Fashion Design - Pattern Making, Part 2 - Yokes, Stripes, Grainlines, Gathers, Princess Seams, etc.

1. PROMO - FD Pattern Making - Part 2 - 2020: Hello, everyone, and welcome to fashion design. Hi, my name is Nino via and I'm your instructor. In this course, you will learn about yolks. You'll be creating yolks by using draping and pattern making skills. We will deal with grain line, especially when using stripes will be using the one dart and the too dark bodies. We will use slash and spread meth. It's to add fullness to a design will learn how to blend uneven seams. Using tools such as the hip. Kurt and the French curve will be working with princess seams and princess style lines. You'll be working on skirts and out to create a yoke style line on a skirt. We'll review how to close a dark by using the slash and spread. Men will go over elements of design. If you know some basic pattern making and grieving, this will take you to the next level, so roll up your sleeves. I will see you in class 2. FD Pattern Making, Part 2 - #1: everyone and welcome to fashion designing intermediate course. My name is Nino via, and I'm your instructor. In this course, we start with creating and working with something known as a yoke. What is a young by definition, A yoke is the upper part of a garment that fits the shoulder area. If it's a top or address, however, you can also be used on a skirt. One thing about Yolks is that most of the time there is no shoulder seen. See that there's no shoulder seam. It continues all the way to the back, All in one place. I'm gonna show you how to eliminate the shoulder seam. Here are some examples off Yolks. I'm going to show you two ways to techniques on how to create a yoke. First, I will drape a yoke for you, and then I would use pattern making to draft a yoke. Okay, so we'll need some Muslim. We'll need scissors and some pins. I've got a piece of Muslim about eight inches by eight inches to two square, and here's thes salvage. So the grain line off the fabric goes this way and we're pinning it unto the dress form unto center front. Now again, if all these words mean nothing to you, then you need to take my draping course so that you know what all these words mean. Grain line, salvage, bus line. And so some students make the mistake of pinning. You're Muslim like this and forgetting about the neck line in this neck area. So don't do this, okay? You need to start with three or four inches above the neckline and pin your Muslim in the dress form like this with the pain going in this direction. What I mean by that is if you if I put the pain in the opposite direction, watch what happens. Watch if I put the pin going this way. What happens is the pin comes undone. The Muslim comes off the form and then to settle over again. So this is basic pinning. So pain you're Muslim onto the dress form in the correct way. This way. So it anchors the form. See, that's not going anywhere. All right, so I'm gonna pain my center front. And now I'm going to take my scissors and from the neckline, go up maybe an inch or so, and watch what happens you get a cut in about an inch and then go up work you're gonna cut in this direction like this. See how my sister's going up this way so that I can then take my scissors and cut downward on to the neckline towards the neckline like this so that my Muslim can fall nicely into the dress form and create a smooth piece of mostly next I'm going to mark my neck line. I'm going to use a Sharpie so you can see better. But you will use a sharp pencil. So I'm going to mark my neck line and when my net line meets my shoulder and my shoulder scene and when my shoulder meets the arm hole. Next, we're going to create the actual style line the yolk style line, and this is really up to you to decide how big of a Yoki one. You could have a very narrow yoke or a very white yoke to truly up to you as far as the length of it, and also the shape of it you could be. It could be a very simple straight across line, or if you wanted a Western look. You know you can shape it into one other. Using those Western shirt Look like kind of like that. But for this particular exercising, just gonna keep it straight across it, so that eventually when I take it off the form make a pattern from it. I will end up with a yoke that looks like that. I'm doing the same thing for the back. I've cut a piece of muslin pin my selvage three grain line goes this way again. Pain my center back. All right, there's my neck lying my shoulder, arm hole, and then the back yoke styling. All right. At the beginning of this video, I was showing you as short a white shirt where the yolk went from the front onto the back without a shoulder scene. Right. How we gonna eliminate the show? Mercy. I'm gonna show you that next class when you do that, the grain lines get really crazy. Gets really interesting 3. FD Pattern Making, Part 2 - #2: on. Welcome back. Let's continue with their yolks. I have removed the muscle from the form and I have transferred all this information unto dotted paper to cut to the chase. I've done this already if you don't know how to do this. So you forgot. If you want to refresh your memory in my pattern making and draping courses and explains how to do that So here's my front yoke. C f means sent the front and have done the same thing for the back. Here's my Muslim. There is my dotted paper. Now how do we eliminate that shoulder scene? I'm gonna show you two quick ways. One is to take my front shoulder seam and place it on top of the back. Now here's the mistake that some students make. At first. Some students will place it like that. Now watch. This is important. This is your shoulder scene right here for the back, and this is the shoulder seam for the front. You want to put shoulder seam on top of shoulders seem very important. In other words, it looks like that they overlap each other. Another simpler way is to take the seam allowance off the front yoke for the sea. Malone's under and place it on top of the back like that, and they use a little bit of Scotch tape and we're going to take the two seems together like so. Okay, there you go. So we have now eliminated the shoulders. In other words, pretend that this scene was never there. This is now one piece, and there you have it. If this was a solid color, in other words, it was all white, all black or all red or pink, yellow, green, whatever it was that one color, you're pretty much done. But what if the fabric had a certain pattern? For example, stripes Here is a striped dress, and here's I back yoke. Notice that the yolk from the back continues on to the front. Now your shoulder line is somewhere here, and the yolk line is passed a shoulder onto the front section for the purpose of this exercise. I've taken my data paper, and I've drawn some lines black stripes like a fabric that has stripes, and you can see that the yolk starts from the back goes onto the front. This is all one piece and the stripes end up looking like that, which is fine. Nothing wrong with that. It's one way to handle a design like this. Another possibility is to put the stripes horizontally in the front and again, no sight, no shoulder seam, one continuous piece. Look what happens to the back yolk and the stripes, so that's another option. Well, what if you didn't like any of those options? You say, Well, I want this back. Yoke the stripes to go in this direction, and I want the front yoke the stripes to go in this direction. That's OK. You can do that. In this case, though, you do need a shoulder seam because the stripes are going in all different directions. See, I'm showing you different options because when you're dealing with a yoke and stripes, you have options. You can get really creative with it, So have fun with it, not to mention that you can have the yolk in one color and the rest of the body in a different color, which I will show you as we move along with the rest of this course. But before we get to work on the rest of the body, the next class, they're gonna show you how to use pattern drafting pattern and how to draft yolks and how to use a one dark bodies to dark bodies to create a what do you do? It Don't start someone. So it's only going to get more exciting. Stay tuned. See you in class. 4. FD Pattern Making, Part 2 - #3: in this class. We're going to work with yolks by using pattern making or patting drifting techniques. We use the one dot bodies that too dark bodies will work with gathers, notches and someone. So let's get to it. We stopped by making a copy off this one dot bodies, so we trays our pattern on two dotted paper all the way around. And there you have it. Next. It's really a matter of figuring out the styling. Well, do something little interesting and I'm gonna use my French curves to happen. Me shape this yoke and we'll do something like this. Next, we're going to cut the padded out. You cut the pattern out, and now we're going to separate the yolk from the rest of the body. And that's pretty much eight. Now this pattern. This bodice has no similar loans. So when you cut this in the fabric, make sure that you add all the proper see Malone's. Otherwise, it'll never work. So at similarities before you cut it, and so it working with a too dark bodies, it's a little more tricky. We start by again, tracing your pattern unto dotted paper. So we have a dotted paper draft to work with going to start by folding and closing my shoulder dark. I'm gonna fold crease and fold one leg off the dark and fold it over to the other one and I'm going to pin it closed by this paint my dark closed. Now I create the style line the yolk style line, and I'm going to use my ruler and pencil and just draw my yoke style lie like that. Now I'm going to add two notches and about an inch or so I'm gonna put a notch right here and same thing about inch, inch and 1/2. So I'm gonna put a notch right here, because now we're going to separate yoke from the body, like so we're going to Scotch tape this dark closed. So this becomes one piece yoke. And once we remove this pain or pins, we have this extra material to deal with not just served primarily two purposes. One is to indicate similar ones. The other purpose is to help the seamstress or the factory put this piece or the pieces back together. See, now I'm going to take this amount right here from this notch to this notch, and I'm going to create gathers or sharing, meaning that when I put this back together, this will be gathered to fit this yoke. So it tells the seamstress that as you start sewing from here, you have to match this notch, continue sewing and match this notch and so on. So all this extra fabric would become gathers or sure to be gathered to fit thes. Two notches appear. The thing with yolks is that almost always, yolks are cut doubled, which means there's actually two yolks. There is the outside yoke, of course, but there's also an insight yolk. You see, the's yolks are cut double, there's two yolks is the outside yolk and the insight yoke. And the beauty of that is that all the sea Malone's off the shirtdress, whatever is sandwiched between two yolks, so you have no seam allowance showing. It's all nice and clean on the inside. Okay, so we've been dealing with yolks and variations of yolks and someone. What about the rest of the body? Next class. I want to show you how to take that pattern and slash and spread it and some really cool skylines excited 5. FD Pattern Making, Part 2 - #4: Wait. So what do we do with the rest of the body that gets attached to the yoke? The possibilities are endless. So you have to remember one thing. These are just techniques draping, pattern making, and so on that just techniques. Yes, it's great to be a great technician, but you want to be a designer. Like, for example, if your car breaks down, you take it to your mechanic. He'll fix your car. It'll fix part a part B. Move this around. Change that he's not designing your car is just fixing it. Well, you want to take these techniques and used them. Use them to inspire you. To be a brilliant designer, you need to break out of this box. Don't get stuck in these techniques. Don't get stuck in a box. These techniques air here to support you in being a brilliant designer. Got that? Okay, let's get to work. So, for example, here are two simple designs, very similar when it's a short dress, when it's a longer version, very simple yoke and then gathers or sharing from the yoke down. So how do we make this? We're gonna start by using our one dark bodies, and once again we're going to trace our pattern all the way around, which I have done. Then we establish our yoke style line right here. There it is. Next week, cut the pattern out and separate the yolk from the body. Well, there's one thing we have to do now See? This shape here is because they're, say, dark in this bodice. But as we've noticed, there is no doubt in our design. So we need to eliminate this pointy hem line. I'm going to reshape my hand line. Next, I'm going to use thes slash and spread method to add fullness to this portion of the body. I am creating my slash lines. Next, I'm going to slash on these guidelines and separate my pieces. When you're working with fullness such as gathers or sharing, there's something called ratio. A ratio works like this. For example, a 2 to 1 ratio means that for every one inch off, one measurement of one scene, we're going to double the other seen. In other words, let's say, for example, this measures five inches right. My, your Klein is five inches. I'm going to make this distance 10 inches. I'm gonna double, so it's a 2 to 1 ratio. I noticed that I decided to add Sweep. So, for example, here the spaces about two inches of So I've made this space here by three inches. I've made this bigger than that. That's totally okay. So I've added sweet to the hem line of this top. So once again, using my hip curve, I'm going to blend and create a new hemlock and under the same thing on top, putting my hip curve in place and blend that seem like. And so in this, all this fullness will be gathered to fit into this yoke right there. Now, do you remember this yoke, this western looking yoke? Well, we can add full this year as well. But it's one thing to note when you have a shaped seen like that, I've created my slash lines. And when you have several pieces like that, it's always a good idea to label it Number 12345 And also, I'm gonna put some notches to help me keep everything in place. So, for example, I'm gonna put a notch right here and here. So when you have a very uneven seeing like like this. At first, you would think, Well, I'm just gonna go ahead and connect here to here and this to this. And this too. That, and someone. That is not what you do. What you do is that you blend all these corners using your hit curb or French curves, and you draw one smooth line like that. And once you cut this out, this will be gathered to fit into the earth. All right, Next class, we're gonna work in a really cool design we're gonna be working with Princess sees princess style. So stay tuned. A See you next class. 6. FD Pattern Making, Part 2 - #5: All right, here we go. This class will be working with Princess Seams and Princess Di lines. If you don't know what I'm talking about. Review my course on pattern making where we draft a princess seam. If you do know what a princess scene looks like, then this is gonna be fun. Check this out. Okay, here we have a dress with a yoke and princess seams or princess style lines. It's simple. And you might even think, Well, it's kind of boring, but actually, you just wait and see what we're gonna do with this design, okay? I'm going to use the to dart bodies, and we have already learned how to close the dark and create a yoke style line. So I'm not gonna do that right now. I'm just going to focus on the princess, seen part of it. So we'll take this manila pattern and will trace it all the way around, as usual. So we now have a dotted paper pattern to work with. So if you know about Princess Seams, you know that we're going to eliminate these two darts. But before we do that, what's really important? And there's a good refresher note is that we have to redraw these legs to the apex like this. I have marked him in, right, so you can see the difference. So again, this is my apex, and I've recreated redrawn the legs of the dark so that they come to the apex. Next, I'm going to put a notch right at the apex right across the apex. Gonna put a notch because in a minute I'm going to separate these pieces, get bit of the darts. And these two not just a way to read a mine are patterns back together to eliminate the darts by cutting on the new legs that I've drawn the red lion's. Okay, so there is one dark. Here's my other dark and I now have separated my front from my sight front. There's his little corner right here. This point at the apex you just wanted round that out and smooth that out. So it's not so pointy, and you just gonna do something like that there. If you did not close the dark already now it's also another way of doing it. Watch this. I'm gonna take these two legs, put them together and create a yoke lying Scotch tape that because my yoke and here's my yoke line, and by now you can see that I'm going to cut this and separate my yoke from the rest of the body. Now you might be thinking, but wait a minute. This is a dress, and this is only a top. How do we do this if you take? If you have a basic skirt pattern, you could actually add a skirt to it, combined the top in the in the skirt. And if you could send your site, seem on two and follow the curvature of the hip line off the skirt of the sites in with the skirt, you can make it as long as you want. Now, when it comes to the sewing part, you have so many options you can have the yolk in one color like polka dots, for example, and the rest of the body is different color. You could have polka dots and stripes on the side panel. A little crazy. You can have black yoke and black site panels, a white yoke and sleeve with multi color panels. I think that's so cool again. Endless possibilities, so many options. So many options anyway. We've been dealing with tops and dresses. What about skirts? Will deal with skirts next class here, then. 7. FD Pattern Making, Part 2 - #6: All right, so let's look at some skirts. Let's say you had a very basic skirt and you wanted to add a yoke to a skirt. How do we do that? Let's do it. Okay, so let's say we have a very basic too dark skirt. And here my two darts, what I want you to do is to draw some guidelines to guidelines from the end of the dark, known as the vanishing point to the dark from the vanishing. Pointed are a straight line all the way down to the hem line, and it should be perpendicular to the hem line. So two guidelines which will become our slash lines were going to slash and spread this skirt. We're going to slash from the bottom of the skirt from the hem line all the way up to the vanishing point of the dark when you slash up to the vanishing point of the dark and you closed the dark by folding one leg on top of the other. See what happens. This area opens up. I have slashed, closed my dark slash close to my second dart. Put another piece of paper underneath. Right. And now I have an a line skirt. It is easy to now use this flat surface to establish my yoke line. And really, this is really up to you to figure out the shape the size off the yoke again. It could be very narrow. Very why it could be at a certain angle. It could be rounded, It could be straight. It could have all different kinds of shapes that you want. So for this exercise, I just kept it very simple. Here it is and it's a bit of around that shape to it. And that's my yoke. There's my yoke line. Um, again, I'm going to I'm going to know cut and separate my yoke from my skirt. Once I have separated my yoke from the skirt. I'm using my slash and spread technique to add fullness to the skirt. And by now you can see that all this fullness will be gathered to fit this yoke. This amount here doesn't have to be gathered into the yolk. What if you want, Please, You can go ahead and create please instead of Suri, and you can have a pleated skirt, so one unto the yolk. And just like we did for the dress you can actually create, seems in here and have different color panels that can go to the yoke. You can also cut this twice this skirt section twice and make the second section shorter so that you have two layers as short and the longer version two layers, one on top of the other being sewn into the yolk. All right, in the next class, we'll talk about necklines, really even talked about that and other interesting and important details that will enhance your fashion design. 8. FD Pattern Making, Part 2 - #7: All right. So what do you want to do today? That's just getting Today we're gonna cover a whole bunch of really cool, interesting, important aspect of fashion designer, and I'm gonna start with a little secret. This is known as graphic tape. It's used primarily in graphic design. If you were a graphic designer, you would know what this is, and I'm gonna use it to create style lines. This tape comes in different wits. This is an eighth of an inch now off course. One side has a little bit off glued to it. So it sticks to your weather, your finger and before, and the beauty is that you can use it to create style lights. So let's say, wanted to do a square neckline, right? So you can go like this and like that to see whether that's something that you are happy with that you like. And if you don't like it again, you just peel it off and try different necklines. You could also use this to create style lines that they want to create. Some seems to really am style lines for princess seems, and someone you can find it at your local art store. If you're wondering why I work on half of the four is because most of the time the left side on the right side are the same. That's known a as a symmetrical design. So if I work on half of the form, do you remember this guy right here? This yoke that we did way back with way eliminated the shoulder seam. So if I'm putting this on the fold, the pattern will look like this. When I opened my pattern, I've had my center back on the fold. Some of my pattern is one piece, and now there is money, yoke, all in one piece would send it back, sent the bank on the food. We've been working with necklines which are very close to the neckline of the form, but you can shape your life line any way that you like. You can go ahead and use that tape that I was just showing you and place it on your pattern and you can shape your neck line any way that you choose. Do you remember in the first class we talked about grain lines and using stripes. So here is a yoke on the fold one piece, no shoulder seam and following the stripes in the front, it turns out to look like that just kind of cool. Some fabric will allow you to cut the pattern piece on the left grain or the cross green, meaning that in this case the yolk is cut length grain and the rest of the body is cut cross green. Not all fabric will allow you to do that. These are all factors that make up the elements of design elements of designed. What's that? Well, what makes a great design? There are certain elements which are essential and are used in creating a great design. For example, the first is what's known as silhouette. Silhouette is the shape off the garment. If you're looking at the garment on a hanger, what is the shape off that design? Okay, the next is color. When you walk into a store, the first thing that attracts you is really the calories, and every Bryant isn't like dark. Pastel color is very important, so that's another element of design. The next would be texture, the texture off the fabric. Is it smooth? Is it silky? Is it rough? That's it. every a nap like corduroy, for example, uh, another would be the wage of the fabric. Is a lightweight chiffon or is it a heavyweight? More velvet and wait a wool fabric, for example. That will be another element of design, and another would be balance, balance or and or proportion proportion will be the relationship between one area off your design and the rest of the body or one to another area. For example, is this a good proportion? Is this yoke the relationship between this yolk and the rest off dress, those elements of design? That's what a good designer uses, consciously or unconsciously to create. Great design way having fun yet See you next class. 9. FD Pattern Making, Part 2 - #8: fashioned can be fun, and it should be fun and creative and inspired. But sometimes it's not. Sometimes you wake up one morning and you feel drained and stressed out, and you don't have that dry that passion. Well, when you don't have that passion, find your purpose. What is your purpose in this creative process? Make your purpose a bigger purpose than just designing for yourself. We're designing for the bling bling of it all. Make your purpose a big purpose. What do I mean by that? You've seen people who are less fortunate that you and I that maybe don't have clothes, can't afford to buy clothes. Have a purpose that every man, woman and child will be able to wear clothes. Now, that is a big purpose. That purpose will drive you when your passion isn't fair. Okay. Make your purpose bigger than your passion. All right. In our philosophy, I hope you have enjoyed this course. I hope I've met your expectations. If you have any questions, email me. I answer all my emails. You can go to my website nino via consulting dot com and reach out to me. Let me know your thoughts. What's next? What should we do next? Okay. And I will see you on the way 10. Bonus Lecture: FAQs, and other "goodies", etc.: Hello everyone. In this bonus video, I'm going to answer the most frequently asked questions that I get from you guys, like supplies. When do I get my supplies from whatever gets scissors and muslin paper and so on. How do I get addressed for them when we get to dress form? And what's a good textbook to use e.g. so I'm going to answer all those questions for you. So when it comes to supplies, the company that I use, and it's a great, great, great company, is called French European Inc. www.frencheuropeanink.com. They have every supply, every item you can imagine for fashion designing, for draping, for pattern-making and so on. So check them out. Including forums, yes, including dress forums. When it comes to textbook, this is a great textbook for pattern-making. It's called pattern-making profession designed by Helen Joseph Armstrong. I highly recommend it. Okay. So that's that on supplies, dress forms, textbook. So, okay, moving right along, what is the first course that I should start with? What is the order that I should take your courses in? Or another way of saying it is, I love fashion designing. How do I start? Where do I start? Right? So I'm going to answer your question like this. You could divide the industry, the fashion industry, into two areas that co-exist. One is the creative aspects of the industry, and another is the business aspect. And the two have to work together. If you're in the creative aspect, meaning if you'd like to sketch and paint and draw, I would say start with sketching, sketching classes and the draping classes and the pattern-making classes, which there are quite a few, as well as the fabric course, which is really quite an intense course. But if you say, well, you know what, I'm not really very artistic. I liked the business part. I like to buy and sell fashion and social media. Then the course is to take would be the business of fashion. That's the title of the course, which is, as the title says, it's about the business side, right? The financial aspect, buying and selling. Then there's also marketing and branding. Have you ever wanted to draft? A basic bar is basic pattern from scratch, using specific measurements to fit your form, to fit yourself, to fit a customer well. In this course, I'm going to show you how to do that. I'm going to show you how to measure a body so that you can create and draft a basic bodice, front and back, and a skirt as well. But there's one course which is how to create a fashion collection and launch your own brand. Which is really an overall picture of the whole process from beginning to end, meaning from the inception, from your ideas and mood boards and sketching and some pattern-making and draping onto production, manufacturing, some of the business of fascism, branding and marketing and so on. That will give you an overall picture of the industry runs. It'll give you a good idea, maybe which way to go, which way to start, how to start the process of taking these courses and learning about the fashion designing process. Okay. How did I get started in fashion design? I get asked that question many times. Well, let's start with the fact that I was born and raised in Rome, Italy. So I was surrounded by art and history and beauty. I mean, wherever you turn in Rome, There's beauty like fountains, e.g. such as the Trevi Fountain, where the famous movie like Dolce Vita by Federico Fellini was shot with Marcelo Master Yan. And the beautiful and either Egbert and of course, architectural wonders like the Colosseum and frescoes. Rama kept bell logic that I was always good in. I was drawing and sketching and painting. When I was 13 years old, my parents immigrated to New York and I eventually attended one of the best fashion design schools in the world, FIT Fashion Institute of Technology, fashioned by day and yes, music at night. I was in Iraq. After graduating from FIT, I worked at Ralph Lauren and we had the best Italian tailors in the world who share with me knowledge and skills and wisdom from the old school, which I incorporate in my classes. My mom was a seamstress. She was always working on some project or another, either making something for myself and my brother or working for a factory sewing clothes. So I looked at her sewing machine as a toy and I started playing around with it. When my mom passed away. She left me her fashion design homework notebook from when she went to school in Italy, something I will always treasure because it's full of inspiring information not available in any textbook or school. After working in the industry for many years and teaching at FID m, the Fashion Institute in Los Angeles. I decided to start sharing my knowledge and experience online, creating fashion premier Academy, where I teach courses on sketching and draping and pattern-making, branding and marketing, textiles and board. I also have a YouTube channel where I answer all my students questions. So I look forward to answering more of your questions or senior on Zoom. She been Yammer in classic Ciao. Fashion can be a form of self-expression, of fun and creativity and can be a vehicle for you to make a difference in the world. But what if you're lacking the resources to grow? Did you know that Samsung has a fashion division? Yep, they do. Their vision is to support and empower new designers and companies that want to grow and expand. As a consultant with Samsung, I am positioned to introduce new brands to Samsung's resources. The possibility to elevate your brand to a whole new level. When I was working at Ralph Lauren, we had weekly meetings and fitting on a model. Model would come in, we would try on the latest samples, jackets, dress. And so on. One day we had this new jacket and the model puts it on. And Ralph says that lapel should be an eighth of an inch smaller. I was so young and naive. I didn't know. I'm thinking, well, an eighth of an inch. Who's going to know the difference? An eighth of an inch, right? Anyway. So took notes, went back to the sample room till the tailors, seamstresses what to, what to do and so on. Fast-forward. Many, many years later, I am teaching at the Fashion Institute one day. In my classroom, I got my 17, 18 students around my, my table. I'm doing a demo and I'm telling them this story. And I told him that sometimes a little difference, like an eighth of an inch makes a difference between good and great. Anyway, so I do my demo, I tell the story, they go back to their desks and they continue with their work. And I'm walking around the classroom to see how they're doing. And one student, this one girl, was writing something on her hand. So she is writing something. What are you doing? And she showed it to me and it said, the difference between good and great is an eighth of an inch. Pay attention to details. Sometimes the difference between good and great, it's an eighth of an inch. And one more thing. For those of you who need one-on-one coaching and tutoring, I am available. That service is available. We can zoom, we can FaceTime. Or if you prefer, just a simple phone call, that'll work just as well. I would love to take you to the next level. So email me via admin.com and subscribe to my YouTube channel, you know, V01. 11. What's NEXT? Pattern Making-Part 3: All right, so you have completed pattern making part one, part two. We're on to part three. Let me show you what pattern making part three is all about. Check this out. This particular course will focus on necklines including the Mandarin collar and a convertible collar, and a Peter Pan collar and a sailor collar. As well as creating different necklines, different shapes like with gathers and sharing and pleats, and a yoke with gathers and a cowl neckline. And the different shapes of a neckline, like a sweetheart neckline and a V neck and a boat neck and a scoop neck, and so on. We'll get creative and I'll show you how you can take part of one color and combine it with another to create a new idea, a new design. We'll talk about how to finish a neck line. The edge of a neckline, you can't leave it raw. So we'll talk about facings, how to create a facing. And if you have buttons, you will need a button extension. And I'll show you how to do that. I'm really excited to show you a lot of new fun and creative techniques. We'll start with the Mandarin color. It is simple and it'll be the foundation for other colors to be built on. So let's get started.