined together. But what's, what's happened now is I originally wanted my caps leave to be 8 cm. So going back to my sketch, you can see what's happened. Now, I've opened this up at the bottom edge. This length from the top of the crown here is longer than eight. It's actually about just over ten. So if I wanted that to now be a I could again do one of two things. I could either go back to my a, which is well there at the top of my my slashing and spreading. And I could shape that back and join these lines together and make a nice curve and do something like that. Or the other thing I could do is have, this is my new point, my new him point, and go back up 8 cm, which means dropping my crown down. So that's my new Crown Point. Then I need to redraft in naughty me using my French curve. This is a little bit more tricky this way, because what we didn't really want to do was tamper with the crown because we knew that that fear. But that is another option. If you want that him to be straight, you can drop that crown back. But what you need to make sure is that that measurement, again from that balanced mark at my balanced marks here and here. This area here fits back into the top of your area here and here. So it's back to front, my back my front here. You need to make sure that that Mark would go. Now here. I'm just going to put that point there. And then that balanced monk and look, I've just done that roughly, but that is not Emilia model. That is actually spot on. I've just dropped that down to centimeters and that crown fits on there perfectly. So that is another way of doing it. If you want to keep that edge on the street, you can drop that crown down and you still got that measurement there. So there are two options of doing your cap sleeve. 7. Adding height to a sleeve head for shoulder pad: Lesson seven, adding height for a shoulder pad. I always get asked this question about how to add in for a shoulder pad. So it's not just a question of adding into the sleeve crown, which is this area here. Obviously, if we've got a shoulder pad being added into a garment, we need to add in a bit of height here and here. And that is just really important as you can imagine with the shoulder pad, we've got that extra thickness that goes in often that you find in jackets and things like that. Again, There's 101 different shoulder pads out there. This is no set rule for any shoulder pad or anything like that. If you've got one of these huge kind of bowel main style pads, you need to add in a lot more height rather than something that's just for a little bit of softness. If you've got sleeve head, well, that is all kind of there's a whole world of tailoring and sleep head roll and canvassing that I'm not going to dive into here, but this is just a basic guide for a kind of, uh, I'm gonna go somewhere in the middle with this one of a shoulder pad. So I'm really going to just show you the basics. So it's just adding a little bit of height on the outside edge. But what we really need to do first on our block, front and back, and I've just drafted them out here, is we need to add a little bit of height, first of all, into our shoulder area here. These are my blocks, as you know. And I'm just working on the half because we're assuming that we've got a symmetrical government at this point. And so that we know that the both measurements are fine. But what we need to do first is add into our arm whole length here to add that high, excuse me, and front and back, and then add into the sleeve crown. Now what you don't want to do is you don't want to just add on to the top like that. That is not what you want what you want to do. I'm not sure if you can see it's going to redraw that dotted line. What you don't want to do really is something like that. And likewise on the front, it creates a horrible angle here. And you can do it like that. It is not the best, it's not the correct way of doing it. So we're not going to do something like that. So what we wanna do is we want to keep this area all the same. This is our underarm point as we know, we want to keep this the same. The shoulder pad really just concentrates on this area here. A shoulder pad. It, it kinda predominately just comes this area here where all of these pitch bookmarks here, points that are here. We don't want to move this area. It really just is in this top third, really of this arm hole that we want to concentrate on. So again, find the middle. Really, again, this is very rough measurements, but it's just for the ease of you to see a measurements in-between your pitch point here and the top of your sleeve outside edge here. I'm somewhere there and I'm gonna go somewhere here. And then we're gonna just draw a line in something like that. And then just do exactly the same for the front. I'm gonna go somewhere in the middle of these two, this pitch point here. And then go right up into the highest shoulder point, front and back. And what we're going to do is we're just going to cut up those lines, hit like that. I'm going to leave that aside for a little bit. So what we're going to do is cut the outside edge. Just give that a knit two so that we can manipulate that. And then we want to, again, a little bit like the slashing and spreading idea. We want to keep that higher shoulder point exactly the same, but we just want to open out a little bit of height. Again, depending on the height of your shoulder pad. I'm going to just again for the ease of the lesson, gonna go about a centimeter height so you can measure that gap there. And that's my son. Oops, that's my centimeter, something like that. And as you can see, the lines are now a bit disjointed. So we just need to make sure that that's now a really nice curve back in there. And marry those two lines up, making sure my outer edge stays the same. And then it looks something like that. Now we've got a new measurement. From the top of that pitch point up to the top. It's now 13, which makes total sense. Okay? So we just want to do exactly the same with the bottom, open out from the outside of the arm hole, right. Just to that little nip there again, this has got no seam allowance on it, so don't cut through there. And then just give a little nip on the other side to just join it, just so that they pivot round like that. And we're going to do exactly the same. So we know our shoulders are the same, the same length. We haven't changed anything there. Everything's staying the same and we're going to do exactly what we did with the front to the back and open that out just 1 cm on that outside edge. So it looks something like that. So we've tampered with our arm halls is the first time we've tampered with our arm hole on these, on these ones here. So this is very important that we need to reflect this back into our crown. And then once again, we just need to make sure that that's a really nice curve back. Marry these lines back in there again. So it looks something like that. And just don't forget, you can always walk your patterns back. That's just a scrap of paper underneath. Makes sure that your shoulders lineup again, we're ignoring that line so that you've got that nice curve going round all the pieces. We don't want any acute angles of anything going on. So then remeasure again from that pitch point and to your top of your shoulder. And that's 12.8 again, which makes total sense because in our original blocks I had here 12.11, 0.8. So that makes complete sense that we've just added in a centimeter. Now we need to reflect that in the crown and we need to add in some height. So what we've done here is what we've done on this bit of the sketch here. We've added in on that outside edge, we've left the highest shoulder points exactly the same as almost zero if you like an added in a variable on that, on that arm hole. So now this is our base block. We just need to reflect that on the sleeve head. So what we're going to do is actually slashed down and open this crown up so that it reflects that. So you want to find a similar point as we did from here to here where we slashed up. So we went something like 6 cm, 5.5, something like that. So find that similar point from your pitch point. This we went up six and here, 5.5, something like that. I much prefer using my French curve than I do with that. So it doesn't need to be that exact point, but it's just somewhere that we know that these areas are all gonna be the same measurement because it's now, we've lifted up into this section here so that we know that those measurements, we're going to be the same. So we just going to draw a line up there. And then what we're going to do, I'm just going to cut that off. So I've got a bit of spare paper. Then we're going to slash down into that crown to that point there like that. Then what we want to do is open it out that way. And open it out that way. Like that. But I want to just cut down here just so that I've got some pivoting points so that I've got a pivot. Didn't quite do that enough. Don't go through that line again. We know that this is our net measurement so that we don't want to add or lose any measurement of our crowns. This point here, go back down to this point. So we've got these two areas here that can pivot inwards and outwards. And can you see what's happening here? Not only are we adding excuse me, not only are we adding in length to our crown, excuse me, curly paper. Not only are we adding in length to the sleep around with adding in height and that extra height, can you see that movement? That's the height of the shoulder pad and that's the extra height that we need to compensate for the extra height in those two shoulders. And that extra length here is the extra length. That will compensate for that extra length in that arm hole there. So I cut that piece off so I can stick that down. And I would be doing this a lot more, a lot nicer if I didn't have a Sharpie and I had more time, but I'm just doing this for the purposes of view. So this is my original point where they joined in the middle as a guide. And I'm going to move that out From that point there where it's an imaginary line if that continued, I've just moved that out and up 1 cm again to compensate for that. And you can see it's looking a little bit of a funky shape. So we're just going to redraft my line back in there. And what we want to do a bit like we did to this arm hole here. We want to make a really nice now curve back in here. And you can add a little bit more. You just don't want it looking really elongated and looking really bizarre along an oblong E. So just make it look really nice. Curve and shape. You'll soon get to see what he's looking. Looking a little bit too long for me. I would rub that out if I had a proper pencil, but I'm gonna just redraft. So yeah, I'm going to redraw that line is. So I've added in high and I've opened that out. So I've added in length here, and then I've added in height as well, this centimeter here, this gap here. I've added in, this Lift up here, is that centimetre that we added in here, that's an extra height. So now if I just give this a quick measure back, so that front sleep and the pitch point to the top of the crown was 11.8. Don't forget, we've got 0s on this as well. So I'm gonna put my 11.8 comes to that point there. And 13 on my back from that balanced mark there up, there's 13 cm is here. So my new pitch point, it's pretty much spot on. Is there UCSC, it's off just off that middle point there. That's absolutely fine. That's completely normal. And it means that your pitch point will marry up perfectly, again. Back to those points there and there. And it will stop your sleeve from swinging. And that's that extra bit of height you need. If you need to add in more height, if you don't feel like you've got enough 0s there, I've now only got about 2 cm 0s there. I had three, so I could lift that up even more. I would be inclined to actually lift that out even more if I was to do this for a nice jacket or something, or you could leave it just with slightly a little bit less ease, but I would be inclined to make sure I've got as much ease as I wanted there, but that is completely acceptable. That is 2 cm ease to get from that pitch point to that high crown, especially if this is for a jacket and we've got a wolf, I would suggest that that is more than, more than fine wool can be a bit more manipulated. But yeah, that is how you lift up the crown to compensate for your shoulder pad. 8. Drafting a Gathered Sleeve head : Lesson eight, gathered sleeve head. For this lesson, we're going to do gathering into the sleeve crown or the sleeve head. This particular style has got a very special place in my heart. It's actually one of the first things I got taught by a very dear friend of mine, Mr. Leslie, who has now sadly passed, but anyone who knows him will know what a legend he wasn't he taught all over the place, but yeah, he taught me. This is one of the first things that he taught me and, um, yeah, it's something that's a stayed with me all this time and it's a really cute little it's like a puff sleeves, little crown. You get it quite a lot in children's wear or evening gowns. I've drawn it here as a long sleep, but I'm just going to draft it up as a short sleeved because we don't need the rest. We know that we could extend that down, but we're just working into this top crown area of the garment Just so that you get what we want to achieve is the gatherings. So we want the the, the, the fit and the, sorry, the slash and spread outwards but also, and also the height so that we get that blue's on back on the top of that crown. So you could add in some tool under there or some netting or something to give it some height or volume or organs or, or something like that. But the idea is that we don't have this really smooth, tight fitting shoulder. We want to add all of that high-end, but we also need it gathered back in to that neat fitting bodice arm hall. So we're not altering the arm hole of the body sees on this one. We need to make sure that this stays exactly the same. And whatever we add into this sleeve crown gathers back into that set measurement like these bodies box or whatever base that you're going to put that on. What we want to do. First of all, is we want to again, avoid the underarm area. This is going to stay according to my design without any gathering. The gatherings just going to start from the mid arm area roughly where these kind of balanced Marx's. So again, I know that these always marry up to the underarms of my garment here and here. And so the only measurement I need to worry about all the pitch points to the shoulder point front and back. So I'm going to avoid this area here under anything underneath here. And I'm what I'm going to do just above it is just square across something like that. And so we're just concentrating in this area just for the sake of this design. And then I'm just going to divide each section roughly into another two sections, front and back. Just something like the slash and spread. I did. You know, it can be two sections, three sections, but you want an even spread, you want even gathering. You don't want loads on the front of the back of the front of the sleeve and none on the back. You want a really nice even gathering in a nice even, even ratio, again, does depend on the fabric. Thinner fabrics require a lot more gathering or could do. So, you can open it out quite a lot more rather than something like a, like a leather for instance, that's on the other end of the scale, that wouldn't gather in quite heavily. So you do need to try out the fabrics before to work out. Actually how much gathering out and back you want back in, but I'm gonna go somewhere in the middle. So I've just divided up the top of my crown into these areas. I'm just gonna get rid of the bottom of this paper because we can use that. Again. It's a similar process that we just did for the shoulder pad idea. With the shoulder pad we we tampered though with the arm hole, but we're not gonna do that on this one. But it's a similar concept that we're going to choose. Slash into the top of the crown of this and lift, lift that out knowing that these pieces here stay the same as our initial block. So we're going to slash down the middle point there to that point. Then again, we're going to slosh out. We want to do that on all of the sections. Can I get rid of all of this excess because we do something slightly different on these ones. Ignore the extra that isn't seam allowance. These patterns are all net, so ignore all of that. So I'm going to again cut down here. Cut up that one, and cut that one. Okay. But we do do something slightly different on these ones because if I was just to open up these areas here, It's a similar concept to the shoulder pad, whereas I just kind of get high in this top area here, right on my shoulder pad. But what I want to achieve is gathering all the way around. So I actually need to add in a lot more length to gather it all back in. So I actually need to tamper with the whole of the top of that crown. So what I'm going to do is draw on my line here. And I'm going to choose stick down just so it's not flapping about this pattern onto that line. And imagine it's continued up there. So these pellets here, like I say, we don't want to change. So we can cut down to that point like we've been doing and have that as our initial lift on these first bits here. And lift these up again. This is all design. This isn't, this is not gospel. I don't have to lift this up. 1 cm, 8 cm. It's all depending on the fabric and how much gathering you want. But I'm just showing you the theory of what you do. And so what we've been doing before, it's just cutting out to these lines and not going through and just pivoting it. But I actually want to cut through these ones because I want to actually add in height on these parts here as well. Looking a little bit like a locker, pieces of cheese or something. So can you see what's starting to take slight bit of shape. I'm going to cut right through that bit there, right through that bit there. Now, this is where you have to use your artistic license. And what we don't want to achieve is we don't want to have all of these or we don't want to have a lot of big gap here, wouldn't hardly any gathering. It's all off balance. We want to make sure all of these pieces are evenly spread out so that we get the height that goes out and back in, out and lift out and then gathers back in. So you don't want to have your sleeve that looks something like that. I mean, it just looks bizarre and weird and we need to have this nice shape. So we want to have almost like work equally up as equally out if that makes a nice kind of, you know, you want that volume outwards as well. You want it to go round and back in that blue's on back in these points staying here, it makes for a very long and thin sleeve. So what you'll find is it's very narrow here and you just get all the height at the top. But what we want is we want to create some, some width around. You want that blue's on around the sleeve on the crown. So that's why we want to open, open this out as well slightly. We don't want to have it all long and thin and very, very narrow here. So we want to open out some width here. And again, you can really kind of start opening out even wider if your design creates that. But I'm just showing you a formula of, um, you know, and it looks bizarre at the moment. And you're thinking, what on earth? But yeah, make sure these measurements, they're all equal and they're all nice and everything like that. And again, it doesn't matter that that high, it's fine but longer because you want that blue's on it, but you equally, equally want that to go outwards as well. Then obviously what we need to do is redraft or crown and it is going to look slightly odd. But by your pitch points, that's the bit that gathers back in, so it will come back into that measurement. So what we want to do with our French curve is work with these lines as you're very much a guide. And we want to draft a nice line back in there, something like that. Don't use these lines. I get this as well. Like a lot of people asked me, Well, you know, my line went in there and then I had to kinda make this angle. It's all very fluid. No one's arm hole or shoulder is straight. You know, it's all very fluid. It's like art work. You need to have a really nice soft curve if it's not looking right, twirl it up. And Mary Mary that backup there, something like that. It's looking a little bit sharp there. So I would just Curve that off and it will, that's actually the shape it will look like. Because the idea is that we're, we've not got any gathering on the underarm and it's all in that top crown. And if you're slightly concerned, you know, like, uh, do fold that over, check that it's all kind of looking nice. My Android can't quite see off-camera underarms adjoining and my front is slightly more bulbous than my back as we learned in the first lesson. And then what we need to do is just add in now back or pitch point, which is the central point, not the central point in there, which we know is our green line, but the central point that we know when we gather back, but it will lay perfectly back to what we want. So what have we got here? So the way I would work this out. So I've got 12 and it was 11.8. So I've got 12 that it needs to fit back into an 11.8. Now there's no ys on the on this because there's no point because you've gathered it already. There's no point in adding ease. You might as well eat the ease into the gathering. So we know that these pitch points and your underarm will fit into those spots and placements there. And that's the gathering and that's the ratio that we need to work out from there to there. So I would measure I would add both of these up. Hang on. Let me so that's 23.8. That's total from that pitch point to that pitch point is 23.8. Net. That's what I need to get back into my arm hole. But let's just see what we've got. We can work out what ratio we've got of gathering. So I'm gonna go to the top, measure all the way over the top. And back down. There. It's about 3838/23, 0.8, which are net measurement in 1.5. And that's our ratio of gathering is it's 1.5. So you could really go like huge. You could go 321, which means every centimeter of fabric. You would add in three and it would gather back to one. That's what the ratio is. So with that, we can find out where our pitch point will be. So I can times 12 by 1.5. Oh, hang on. I did that wrong. Sorry. 12 times 1.5 is 18. So I'm gonna go up here and round and do a 0.18, which is there. And then I'll do exactly the same on the front. So I'll do 11.8 times 1.5, which is 17.7. So I'm gonna get my 17.7 and just run my measuring tape until I get to 17.7. And then in the middle there measure in-between. It's about 2 cm, so I've got 1 cm in-between them. That's my pitch point, and that's the point that will join there. So then don't forget, then we'll trace that awful nicely first. Don't leave it looking like that. Otherwise you might get it sent back to you by the same stress or it will lose parts. You want to trace it off or nicely, I just see my answers on in your labeling, but don't forget to add in. Now, you're labeling gathering to 12 cm to that point, to that point there. So that would be they'll pitch points so that they will know that that is net measurement and that's your pitch point. And then on the front, you would gather to 11.8. To that point there, I do a wiggly line and an arrow just so that it's gathering. And I would normally write it on the inside of the pattern actually because I need to add all my seam allowance, but I've just done it like that to show you because this is all a bit messy. Then the seamstress or yourself, we will know that from that pitch point there where you've drawn the arrow to that it's gathering. And then it will gather back into your sleeve crown like that. And the underneath will be net. 9. Drafting a Raglan Sleeve: Lesson Nine, rags glands leave. So in this lesson, we're going to be doing the rag land sleeve. And forgive me, but this is my least favorite sleeve and I don't know why. Just find it really awkward and annoying. And I just find the shape really on, on, aesthetically pleasing on the, I just find it really odd. But anyway, it's very popular. Again, depends on the style and the design. This is what we would see as a rag land. It's almost like the shoulder or the arm hole. The top of the arm hole. More than anything built into the shoulder area of the sleeve. So you kind of get this semi diagonal seam going from the underarm point or the pitch point to the neck line or the shoulder. Again, it's very variable. This line here, the designer could go up into the shoulder, like I said. But it's very popular and like I say, it's incorporating the shoulder area here into the top of the crown. It's almost taking well, it quite literally is cutting off that piece there and placing it on top of that piece there with just a few little, with a few little ******. So the first thing we need to do is draw in the design style lines onto the front and back bodies. And again, I'm just working on the half here and on my front and back base size, I realized I was working with a whiteboard marker the whole time I've been drafting, which is why I'm sorry that the lines haven't been as dark as I would have wanted and I couldn't work out why it wasn't quite so dark. And so I have found my actual Sharpie and so I'm going to have a new lease of life with my new pen. I do always use a pencil, actually. This is my trusty pencils, but for the sake of the visuals, I'm just using this pen. So anyway, onto the design. So I've got my back on. Gosh, I'm so sorry. Oh dear. Here we are getting excited about the pen that was about my pen change right there. Anyway, we've got the front of the bodies here, and the back of the body is here. I've just drafted out a little bit of it because we're just working into these shoulder areas here they are. Here's my neck line, obviously my arm holes. I hope you understand it thus far. So I'm just going to use my balanced marks here just as a rough guide. Again, just to make it easy for you, it doesn't need to be like this. It can, lions can move, they can go onto the arm. But I'm just going to make it easy for you for the design purpose. I'll leave it like that so you can kind of see what I'm doing. So I'm going to use these balanced marks as my starting point for my style line. And then I'm gonna go up here somewhere in my neck. So just as a kind of a rough guide, I'm gonna kinda go somewhere like this. And if you've got a mannequin measured down, see what's nice, put some tailoring tape on it, see what's looking nice. Then transfer those marks onto your blocks so that you can see what's going on. So I'm just going to make a judgment call and go somewhere like that. So by all means, make a line that goes across there and there. And I'm just using, like I say, these balanced marks here just as a really easy guide so that we know what we're doing when we cut it out, trace it off, and so we know where we're at. But these lines, you could have your line like here. You could have it going down here and you could even have it going into the arm hole. It doesn't need to go up into the shoulder. The highest showed a point, or here it really is variable. So I've drawn these lines like this and it looks pretty much like with spot on already. But what we wanna do is we just want to add a really nice curve in here. And you don't need to, just looks really nice when it goes on the body. It creeps around the it just flows really nicely. Like we don't like straight lines really in the body. Everything's just like it's very fluid. So yeah, this nice curve, I'm just gonna go inwards here. I'm going to say about eight meal or something like that. A 8 mm centimeters maybe sometimes a bit too harsh on this small area here. And anything else is a bit pointer. So kind of using this is your zero point. Just curve that round. Again. I've done that by eye. But you can use your nice trusty French curve, something like that. Get a shallower point on it. Go from zero up here to there, Eight mil and then back down to zero like that. So it looks a bit more like that. So this line now becomes void. They are now your style lines for your rag land. So these essentially will be removed from your body, but in don't forget on your body to then add a seam allowance back onto that line there so that you can stitch your sleeve back into there. So your sleeve will essentially get stitched up there and along that line and then become part of the neck line as well because we've removed part of that next line. Let's not forget the design, unlike the little sketch that I've drawn there. So what we need to do is basically put these sections of the shoulder now onto our sleeve head. The best way to do this is either cut these bits out, then you've got those two pieces. But you can also trace the mouth. That is absolutely fine. It's just another way of doing things. Then. That is your neck line, like that. That's your back. And then I'm just gonna do this just for the sake of fitting it onto a piece of paper. Trace that on there. And again, this isn't about ease at this point because the whole of the shoulder is being now moved. Okay. So we've got your front and your back. So quite literally, I always actually what I normally do is I write shoulder because I always get confused. Once I've traced those off and cut them out, these little triangular pieces, they all start looking the same. And again, I'm going to repeat myself, but this hasn't got any seam allowance on. I'm just working here. Everything will get added on at the end. Once all the patterns are finalized. Cut that out. Lula, Lula, Lula. Again, make sure yours is a lot nicer than mine. I'm just doing this for speed. So we know our front and bodies. Now. We know that these lines will join on to these pieces. He wants seam allowance of added and this will now become a seam line. So as someone else needs to get added back on there, if you're at all in doubt, if it's going to marry up, put some balanced marks so that we know, there we go. We know exactly that. That again, a balanced mark isn't something that's particular measurement is just an indication of where we join things together. And also for people like me that we know immediately that that's front and back. I know because the machine is won't get those pattern pieces. They'll have it cut out and I'll just get the fabric so that there's two Nazis in there. One in there. We know immediately, we know that that's back and that is our front. So now what we want to do is we want to add it onto the top of our crown, much like we have done like that. So we need to, uh, this is where I always get confused and actually, oh my God, I always get this big confused. That's it, right? No, no. Hang on. I still don't get confused. Why am I getting myself all a bit kerfuffle here? This is why I don't like rag glands. Because I feel like it's all a bit back to front. Okay. So then this is what it then looks like, excuse me finding my tape. So we know that that point there was that balance mark there, that piece right here. So this is the piece. We then join up to the balanced mark here that will become that area. Likewise on the front. We know that that point there was our balanced mark. And so we know that that point there will join up here like that on these two pieces. And so what we do is join that and then leave a tiny little space. Now tell you why in a minute. But that will be your placement here. I'm going to leave about just a few meal gap. Sometimes. It's yeah, it's good to leave a point and I'll tell you why. You hang on. Let me just stick that bit down there and that bit out there. Can you see what I've done there? I hope that's clear. Sorry, it's gone off the paper a little bit at the top. But what I've done there is quite literally removed those two sections and use that balanced markers just to guide. Again, it doesn't need to be there. If we move that up, it would start further up here. And if we move that line up there, it would start further up there. But I've just done it so that you can see what's going on. Then taking those pieces. And so when those pieces gets stitched back together, they close up and become your shoulder point. The reason I've left a little gap there, again, no one will say this in any book, but it's just a little life hack. When I like to curve off the bottom point when they join. And then we'll just go to slightly lower than your shoulder point. And it just makes for a really nice curve over the top of your crown, which would be there. And this is bang on on my area where my pitch point is. This is my neck line. Don't forget here. My neck line and that's my arm hole. Can you see it just made up a bit of a kind of a bit of a funny shape. Just want to go back into that like we've been doing and just make for a really nice curve. There's my balanced mark and then that line, there will be that line there that will marry up here. And that back one looks a little bit funky. So I'm going to choose us make a nice curve, something like that. So we know that again, that line here is here. And then that line there is that one there and that becomes my back, neck. And then that will close up like a giant dark. But the reason I left a little bit of a gap there is because when you've got such an acute, huge area that you close up, you get a really pointy bit. There's nothing worse than having a nice RAG land sleeve with a really acute point right on the shoulder tip. It doesn't look very nice. So I always leave a little gap and just extend that dark point down a bit and just curve off that end and it just creeps over that shoulder head point to so that you don't get a really nasty little point. When you close that up and you switch that up, it creates a really nice smooth point. And then your neck client and back then into your arm hole and there's your rag gland. 10. Drafting a Kimono Sleeve & Conclusion : Less than ten kimono sleeve. So in this lesson, we're going to be doing the kimono sleeve. This is commonly seen in kimono, of course. And in things like dressing gowns. I'm all in one, jump suits, things like that, and, um, uh, buyers, which you will see quite a lot. I'm in the Arab market and the Middle East. They have a lot of, um, these garments with the joint in arm hole. So actually we don't really, I'm not going to, for my method, use this leave block for this one, it's all about the body's block. Such you are really straightforward pattern. If you get the angles and things right, I've just drafted my block out, but I haven't put any of the dots oppression in anything like that. I haven't put it in my design either. It's quite a loose fitting Garmin. It doesn't have a proper arm hole, so it's not very fitted at the top. It doesn't creep around the bust or anything like that and you've got no suppression. And so you often have to lose your dollar into your arm hole or lose it into the bottom of the garment or rebalance your garment. Um, I do have a course all about rebalancing and all the nasty bits. So I, yeah, with things like this, it's very much like an oversized gown, a dressing gown, a loose fitting. Like I say, you haven't got this fitted arm whole shape. You do often find when you put your arm down in these garments, that there is a lot of volume up around this area. And that's all to do with the fact that you don't have the bust dart and the fact that you don't have an arm hole to swing any volume into. But that's all to do with the design. And so you just have to deal with that. And actually it's part of the beauty about the chemo, the right plan, the kimono sleeve. And that's the volume just kinda falls in here, but it's a really lovely sleeve if you can get it right. What you do have to be careful of as well in a design like this. Because the, the, the design will go from one length right the way across to the other. There's no arm hole, There's no slave, there's no like the patterns all in one. You just have to be careful of your fabric consumption on this because it takes up quite a lot of width. I know when I've done a bias for my Arabic clients, on the back, particularly there's no opening the openings, nobody at the front. So I can have a half bodies like this, but the back is normally splayed out all in one. There's no vaccine. When you're going from one risks to the next, your whole wingspan is sometimes wider than the fabric. So just be careful about this design on this, that it does take up quite a lot of width of the fabric. So as you can see here, I've, like I said, I've just drafted out part of the bodies and the arm hole area that we're gonna be working on. And I just have made it slightly like it. I'm like I said, without all the fitting. So it is a looser fit here. You can obviously have it very fitted. But for this particular design, I've just taken out the middle dots and, and like that. So what we are going to do, and it's quiet, Quite a ton of straightforward thing. Again, with my vibe, there's no kind of formula to do a particular thing or whatever. But anyway, you'll find it's trial and error with things like this as well. So I'm going to lift my arm hole on that outside edge. Just one centimetre, whatever you do here as well on the front door at the back as well. So this is my highest shoulder point on my font. I'm going to have that as my zero. What I'm gonna do is I'm just going to extend that out like that. And I lift that up a little bit because you know, a kimono sleeve because you don't have that arm hole and it's very loose fitting. You're lifting your arm up and down. You want to have a little bit of movement. And also, if I continued my line from my natural shoulder point down here, you don't have much lift. You do want to lift your arm up more than that angle. So I often do add a little bit of height. You can square completely across actually if you wanted to. Which is what I do a lot for my Middle East clients, is I go a lot. You can square completely across like that from zero here. But what happens is you do get this big pocket of volume here because it's got nowhere to go. But it's nice and Rumi and very flexible. But I've just angled mine down slightly just to get rid of that. But you do see a lot of these japanese garments that have very square arm and then they square down here and it's all very boxy square. I'm sure that there's some history behind all of that, but ignore that for now. I'm not going to be going quite so wild. I'm just gonna kinda do this natural line here. So just ignore that bit for bit. I've just lifted that shoulder up. 1 cm and we're going to extend down. Now when we drafted our block right at the beginning, our sleeve block, we know that a size eight is roughly 60 cm from the outside edge of my shoulder, which is there. So I'm gonna go down 60 cm. Haven't quite gone on long enough on my line here. Let's just add a little bit more in there. So I'm gonna go 60 cm from that shoulder point down there, 60 cm. So I know that that length there going to hit my cuff and it might be a slightly long, they might be short. These are again, like I said, oversized garments or you might find it, she has kind of ends up being a bit too long and that's absolutely fine, you know, crop that down. Then what you want to do from that line there is square down like that. So again, just following the design, you could, this is again so variable. But what you want, you don't really want to do is create a line that goes right up here from your side, right up to that underarm point and then joins down there, you know, what you don't want to do is that kind of thing and have a line going there because it's just that that link there is so narrow that front and back around your bicep. It just hasn't got any room. It's not got that oversize feel that you want. What you want to do is you want to create your line from it can come from your waist and go for natural progression out. Again, this is all designed depending there's no rules or regulations, and it also depends on how wide you want your cuff. If we weren't quite roomy cuff, don't forget, this is just my front bodice. I would say she's got quite a Rumi coffee know, there's quite a lot of room to put her hand in there. So I'm going to say the total of her calf is going to be something like 40 cm round, which is roughly double what are fitted rest of our block. So I'm gonna go 40, so we're doubling up. So 40 front and back. That's 20 cm on my front there, which I'd say is quite a nice measurement. And then what you want to do is to square up roughly from there. So then what we want to do, so this is my ignore that we now want to just marry up our side seam here to our cuff. And so what you want to do is you can create, again, this is all design pending. You can go up, draw in something like that so that it's square off there and anything you do to the front due to the back as well. And just make sure this is my waistline. So this is my waistline point. Just make sure your waistline point going down on your front and back is all married the same. Your underarm length and shape is all the same, you know, get get your front, trace it off, or your back-end and marry that line onto whatever your back, your back has. Just a slight, slightly more room through here, but that's fine because it doesn't affect any of your lines here and here. It just has a higher shoulder at the back because it creeps up over the shoulder. So don't worry, just as long as your highest shoulder point here and you'll cough are exactly the same length. And again, when you trace off your back body, you'll do exactly the same method you've done here, but you just might have a slightly deeper cough. Again, that's fine because it's not joining to anything. It will just give you a little bit more room and your cuff. But as you can see on the block, when you join these two together, you go back, is slightly higher here on your shoulder, your back. We'll just have a slightly a bit more room in it through here. But yeah, as long as that line here is the same and the angles are all the same, and you just trace them off to exactly the same front and back. And then when you stitch it up. But again, this is all a design line as is all of this. I could have, I could have a much, Let's go. I could do a narrower coffee if I like, I could just do 15 cm. Don't forget this is just on the half. So that would be a 30 centimeter cuff. And I can choose square that off slightly and then I can maybe have a higher I can go up higher and have it slightly neater on my underarm. We can draw that in usual nice rulers and make sure again, whatever alteration you do to the front, to the back as well, That's given me a slightly slightly neater Let's ignore that one for a minute. A slightly neater arm hole and going into a tighter cuff. But again, it all depends on the design. You could go even wider and move that down there. So it is all variable, but that's a really basic way of doing your nice kimono sleeve. So thank you so much for joining me on these courses. I really, really appreciate all the support and keep your questions coming. And if you don't understand anything, please email or write a comment on anything and I'll try to answer you as soon as I can. Thank you so much.