Pattern Making Intermediate - Fashion

1. 1 Intro: Hi. I'm Caroline Morella's, and I'm back with my intermediate course on pattern making and pattern cutting, with just taking the skill set a little bit higher than the beginner's course. You will, for this course, need your body's block. Sloper front and back. You will need your trusty routers, your set square on door, your French curve or a meter rule. If you have one of those, your measuring tape always essential. A calculator. Your pencil on rubber. Let's hope we don't have any mistakes you're tracing. Will your paper, scissors, good set of pins some notches on and your drill on. We have a new addition to the family, the dog maven. So if you hear any snoring going on, it's him, not May I hope you don't snore through my course as much as he does hope you enjoy it. 2. 2 Terminology part 1: hi. And this video is about pattern making terminology, and we use a lot of jargon in pattern cutting pattern making, and sometimes it could be quite confusing. I do have quite a lot off questions from my students asking what certain things mean. Why do we do certain things? So I'm going to try on explain a few things quite briefly for you in this first video. Um, apologies. If you can hear any snoring, I have a dog next door. So sorry about that. Eso. First of all, I want to explain what blocking a Sloper is, and I do have a course about drafting block on a slope from scratch. So I suggest you backtrack and go and see that first and then maybe the beginner's course and come and review this one. So in a really short explanation of Block or Sloper is really kind of the backbone off pattern cutting. Really, if you're pattern cutting, especially for the production, I using my blocks, which are UK size eight, which is about you. As for you 36. If you don't know the measurements, just google it. There's loads of charts out there, and you can get a brief outline off what the measurements are. And as you can see here, I've got my my body block in front of me and a sleeve in the middle. I've got 1/2 back here, my half front here on my sleeve. Here on these are always my starting points for tops, dresses, even jackets, things like that. There are different blocks for jackets, and trousers are going to do separate courses specifically for those. But these are just concentrating on the body, the skirt, the dress, things like that. Onda, really, the formula that you use for these really just do transfer on toe all pattern cutting basis . If you've got your blocks in place and you do any manipulation of the shapes or design within that, as long as they come back to these measurements or they don't go any smaller, you should get a really uniform measurements throughout throughout the whole process. Another thing that's I always get asked about his ease or give. That's another phrase that you might here, and it's really just a little bit of movement within that garment or the block or slow put to give it that extra bit of movement, anything like that. So if you if you're building your blocks from your body measurements from a personal client measurement or a mannequin measurement if you've got those measurements in place, I would add on, especially around the bust here, around the waist and around the hip measurement. Um, maybe just over. Since meat it may be on each side seam. We should roughly about half an inch just through this body measurement. It just means that when you make that garment up, it's not a complete second skin. You do have that extra little bit of movement you can even add on 1/2 centimeter over 1/4 inch or something on that cross shoulder. Here, these shoulders points, move along the front, cross front here and across back and then down to your side seams. Here, just making sure that the whole way around that body you've got a little bit of movement on again With your sleeve. You can add a little bit of movement again because you'll be making your arm hole slightly bigger than your actual skin measurements. When you're drafting out these on your block, you will then accommodate your sleeve accordingly. Andi. Add on. Add on to the width of your sleeve, and it just means that it's not a complete second. Skin like that. You can't even bend your elbow. It will just give you that little bit of movement now, obviously designed. Depending the structure of this will completely change. But I just give you an indication off your body block with a slight ease on it. There's no rule or formula to work out these. It's just playing around with what suits you. Andi. The amount of volume that would really you would add on Teoh sighs, whatever face you're working for, to to allow for a little bit of movement, so it's not too tight. Now my blocks already have eased on them. So when I draft around these blocks, I'm not then calculating every single time or add a little bit on here at a little bit on here. I've already built them into my blocks or slow pers. So when I did my size eight UK measurements, I already calculated on a little bit around the bust around their waist around the hips a little bit across the shoulder, and it already built them into the blocks. So I know every time I draft around these blocks that I've got already that is built into it. So I don't have to keep adding it on again and again and again and again that that will make your work like quicker, especially if you're working for industry. And you have to get patterns out on an organ, make everything uniform, and everything will hopefully come back to the same kind of measurements every time from block. Then we create the pattern on the again. You you can these a very dog did you can see that had a lot of you sign of a good parts of maker s those that really need to trace him off again. But this is You could build up a whole library of blocks and slippers if you've got a really nice shape that you just keep using again and again a really nice collar. For instance, over the nice leave, you could draft that up onto card on, have that is your base block. And you know that every time that you use that sleeve, it's always going to be the same as you did before, so you can have a whole archive of blocks, if you like. They're not there with no frills, no seam allowance, anything. They just the outline on the starting shape off whichever shape you want to develop. Now these are like I said, my bodice on my sleeves are just going to be working around these. So from this, then I just want to create what we would call a pattern on the pattern. The difference between the block and the pattern is the block, like I say is this carded structure. And then the pattern is the one that we would then change or manipulate into whatever design we want to do. Now, I'm just going to draft up a quick bodice pattern. I'm just going to use my half body block, my slow purchase toe show you Then how I would change this into what we would call a pattern. And I'm not going to do any crazy design. I'm just going to work with the shape of the block I've got here again. A design is completely free of whatever you want to do. So how we would start? I always use this spotting cross baby. You can find this online. It's really good indicating indicating your your angles. So I always stop by drafting down a vertical line and then I would square across. You can use your brewer or the spot on cross helps with this line. Here you can draw a line, and this should align up to your line on your block like that. So I'm going to line that up with that. And then this is my line here. So I'm just gonna do a top, which it is just I'm going to just use the two dots of shaping on, um, do it down to my waist line, which is this here. Now I'm going to assume that this top I'm making is symmetrical. So I'm only going to use the 1/2 of the block because I will fold it eventually across the fold line and our guarantee it always looking symmetrical. So that's my bus point. This is going to create shaping. Okay, So what I'm drawing in here in what we would call a dart Andi, it is untenable lined that when stitched up it. When that is closed and that is closed to this point here, this fabric would be inside on disappear, and it would that would create are shaping on. It's very, very important for things like Bust. So this is my bust area here, and it's really important to leave this fullness here on when that stitched clothes and that stitch clothes it would create that really nice shape under the bust. Andi, look around here where it goes into the side seam. It doesn't. It's not just for bodies is anything that you want shaping in. It could be a ah funky sleeve with you. Then want to creep in to the neckline and then add volume here over the hips, where you've got your widest point of your body and then you want to go into a waste. You would add Adar on a trouser or skirt, for instance, This jacket I've turned this inside out, but you can see the on the inside. It would. This bit here is the bust that would have the fullest part off your body's on then. This inside is the dart which has been stitched away. But it just gives it that really nice, shaping this one here under the bus so it would create that really nice body shape you can play around with with volume on pins and fabric over a mannequin or yourself on pin away bits and see what happens with shape and volume. So there's no rule or all regulation about having darts or anything like that on. I'll show you how to move some darts around within the body so you can get different shapes within the mano later video. But this is just like I said, my basic I'm just going to show you. So that's a dart, and they're really, like, just intern or shaping. You can see here how this dark on my block with then continue down to another point. So if that gets stitched, closed all of that internally, that would create a really nice shape under here has been stitched away and then comes back to the widest part, which is your hit on the volume a bit further down so they can be vertical horizontal wherever you want them to. You can pivot them around. I'll show you that a bit later, but it just it's a four. It's a way of building shaping within a garment, so that's what art is. So when you've done your pattern. What we would then do is we want to add on. The most important thing is your grain line. Your grain line is the line. If you indicate that on your pattern, that will be calm, the line that completely parallel to the edge of your fabric and run along the edge of your fabric. So I'm going to use this ruler, for instance, as the edge of my fabric. If I'm going to pretend my fabrics running along here, I want my pattern to lie exactly parallel to the edge of my fabric. So using the spot on cross going to draw my line completely down, and I just indicate an arrow on it, just to show which direction is particularly important. If you've got printed fabrics or a fabric like a velvet that's got a pile on it that always just goes in one direction, and then you know that that will always lay in the same direction. Now, if you're cutting that out now, afterward, you know that that line there has to be completely parallel, unusual measuring tape to measure from this point to the edge of your fabric and then moving up a bit in that line there and just shift your pattern around accordingly. So it's perfectly parallel. So when it gets stitched up, hopefully it will get stitched up fine. And that that goes with all pattern pieces you absolutely have to have a grain line on. It doesn't have to be a straight grain line again. Play around with grain lines as a whole nother four game of complications of fabrics. But you could try things on the bias on the diagonal. You'll find that fabrics twist and change and drop on drape and do completely different things. But ordinarily, for, um, I'm going to just drop this pattern with a straight grain line to spin out just to keep things simple for you. So that's my gray known on. That is a really important thing. You can't have any pattern without a green line. You won't know how toe cut it out 3. 3 Terminology part 2: so that we want to label it up. Because if I just cut that out now, who knows what the pattern pieces. So I'm going to call this the Caroline Top just to keep life easy. Andi is also a front bodies. And I know that because I traced off my front from Sloper. So I'm going to call it my front bodice. Just so I always know what that pieces on, then I want to only caught out one off the front and I'm going to cut it out on this center front line, which we would indicate a C now on the back. If you've got sent a back line like that, we would indicate as center back CB you don't need to have that on the fold. I could put a seam allowance on that edge as well and have two different harps. But for now, I'm going to create something like this which hasn't got a scene running down the front, so I will eventually fold that out. I know that That's my center, frontline CF. We also use speak s s, which is my side. Same. And so any labeling on a pattern that you think would help Remind yourself for a seamstress or tailor to stitch it up when the pattern has been cut out in the fabric just, you know, label away. So I know this is my front bodice. That's my center front point right there. You can even, right. If you've got a complicated piece and you're not quite sure where lines are going and all sorts of draped something and you've put it back, I would write something on here like waistline W l just to indicate where my way should sit if ever I refer back to It was a very complicated piece. I'm not quite sure where pieces go. Eso Like I said, I just want one of the front bodice is which is similar to the shape although this one hasn't got any darts in it. So I'm going to say cut one. Andi, this word confuses people when I get asked what this means a lot. So we would say cut oneself s e a l f andi that in industry terms would indicate the main fabric. Now they would also probably get a sketch with this or you've drawn something or you know what I did you want in your head of the main fabric? So we would always indicate that itself. This jacket, for instance, would have an outside as self and then the front as a contrast. For instance, just to give you an idea of the difference in fabrics, you can have a contrast fabric. That's fine. If you've got something else you would write. One contrast, Thea other thing is whether we line garments or not. Do we want to have something going on on the inside? This T shirt hasn't got any lining, so I would just leave it as cut oneself. But if I wanted to fully line it and finish it off on the neckline nicely and put lack of fabric on the inside and it would be the same pattern I could write, cut oneself and then I can write caught one lining, for instance, just as an idea on then I would always right what size it is. So I know that that's my UK size eight. Um, and then we would add a seam allowance and I'm UK, so I'm using centimeters. I do use half inch. Sometimes I work in the Middle East quite a lot of us will be inches as well. So I put a seaman out all the way around the outside, off where you would be stitching together. Now The reason we add this seam allowance on is because the block or the Sloper we dropped as a net bodice or net block or Sloper when I mean what we mean by net. Is that your stitch line? So you need to add on an extra bit of fabric that disappears on the inside. But that's where you would stitch it together if I just cut out around that line there, I've got no extra fabric to stitch it to the back bodice, for instance. My shoulder, That's my shoulder line. So I've got I've got no other fabric to stitch that, too. So I would, perhaps tips that they're on, then make everything smaller so nothing would fit. So we need to add on that extra bit of similar again. You can see on this jacket here where we've got the extra seam allowance here. This one sentiment single outs on the inside edge off this sleeve that would just get pressed away, but it means that that line there, the stitch line would always stay the same, which would refer back to the block that you've used all the or the pattern piece that you've made you add on that extra piece of fabric, so that remains as the line that you would draw on the seamounts disappears on the inside. Now, if you're a bit unsure off if it would fit or not, you need to maybe change it. You can always add on more seam allowance because it's easier to take comin out. Then it be too small when you have to re cut it. So if you're very unsure or you're making to yourself, you're fit. Add on extra seam allowance. Add on an inch if you like. That's no problem, because you can always trim it away on the inside afterwards. But it's better to add on a bit of fabric. Stitch it together. Does it fit? Does it? No on. Then you could trim away the seam allowance, but for four, because I'm using a size eight block with my easy on it already. I'm no adding on anymore seamounts because I know that that would technically be a correct measurement, so I'm just gonna bear that in line. So I'm just going to do a centimeter away around just to make it easy for you to see. So this is why we add on semen out. Don't forget, I've got my ease on this already, so I don't need to add on any ease extra onto my stick shine. So that's my half of my front body. So we only ever work on off half a body If we know a garment symmetrical because we're assuming that it's going to be We don't need to draft the other side, basically, because we would fold that now along that line and cut it out when it will be completely symmetrical. It's a complete waste of time drafting that all out again on that side. And it may be not being perfect if I know 1/2 is fine folded, folded along this line like I'm about to show you, and then you're guaranteed a symmetrical body or sleeve or whatever you want. Todo symmetrical. So this is my center front line, as I know. I can see there for my fear. So fold that along that line. They're just make sure you get a paper on the inside to folder on the inside in case that had put a couple of pins in during the seam allowance just toe. Not completely ruin the pattern. Just so it doesn't shift about because there's no point folding it over and then shifting about and you cut it out. So just gonna cut this out very quickly just to show you cut that out on the outside edge off the seam allowance. Okay, well, so what's important to understand as well as I've done a size eight flock here. But if you were to grade that when I mean what I mean by grading is when I, if it was going to then go up a size or down a size. So, for instance, I've got a UK size eight here. I might great that up to a size 10 or 12 or 14. The ease would be built into that already. So whatever grade formula you're using to move that size, it's a lot relative, and we call it a little bit of tolerance again. It's it's that easy and that tolerance that's built into that block already. So it would already have that little bit of movement on the 10 and then on the 12 so that you don't have to add on is on top of the grade as well. You just do the graded measurement because we've got it on our base already. So it should all be relative or ever movement of the grade you do, whether it's bigger or smaller, up or down. Okay, so usual handy notches on are going to go around all the corners on all the important points that would join to a sleeve that point there on my arm hole. This is where my dark would close, and I'll show you what that looks like when it's closed with the volume. Just indicate those two points here like that. That is because when when it's caught out on the paper moved away, you, um, you can see where all the bits of the fabric should join together, whether whether nachos may, that is where the seam allowance should be or different points off the bus should meet the back and everything like that will the shoulder point when the when the patterns have been removed in all your left with fabric thinking What? How does this work together, So the not just really help indicate where you should. I'm joined things together when you're stitching on on This is my pattern drill that we know. Actually, I got this is a drill that I got on Amazon that you confined. I actually got it for bookmaking. It's actually nothing to do with pattern making, but it works a dream on. It's kind of got that twisty movement in it. So it it saves my my arms after doing every day, all day, So this you can drill on these points and that will indicate the internal points of your darts. So you know, when you're stitching where Teoh went to finish those darts, we just removed those pins on wall. Are we have completely symmetrical pattern piece NOAA block or anything anymore? This is now our pattern piece. This is the one that we're going to make into garments. And this again I can use again and again for something else. My, my, my my block constructed. But this now is going to be my individual design My new T shirt. I want to show you what happens when I closed those darts up. So you can use the paper. We can cut this out in calico muslin and play around with different volumes. I just pin that closed, for instance, like this. Make sure you fold it completely on those lines, because if you don't, I mean, that's not how you'd stitch it up so you would get an unrealistic idea of what it would look like. So you can see it's starting to kind of create that three D shape already on. That would be the volume that would go around around your foster. This is just top that would Pete my volume here, but it would cinch back in at the side seams here on under my bust here to make it really fitted under my bus. So it's just that idea of playing around with volume. So yet darts play around with them, see what you can create with different. It's It's great. So there is also another question I get asked as well, which is what is facing on a faith things. Another idea of finishing a garment on the inside. If you didn't want to have it lined fully lined, you would have what we call a facing now take this T shirt, for instance. Again, this is just a straightforward Tischer. But on the inside, you can see it's just got this two inch what we would call a border. Or yet this is a facing on the inside of the government. This jacket's got exactly the same thing going on. It's got these facings or borders, usually in a self fabric just on the inside. It just cleans off the outside edge or necklines, armholes, hems of things you can you do in tailoring it. It's not something that you could use. Just feel stiff fabrics or light fabrics. Play around with that idea. And if you wanted different weights off facings inside, if you needed a bit of structure like this jacket needed a bit of structure, we would do what we were called off using, which is a fuse of war fabric and see on this back neck. I just took it. A part of it is this glu glu based fabric that you would I and on one side of the fabric, it comes in different weights, usually in black and white again. You can get some if usable, fabric from your local haberdashery try ironing it on some different fabrics, and it gives you different weights on different strength. So if you've got buttons and you need a bit of strength to close that together, like this jacket has got different this popular it needed something heavier there so that the fabric didn't rip apart when you on didn't so you would fuse this piece of the facing, and it just gives it that extra weight. Typically, you'd find them in things like collars or buttoned placket down the front of a shirt, for instance, or a cuff just a little bit of extra fusing. If you didn't want the garment frilly line like you wouldn't find a shirt really with lining in it. But you would have fuse herbal pieces on the bits that need a little bit of strength. Unlike wise, this jacket, you would have a few usable piece off fabric on on that, facing just to give it a little bit of wait on those outside edges on. Then you could do panels off lining if you wanted or fully lined sleeve eso. I hope that explains a few things about the pattern technology on Thanks for listening 4. 4 Princess Line Bodice part 1 : Hi. Welcome back. I'm going to be creating a boss, J or Princess line bodies from a bodice block. As you can see in my image here, I'm going to try and create something like this. It could be seen as a kind of a very, very basic course. It, um again, it doesn't have to be sleeveless, but I'll show you now how to do this. Leave this one from white from my body's block with this shaping down the lot, the down the seams here. So I just put that aside. So we need a few measurements that again I'm using my industry size eight body block on this corresponds to my mannequin. So between my block or my Sloper on my mannequin, I couldn't work a rough idea of lines and neckline where I want the kind of net climbed to be or areas off the off the body. So between the block, annual mannequin will try and work out where we want some lines. So again, the first thing I always do is start off with my block and again, I know that this is always going to be standardised. So anything smaller than this, I know it's probably going to be too small. So draw in your center front blind, which we know is the one lying all the way down here it is a symmetric called body, so we're only going to work on 1/2 as you know. So then we can see what's going on. So I'm going to then draw in my waist. And as you can see, this is actually a bit longer than my waist. It goes down to about my hip area, but you could make judgment on that, depending on the design. But I'm going to just use my hip on my body block just to show you roughly where the lines go. So I'm going to draw round. Why? Basic block. What's this already got is on it now put marks that I want because I want it quite fitting because it's going to be a course it. So I'm going to put in my, um my dots here. I'm going to put in these points. Don't forget to mark the ends of your todo my well, warm block. I really need to trace that off again. Oops. Forgot that point. There you go. Don't already So then go back in and drool in your dark points like that. Okay, so it looks very familiar. Don't forget, right? We're going to write c f on there. Excellent. Squiggly. But don't worry about that, because we're going to be removing anyway on DSO now I want to trace around my back block. I've got a bit of shaping on the inside of my back block here. But don't worry. If you're his straight, we can just add a bit of fullness into the back. But it's always nice to have a bit of shaping. It's always nice to have a bit of shaping on the back because nobody's body is completely straight or flat. So we know that is going Teoh curve in where your waist would be in curves under your back . So we're gonna draw. Okay, Make sure you've got your points there, so indicate that C B, which is center back draw in your back, starts here. Your back is usually a bit shorter than your front one because you've got a full of bottom here area. Then you have at the front. Okay. So again looks very familiar. This is a familiar shape So what we want to try and get is this line across the bust here and try and indicate there so you can always your usual own body if you're you know that kind of measurement, or if you have a mannequin or anything like that, or if you know kind of standard measurements. But you know we want or something quite conservative again. This is a design thing. There's no rule of how low a body block should go or a busty a should go. It's completely your interpretation off that design off where that line should go. So I won't mind to just, you know, cover over the top of my bus, for instance. So I'm going to use by I And again, a lot of this is very creative work, so it's really just using it, you know, by I you can use your tailoring tape. A lot of people are asking me where this is from on its from mawr plan. So if you Google more plan, they it's called tailoring tape. On it comes in center Meteo little um, spaces like that so you could mark this onto a manikins on, then transfer the lines onto your pattern. Show our shoes. So with this sticky tape are going to drew Draw often imaginary line around mannequin. Maybe that looks like quite a good top. The mannequin on then using my sketch just has come off Andi. Mark that again. I'm just using the half Monica in eso, but you can have a course depending on the design. I mean, the course, it could go right down the back there. But my design looks something like that. So I'm just going to go around the back of this. So it's slightly confusing cause I've drafted out with one the left side of the bodies. But I've just drafted that tape, You know, where we know it's a symmetrical body. So which is going to use that and translate it onto the onto the front? So give this a measure. We want to really start from the front. I normally will start from the front, work more out to the back or start from the top on work. My way around to the bottom is very logical way of thinking. If you've got a routine way of working, I suggest you kind of continue and that just makes it easier. So go from your higher shoulder point, which is that point right in that shoulder point there that joins the neck to the shoulder . All of this is all indicated in my earlier courses ago. Maybe refer some of those. So put your measuring tape on the hay HSP. The high shoulder point. We're gonna just find where that measuring tape sits on to that centre front point. So we're going to try and find where that point is on my block. So mine comes to about 19.5 cm. Sorry, I'm in centimeters. You'll have Teoh do the translation fried. So do exactly the same with the ruler from the highest shoulder point, which is that point there, which is that most inner side of your neck. And then mine was 19 point foibles and it's a hit there, so we know if we square across, that is where the top off my government would be. Now, as you can see on my sketch here, the lines or the suppression or the darks if you like, or they would eventually become seem lines. It runs all the way from the bottom, right about the top which is called a Princess Line, is the line that runs all the way down the middle of the bus point all the way down. It's usually known as a princess lines, but actually conceit on my body block or my Sloper that you've got one dark that would sit here and one here. So what we really want to do, We want to move that line and pivot it somewhere in this direction so that this becomes much more of a nice straight a line on. We don't get this acute bend. We want this eventually to flow and look something like that. 5. 5 Princess Line Bodice part 2: So what I'm going to do is just move. Draw a line up there. Which is where I roughly want my my seam line to continue up towards. And then you could move that one. Extend that to that was my bus point that I had earlier. Now you could do this two different ways. You can eat the usual block. Andi, move some volume around like this, pivoting it this way and move this line. So it was set up here. But I show you what it would do on paper. So what you want to do is five Qatar that line there. And this is what I'm doing. I'm wanting Teoh get rid of this volume and open out somewhere. So I want to close that door and open out. This is called dark manipulation. I want to do. I don't need the top of my government. We know that I'm going to cut down that liner. Don't cut right to the point. Just cut a couple of millimeters about that point. So can you seen here? I've now got this piece that I can move around and I want I want to do is close this volume up here, Can you see? So this line would join to that one. This is what would happen in stitching. So I want to close the up and can you see now? I've opened its volume up. So this is what it might make it easier showing you that way. If I close that up like that, just put a bit sticky tape on there. So that's closed that up on all of a sudden? I've got this volume here. This seem is now completely gone on. This line is completely made a nice dark to this point here and opened up my daughter. Now I'm just going to stick of it paper underneath there to show you what's going on. Very good. Don't worry about your arm hole for now. Because we don't need the armholes were making a strapless Buddhist. This is now become my new You see what's happened there? That's my bus point there on. My volume has now opened up on the top of the bust. So we want to make sure now when that's closed up, that would join to there. So they need to be the same length. And now what we need to find is the under rahm shape, which is over the top off the neckline. So this is again another design thing. If you could measure the side seam and got the side, that's quite a good indication. So my side seem, is actually measuring a about 17.5, which had sales fairly accurate or average to go from your waistline up and find 17 and 1/2 . Just give the, uh, an indication there. So we want to now create this really nice smooth line or this shape around this area hit that goes from there to there. What I wouldn't do is something like that and to go straight across because it's just a really harsh line and you get these points when that closes up. You want a really nice curve. Everything needs to be nice and flowing. Nothing when your body is a straight line or an angle so it didn't is not needs to be nice and flowing, so you can always just doing nice nice look of like that. You see, in just a nice nice occurred just a nice little you can use your French curveball something just to get a nice angle on there or something. I've just done that by hands just to show you. So when that does stitched together like that, you can see you will get this nice angle. It's just this Get that joining. So I don't know if you can see already, but this is already starting to take shape. So I've already got this line that goes all the way up here my princess line. And then down this will be the shaping. This would get stitched away. This area, this would be my dark. But we wanted to continue right the way down to the bottom here. So quite simply, to find the middle off your point on draft, that so when you cut that out, we've now got to separate pattern pieces. I don't know if you can see that. So one of them would be this piece here. And while it's now in the center front, when that gets caught out, you can add a new seam allowance or trace off that pace. Just this piece on that fold line. Fold that out on agile seam allowance on, fold that out and cut that out. And all of a sudden you've got this center front piece of your body on, then the side body looks like that. So this is now your master draft of your bodice, so you can always transfer things back to this. If you're unsure of shapes, we need to dropped it again, or something needs changing or anything. Now traced that sides side panel off and you'll seam allowance on so your front would be cut. One self, because it's just one on the fold if you can see with the picture there and then your side body cause we need to. But you wouldn't write on it. Cut, too, because you then have to write Bodice is you need a pair, so if one left on, one writes of the cutter or yourself knows when you're cutting it out, you have one on the right side and one on the left side, which is a pair. It's not too Otherwise, you'd get to write bodies, and it wouldn't go together. So on the labeling for this center front, cut oneself side body cut one pair self, and then when those two a split apart with the seam allowances on that's on the nice fold that would make your front body exactly the same thing happens to the back. Now, this is my master, my master draft. So going to turn this around quickly do the back for you just to show you. So I want to find that point there where My back off the top of my body. So we find a higher shoulder point in a straight line visual way down 25 cm said find the high shoulder point on this mannequin on this bus. J sorry when the high shoulder point, which is there 25 cm all the way down the centre back, which is their slightly lower slaps, that you're fine on what we The most important thing is we want to make sure that the side seams match and that's really important. So I had 17.5 on that side. So do exactly the same on that side there. So we know that the two sides seems match it back together on then we would just want to create this really nice again shape that marries those two lines together again. You congrats. That shape with a nice curve with your French French curve, or like I said earlier, you can even have it going even lower. So you know, again it's a design things you can have that going all the way down the back or something like that. But with this design again, I've got this princess line going all the way up and down like that. So I want that seem to go all the way down there now. We've already got the shaping in there so we don't need to add or take any shape. You will move any darts around. What we can simply do is this That's the bottom of the dark. That's top of Dar. Just draw a line all the way down. So again you can trace these pieces off our zip are zipper will go in the back here. So we've got two different pattern pieces now. Still, trace this center back body off. Cut one pair because we've got a left and a right because we've got our zipper going right the way down the down the back. And then look at that magic with Garside body going in there and that would join up to that body. Go back and make sure everything matches up again, but that's how to transform a basic body block into a into a busty a, um, Princess lime body. 6. 6 Dart Manipulation: Hi. Welcome back. I'm going to show you how to manipulate body starts and combined darts together. Bodice in particular seems to be a real struggle area because it really is the biggest part off the body, usually because of the bust. So we always need to create that volume over the bus shape, um, off the off the mannequin or human body on creating that volume here and then moving it somewhere. My body block has very basic straightforward darts on it. So we want to be able to move those around, depending on the design. Now, what we're going to be doing is something like this. Now, this is as you can see, this in this top image here, This is my basic bodies block outlined to the waist. Here we forget the sleeves or colors or anything like that in the moment which is going to be moving darts. So as you can see this seem here, is this dark here on that dark is that one there is pretty straightforward, and it doesn't allow a lot for design. You know, people want to change them all over the place, which is absolutely fine. So I'm going to show you how to move one of the darts on. It's going to be the moving this start into the inside edge, for instance, which you will need a center front. Seem for now, this computer all over the place, not just going to show you a couple of variations on. Then I'm going to show you what happens after we've joined the move This dart. I'm also going to show you an adaption of how to move that volume into one. So you've just got the one seam line again. I'm going to start with just drafting out the front off my block using just 1/2 because it's a symmetrical piece of artists canoes, the 1/2. So I always just start drafting down a vertical line as my center front and then which is going to square across for my waistline? So just again, using you'll block. I'm just going to use it down to my waist, which is this line here, as you can see in images just to keep just to keep life easy again. Once this once, you know, understand this formula this could be used for a lot design purposes. You could move darts all over the place. The important thing is keeping the volume. But where you put that volume is completely up to the design. But what we know on our bodies is we do have volume here. We do have volume here. We do have volume here, so the volume needs to always kind of shape and bend around particular areas. But where you put that volume is completely in the design and I'll show you what I mean by that. So which is going to draft in my, um, darts here? That's my lower dark that you can see here on here. Now, I'm not going to move this for a minute. I'm just going to leave that. Where is this is the one I'm interested in? This is my side Dark. Now I can stitch that up, and it could look like a beautiful top, and it could look really nice as we know it would look something like this when it's flat, but we want to move it from the outside edge to the inside edge again. It's all in the design. There's no rule or regulation of which angle these darts need to be in it. The volume needs to stay the same, but the angle of them could move wherever they want. Now this is a really important area because we know says the fullest point off our body. This area here is our boss point and we know that that is really the most important part. It's the fullest part, so we don't really want to be taking out volume from here or adding it because we know it will become too small or too big. So we want to always create keep this area the same. But we could move that round. It's almost like a clock face this being the center of the hands on, then that dark can manipulate somewhere all the way around there. So the easiest way to show you this is actually, if I cut this out, you can use these all the time as your draft pieces. So you couldn't do whatever you like to these pieces of paper. Once you put a shape, you can trace them off Andi. Then that's when you then add on your seam allowance and your labelling and everything altered. But when you're working things out on developing, you can cut pieces up and stick pieces on and do whatever helps you work best. So I'm just going to cut this out. I haven't got any seem announced on this at the moment because I haven't got a Finnish pattern. I'm still in the development stage. I'm just cutting this out to show you how to do it. Okay, so try and throw this out. Roll out a bit. Just say Okay, so that's my body block. Aziz, we know it on. What I want to do is move that door over there. But we need to go through this point here. So actually is pretty. Ah, right. Angle to the centre front. This is my center front as we know. So square get my bus point, which is here and square across from joining that point, could see the line going down there on my ruler, and we're going with squaring straight across there. So that's my boss point. We want that we're going to just join that because we're gonna be cutting through that at the moment. All the points need to pivot around this point here. So I was very clear, wasn't did to my daughter point So what we want to do is close that volume and open it out there. So cut down one of these lines just to the bus point. No, right to it. Just a couple of millimeters on, then do the same on that way. And then what we're going to do is quite literally close that Walla. So now you can see I've moved my dot from this position to this position like that, and I now have a body. Now the reason it's got a center front seem is because I can't possibly put that on on the fold because it curves around a line. I could put this piece on the fold. I would still need to have this top line because you can see how it now angles out. Now fill that in because that will be fabric when you eventually cut that out. But that's how I've pivoted that dark from that area. Now we can do this in a variations of angle was so I'll show you another idea if I just open that back out. So we're back to back to where we were. So that was option one. I'm now going to I think, Move my dark in this direction. But this always needs to stay a zero if you like, and you can do whatever line you want there. So I'm actually going to create a princess line. I haven't drawn out there, but a princess line is a line that would go all the way down the shoulder, for instance, on into the bust, it would look something. Well, again, there's no rule or law, Ross. Whatever angle you have to do, I'm going to go up in my shoulder. So I'm going to have from zero on my boss points, I'm going to do an imaginary line up to my shoulder. That looks lovely. Great. Um, Andi. So I'm going to again cut down the line, and I want the volume to go would be removed from this dark here. And I wanted to open up into this one here so you can see now I've got this moveable piece , Andi, I want to take away that volume there and open it up somewhere else. So immediately, I've got this shaping going up into my shoulder on what I can do after that is actually joined. Emerge those two lines together. Bit like we did in the video before I made a busty a piece so you could trace these two pieces off afterwards. And have this is one peace on. This is your side bodies that you've got this princess line bodies going on, This would be removed because this is your dark. And then all of a sudden you've got a princess line bodice. What I'm going to show you now is how to remove this bus. Start completely or not remove it. But just move the volume off into this bottom line on again is a very similar idea By to show you on the same bit of paper again, we're going to go back to zero. So this was my block. Doesn't know it. You country soft, different ones and start again. Fresh pieces. I'm just doing this very quickly to to show you for the purposes of the video. But if we go back to my block as we know it, this is my dark here. And this is my dark. I'm going to show you how to now remove or move the volume. Should I say from there and open it just into this bottom one just so it looks like it only has one dark, but we know that there's two lots of volume in. It's on again. It's exactly the same formula. We don't want the volume in that one. So we're going to close cut up that one just to the bus point and we wanna open into here. So we want to add volume, more volume or twice the amount of volume from that dark into this area here. So again, from zero point on your bus point, which is the fullest area, we don't want to remove any volume from there. Close the up that way now And can you see immediately? We've closed this start up, and we've opened it up here, so we've got a deeper dark. But when it's closed up, it will only be still the one dot Like that. You good. He's still any girl. The one dark here. Ignore that line. And this one because we know that doesn't exist. But you've still got the pocket of volume up for your bus. But you've just only got it in one dart, so it go around your body's like that. So you got all your your suppression in that bottom to the waist, and this is all completely flat. So when you stitch that up, you would only have that one scene going there. Or if you wanted to do the other variations, you would have the seam running through there. But it's always the same amount of volume. We're just moving it and pivoting it around. Thanks for listening. 7. 7 Vest Top and Sleeveless Bodice: Hi. Welcome back. I'm going to show you how to manipulate your body block from it being it based. Outline to a vest top or a sleeveless body block. As you can see on my image here, I've just dropping the neckline slowly on moving the arm hole in. Now we know on this is not gonna have a sleeve. So we don't want to use the base block as it is because it will mean that the armholes really far out where it would have been joined to a sleeve the next really high, where we would have had the neck measurement from the body block. So just on this design, particularly which is going to lower that neckline and make move the arm hole in slightly, just making a bit more of a casual invest top star again. This is a design thing. There's no rules or rhythm or way of how to how much to drop a net plan for a vest topple. How much to move in arm hole in. It could be the top half of address that you just want to move the shoulder in. We'll just to show you how to just drop the hour again. It really is a creative process, something to be done by I. But if you know, if you don't know these things, so I'll leave that there so you can see the image just draft out. I've just drafted my center front. That was going to be my center fronts tips on do my, um, on my waist line. So I'm just gonna draw round my body block hair again. So we're going to go down to the hip because it's a little bit longer than the waste. So I'm just going to use that as a guide again that could be longer, shorter. It's completely up to you to design or the designer to give you this sketch of how long they want this bodice. Whoops. Drawing all over this block really need to trace off a new one. It's been worn, had good use, So I was going to draw in again my points off my darts just to show you and then draft those back in. Okay, so I'm not worried about the darts at this point. Are just I'm concentrating on this area here, which is the neckline here and the arm hole That's my important bit. From there down, you can create whatever you like. You have shaping, and you can take it out. If it's a vest top, you might not wanna have any darts than a two. It could just be a T shirt, something oversize, something like that. So I'm not worried about this area for now. I'm just drafting out my block. I'm just going to work in this area now again, If you've got a mannequin, it really helps to do. Use this tailoring tape, which is why I love and again you can see what would be the outline off my block, which is this line here which translates onto my block. That's my neckline, my arm hole, but a vest top. It is quite, you know, we don't want that, Philip. We don't want that high in the neck or or like that. My sketch. I think it looks a little bit lower on the arm hole. Quite a bit looser, so you can always use this tailoring tape for design purposes. What side? I got it on sort of. This is confusing. I've done drafted again the right side, but I'm gonna market on the left, and I can. We know it's symmetrical so I can work on both sides. So let's just see what my design looks like. I think it looks something. Whips long. Um, these lines here? No, around the back. Something like that. Okay, It's quite most neckline to me on. Then I'll get a bit more and then my arm hole is going to be something like, this is my outside edge of my block. Don't forget. So I'm just moving that arm hole in a little bit more. Gonna drop the arm hole a bit as well, just to make a bit relaxed, something like that. So the inside edge now is the shape of my vest top. So I think it looks like that on that really is, um the basis of how you would make a vest are really form from a basic bodies. It's just moving and manipulating that neckline on, just kind of making the arm hole bit more relaxed. We know it's sleeves not going to go on there, so we can really kind of dropped that and make that whichever start we want. So what we need to do is now transfer that on to onto paper. So a good point to start is more higher shoulder point, which is that most inner part off the neck here, which, as you can see on paper, is this point here. So we've moved that neckline out. We know we've moved that out because I can see 4.5 centimeters. So whatever you've done on the mannequin, you can transfer it back on here. If you don't have a mannequin, you can use yourself. Or if you've got another best top that you want to copy, you can trace that off again. I've got another course on how to take existing garment patterns. So go and refresh that. And that will show you how to take a vest top pattern or or another garment pattern. Something like that. If you've got a really nice garment that you you really like, Anyway, we're going to go back on here again. If you've got your own bodice or or a guide, you can measure yourself or a friend Eso. Now we want to measure the strap, which which is five cm. I'm just going to work on the front of this garment just to show you, but the back is exactly the same. Whichever shape you have on the back, you would just transfer it onto paper. So that is 4.5. So that we know is now my new shoulder width. And we just bought in the arm hole here and taken down the neckline. So I want to find that center front point my shoulder 17.5 to go from this show. Highest shoulder point, which is that point there? Straight line down, they get 17.5. So now what we don't want to do. We don't obviously want to do a straight line, because that's not what the sketch says. And that's not what my mannequin says. So, using a nice French curve, we do want to now join in and make sure that this point here will become hopes a little bit further down sort. Oh, nice kind of right angle. What you don't want to do is have this shape that goes like that and then loops back up because don't forget, once that's folded over on the centre front and it becomes the front of your body. The other half of it will look like that. So you'll get this nasty point area here. So you want to make sure that that's a really nice smooth curve and it will flow onto the next one onto the other half, so that always will become your right angle joined. So you just want to use your French curve to make a really nice you couldn't move it around again. There's no rule off how it should be or anything like that. That looks pretty good. I'm just going to redraw that back in to show you make sure that that would go to a right angle so that I would fold out on. Hopefully when that folds out that will create really nice, you know, horseshoe shape that you would get. So that's the front of my neck climb. So now what I want to do is I want to just move in my arm hole. So we're going down the side seam here, going to see how much I've dropped that Bice ago from the waist up. So that's now 14.5. Now, I've got a dark in here. I'm just going to leave that in there to show you so don't forget to put that into the measurements as well. So I'm just gonna move that up when that closes. It goes to that point now, which is 14.5, including my dark. So again, I just want to make a really nice shape making sure again that this stays a really nice, uh, right angle here on this a bit on. This would stay a right angle to this line. Here again, we don't wanna have a shape that comes round like this and goes up. But the size seem because when that joins to the back, you again have this nasty point. So using your French curve dropped in a nice home, hope you can move around. Shift that around, get a nice. There you go. Something like that. So all of a sudden we've got this new and C dropped arm hole. Onder new neckline shape in there. On if you're unsure of the cut, Unsure of the shape, you could always cut this piece out. Lay it over the mannequin. See if those lines are representing what you've drawn down there. The papers. You can use anything tracing paper lay there over the shape there and look at the lines that you've got underneath. You can use ribbon or anything. You don't have to use this teetering tape. But if you've got a marking on a mannequin that you like, just cut that out. It's quite straightforward. And lay that on top and see if the lines are reflecting what you've drawn on there and this really goes for anything. It doesn't have to be necklines. You could move armholes or waistlines. You can put the paper on there just to see if you're again. Your lines are in the same place. Thanks for listening. 8. 8 A-line Skirt with Waist Band: Hi. Welcome back. We are going to be creating an A line skirt a bit similar to this one. I made myself for my holiday not long ago from our body block, which sounds crazy, but actually it can be done. If you've got a long, elongated body block which we created in my other course, which looks like this, we're going to be working from the waist down. So if you're bodice block or Sloper is from the waist just to the hip, we can create this entire thing just from this. So, as you can see, it's this'll seem here is on my waist, got struck quite straightforward waistband, and then this is slightly fled. It's thought, well, straight down, like a pencil skirt. It's just a slight a a shape which looks a bit like that. So we're just gonna create something with a little bit of movement in it. So I showed you a really straightforward way of doing that. So again, I'm only going to just work on half of the garment because we know the other half. It's symmetrical. It looks something like this on my image. As you can see, you've got the straight waistband with the zipper that will go eventually down the back. But that can be moved to the side depending on how you want it. This one is at the back. Andi, Um, extend the A line shape there again, this there's no rule or way of doing how much a goes into each garment. The only thing I'd say is that you would need your waist measurement for this because everything is going to come from the waist down on also the hip. It needs to be wide enough to go over that biggest part off your hip area, which is that area there again. The length is variable. Everything is variable depending on the design. This one particular doesn't have any darts here going to remove the darks on make an a line skirt. Okay, so the thing that we want to start with is getting our waste on hip measurement. You're making it to yourself. Measure yourself. Measure your waist measurement on, then measure 20 centimeters down from your waist that will find your lowest hip point, which is really should be all normally is the widest part off the body. So on my block here you could see this is my waist. And then about 20 centimeters down from here. This is my hip. So I'm going to use my block as a guide just to show you the formula of how to do this. I was quite straightforward. And again everything I do for the front is the same at the back. Eso This could be reflected. I'm just going to show you how to do the front. So we're going to start with the main bodies of it first, I don't. We start with main parts of patterns. First the front, then the back, the top, then working down. And then I addle the extra things in afterwards. Look, waistbands and facings and linings and things like that. All the little fatty bits that go. I do those altars, so I normally just try and concentrate on the main kind of the meat and potatoes off the off the government, if you like. So again, I'm going to start by drawing straight down the centre front because I know this is going to be symmetrical on De. So it's just gonna work 1/2 of the garment. So what I'm going to do he's draft straight down on my spotting cross for dead straight line like that, that's going to become my center front line. Now this area is going to become my skirt. So I'm going to work higher up here, and I will square across from there again. Just weren't working on hard time squaring across my ruler straight out from there that suggest a guide of where to line up my body block tries to do this maneuver. Now, I know that this is now the start off my waist line area. This is my center front. I could what I wanted it is line up that waistline. They're on my center front cause we're going from the waist down on this one. We're not working on the body at all for the skirt going from the waist down. But the most important thing now is I want to remove these stars because, as you can see, it has this dark area here, and I could kick the dots. That's an absolutely no problem. If that's the design, I could keep these dots in my skirt and then just make a nice shape. But I this particular garment, I'm going to show you how to move. These dots could make a nice a line. So Mark that point there on Europe inside edge of your dark and then mark your dark point there on really, simply, just keep your finger on that point there, and we do. What we want to do is just remove this volume. We want to just get rid of this dark. So we're just going to use this, put your finger. There were a pin and we want to close that space up. So we want to join that point there to that point there. So which is going to go over there until you see that mark that you drew? See how I did that? Put a pen hold mark there. Just closing that volume up to that point there. This one's exactly the same now, But look, that point now is on this one. So I've closed that space up and that Can you see how a dark manipulation again on the bodies closing volume up and opening it out somewhere else. So, essentially, what I've done is I've actually opened out the volume down here. So you see where my looks hit with would have been If I close that up to that point there, you can see I've added that wit through here. I've added that, William. So essentially, I've just moved the volume, haven't removed it. I've just moved it from there down into this area so they know what you want to do is just re draft on you're side of your body and make sure you think that that would be your waist . But it goes up to the true waste off the block like that is going to have my line on the bottom here where the bottom foods off my book, my hip would be so you can see where it started. Okay, so we've got this kind of funky looking shape that looks something like this looks a bit strange. So what we want to do is we want to keep the starting point of our waste. We know that this is our hip, that that hasn't moved it all. This area didn't move to ALS. The work was done on this side. So we want to now draw that line. And I smooth line up to that point there, which is stayed as my waistline. So get your French curve. Go try and go through that point. But it doesn't matter if you're a few millimeters off, you get really nice curve on what your find is that measurement. They're with the dark once that's closed up, which is what we did there and open it here. That will remain exactly the same measurement. So if you've got the measurement of your block for the measurement off your waist that you want to to use whatever that is will say the same once you close that block up once you close the dart up. So now our hit point has pivoted and you can see that the volume off the dark has moved from this area here to this area here, and that is absolutely fine. So we know that this is our new hip area. So quite simply, what you can, it's just draw on. Continue that line down, are going to make a short skirt just so you can see, um, my measuring tape. But what we do want to make sure is when this skirt is on the body and when it stitched up on Ben, the fabric drops back down We've added a bit of fullness in here. We want to make sure it comes to a really nice level. Waste a level hem. Why? Don't want to see is this so? I'm going to imagine my dress. My skirt from the waist to the him is 50 centimeters. Why then? Don't want to see. Is this so I'm going to square across like that and join that write down. What I don't want to see is Well, I don't want to see. Is that if you can imagine if my back off my skirt gets stitched on here. This is my side. Seam on my back gets stitched on here. You see that point? That would end up being like that on my dress. Now, what I don't want to see is any angles like this. So you need to make sure if this measurement here is 50 cm from your new waste that's been moved up down, that is now 50 cm. So what you could do is just get your measuring tape layer on that waste and just go down. 50 Move! Moving along from there's my waist up there. Move it along. About half a denture a couple of centimetres. It just keep marking along on this is with every volume that you add on you've added on. You could make it very wide and clap, but make sure that from the top of that waste that new waistlines have pivoted up down is 50 c n going to do one mortar. So I can see when you see this new curved line that's starting to appear so again, I'm just drawing the dots together quite. And then that there should be my nice right angle on my new side Seam here, now go. So when that joins up to my side seam of the back, hopefully you get something that looks like that. That's a nice sweep. You don't get this horrible curve. So that is my new hem line, and that would be exactly the same with the back. You just trace off your back body here, back skirt square across. So you got off starting point of our waste again, which is working on the half garment at the moment, you can trace these pieces off, open them out into four pieces, or if you've got two halfs, you can add your seam allowance onto the centre back there with visit. So back of the hip is on that point. My waistline is here, which is drawing that. What? Their mark that point in there. Mark the point of the bottom. Want to close that up? Show you what happens. We're putting the finger there. Join that one to that one. Now you have your new waste in their again. It will be exactly the same waste as your block or your Sloper, depending on what we're starting pointers. And then we want to just marry these lines together. You know, Nice curve again, making sure that when this folds out on these lines here thistles my center back that you don't get very harsh lines or any lines that look like that on the waste or anything like that. We don't want anything. What, this really nice curve coming around to a right angle here. So when it's folded out, it will be really nice shape. And then continued your hit lying down, find the widest point and just go down on the angle. And what you just want to do is measure again. Down your side seemed exactly the same as the front. Yeah, that was 50. It's good to helm here. It is quite roughly just to show you. But you should take your time and make sure everything matches Perfecto. So work your way along this waste again. I've got zero at the top here, marking this Oh, the way down in a few inch gaps just so I can see this Smith and their nuclear join the stop. And then you can trace these pieces off one by one. Have your seam allowance on on. Get a bit more. Create what? You could make it longer, shorter again. You could make it the bottom half of address if you wanted. You know, a seem across there. Don't forget that this needs a zipper in it somewhere. So you can either move those it to the side somewhere, or you can put it down the centre back or however it doesn't really matter the only thing about putting zits, and it has to go through the widest part of your body to be able to get it on, which is normally your hits. So as a guide is a really rough guide. If you're doing anything that requires a zip or anything to get in it 20 centimeters in inches, which is about eight inches down from the waste from the waist down. That would leave the end of your zip. That's a very good marker, and you'll always know that you could get the garment on. Now on this. I've got a waist band Now. We're very, very straightforward weight of doing a waste, man. You can do them slightly curved. That's absolutely no problem. But this one particularly you can see it starts on the waist. And I've just got about four centimeters, five centimeter waistband that just cleans off the top edge on again. There's no rule off the depth. The voice plans. You can have a very small we don't have to have one at all. Just think about the finishing. But with my design here, I do have my my waistband. Don't forget the ZIP needs to go through the waistband as well. Otherwise you there's no point having a zip code. The waistband won't open. So on this sketch particularly, I've got just a straightforward waste man, very, very similar to this sketch here. So I'm going to make my waistband five centimeters two inches height from the waist up just to keep it easy. So again, I'm just going to work on 1/2 just to show you so if you know the measurement of your half of your front skirt and half of your back skirt is just a case of adding those together and then making a rectangle So I I'm going to just measure along. I wanted my front to be 17 at me. Measure this the top of my waistline. 18. That's perfect, because my block was 17.75 gained a couple of millimeters. Um, I am happy with that. It is a bit too big. Just, you know, you could scoop off a little bit. Here, couple of millimeters 18 millimeter eggs and symptoms are fine. This one should have been 17.7 pi. According to my block here, 17.75 Okay, so with that information, I can So about half of the front half of the back. So basically, if I double that up, that's my entire waistband. So on this piece of paper down here, I am going to have a handy line. Look, I can use it as my center front line, so that would ignore all of that's out there. Now. We're just working on the waist band down here, so I'm just squared across. Is my waistband on? Then I'm going to just make a really nice straight waistband. And what did I say? Five centimeters using my rule has got handy. Five centimeters gauge on it. So go across like that. Mine's got a zipper that's going to end at the hip point down my center back off my garment . So this is going to be the centre front off my waist Band on it will wrap around the side. I don't have to have side Seems in this. I can wrap it completely around and then finish my sense of that. So my front here is 18. So that's just Mark on 18. My back is 17.75 just for instance. Again, there's no measurement guide or rule that this has to be a It just needs to match back to the waste of whatever this skirt design you're doing. So that is a really basic way of showing you how to do a waistband on again. If you've unfold that on that half, you'll get exactly the same result. So you'll get all of your for half your front half your front there, then your back with the zip that goes all the way up to the top on. Then that way, if you wanted it like this. This skirt, for instance, has a fold on that top edge. You could just have put your semen laps around here. What you would then labelled as cut one pair was you need two of them to sandwich together . So you've got one on this side and then a nice pretty one on that side. I would also suggest putting a bit of fuse on it as well, just to get a little bit of weight on, make it a little bit sturdy for the top of the zip. Or you could do what I've done here on ISCO is put it on the fold. So that means that the outside on the inside are joined together, so I need to just create waistband. Double double the depth. Make sure this would be then on the fold from the centre front out again, 18 to match up with this or when that's folded over that becomes my top edge of my waistband that folds over and that becomes then my complete center back. And then I would put seam allowance all the way around like this and cut it out on the fold right there. There you go. And there's your A line skirt from your body block. Thanks. 9. 9 Circular Skirt part 1: Hi. Welcome back. I'm going to show you how to do a circular skirt if you're not understanding what I mean by a circular skirt. Quite literally. One big circle made into a skirt. Now, um, what we want to try and create is almost like 1/2 circle for the front on half circle for the back. As you can see in my image that I've drawn, it's a very, very full Flutie skirt on. I'll show you what that looks like when it flat on the main bit of information we need for this one is your waist measurement. You can use your block if you want to use your block for your size eight, you can measure a mannequin. You commit yourself whatever your waist off the customer or client that you are measuring. That's the waist measurement that you need. Now I am going to measure my mannequin. I've just got this skirt on here that I created the other day so I don't need this anymore . I'm just going to measure the waste, so don't pull the measuring tape too wide. I'm going to measure that about 63 centimeters now again, I want to add a little bit of these. I don't want it to be a completely skin tight dress to this mannequin, so or a skirt to this mannequin so I can't get the zip up so that that mannequin was 63. So I was talking in one of my earlier lessons about adding a little bit of ease into it. There's no rule or formula for adding is, but it's just giving a little bit of movement. So, you know, fabrics can be quite thick once they're stitched together. They've got few usable in the waistband. You know you can lose a little bit of the witnesses. Just want to add a little bit of room. Just so it's not a skin tight garment, unless that's the design, of course, but it won't go up at my body. It's very small anyway. So 63 I'm going to actually make my waistband or waistline 65. So I've just added in two centimeters completely total, so it just gives once and to me two extra. This side one sent me two extra that side, just like 1/2 inch, you know, a little bit of tolerance, a little bit of leeway so that, you know, we can get the skirt on. So the measurement off my waist I'm going to use total is 65. Now, this is, um if I leave that there. So this is how you would do this on again There. There is a way of finding our formula off finding the complete circle definition. And there's a pie a, uh, formula you can use and all sorts. But this is just the way I've done it for a while. And if you don't know your formulas or maths or anything like that, then this is just how I've done it. I just find that it works. Andi, uh, at the end of the day, which is creating a circle. So there you go. So again, I just squared down on. Then I am going to square across like this. This would become my center front, and then it would be exactly the same for the back. Now, you do sometimes get a slightly wider front because you have your belly on. Do you have a slightly smaller back waste that's very normal because you wouldn't usually go in it about. And then you have your stomach, but the front Because this is a circular skirt. I'm just going to show you an easy formula off. Just calculating the waste all in one go. I'm going to keep the waste the same at the front on the back. But if you find your side seam needs to just shift a bit. You can just move this, but I'm just going to use the whole of this waist measurement and divide it into 4/4 for the half circle for the front hearth circle for the back so that once the whole garment wants the whole spurts made up, you've got one complete full circle. The reason you can't really create a full circle all in one go is actually it probably wouldn't fit onto the fabric of the government. And also, if you've got a designer print a striped, for instance, you probably want to lay. The strike may be going down the skirt, but the front and then down the skirt, the back or diagonally. You can create it all in one. But you again don't forget that you need to allow a little bit off leeway for the zip, so you actually will need to add a side seeming somewhere or center back. So just to keep things easy, I'm going to create my garment like this. So it's center front. There's no seem. I've just got one side seam on each side on exactly the same at the back. And then I will just drop my zipper in one of the sides of the left side, seem always the left side seeing for industry. So 65. So I want to try and divide my 65 into, um, full circle. So it's easy. Easiest working honor again. 1/2 front and 1/2 back because I know it's symmetrical. The easiest way to do this is get your full waste on divide it quite simply by four. So 65 by four with 16.25 So now what I do. So this is going to be a zero area, so this is going to be created as my center front here. This is going to swing round. This will become my side same, and this will become my other side seem so I'm going to create this half circle shape here that I can use for my center front. Andi then we can use it as the center back. So, actually, I'm going to put my center back on there, and then we'll cut a pair because I'll have one front one back with exactly the same waist measurement there. So I'm just gonna work on 1/4 because I know if I fold that over on the centre front on centre back line, it will be so completely symmetrical. So I'm just gonna work on 1/4 off this which is just the half of my front or the half of my back. So that is my measurement there. 16.25 divided by four to get a I'm just going to draw what I'm trying to create for you. Something like that. If you could understand. And then that is my back. I hope this makes sense again. This is not to scale her. So can you see? I've got a four circle here. This is my center front. This would be my center back side, same side. Same. Don't forget. I need to add a little bit from I seem around so they won't be joined together on then. My zip. It will go down on the side. I hope that makes a bit of sense. And that is my waist in the middle, which is my 65. So what I've actually just done at the moment is divided by 4123 4/4 which I'm just going to keep the same just to keep it simple for you. But again, if you need to to shift aside, seem back or forward. If it's sitting slightly back, you can shift this slightly. This line here, all that show you how to do that. So with that in there, they're so 16.5, get your measuring tape to 16.5. And again, there is some mathematical formula. But I just find that, you know, if you don't know that I'm remember, I've got lots of numbers going in my head, so just I loosely get my 1,000,000 trips. All reminds it bent, getting really nice, one that's not quite so bent on using your eye. You want the zero or here and then a 16.5 to hit on the side seam and you can see you want a slightly equal amount is going to do this in pencil. So just drawer Really loose. Get a nice shape. You look sign. This is a bit loose. Better? Yeah, it looks something like that. So from the most zero point off the lines, it's a rough measurement, or it's about 11 on one side and 9.5 on the other side, way out. So I'm gonna go somewhere in the middle, so I'm actually gonna try, Try this out and again. It's about all about trial and error. So I'm gonna try going 10 c m. You see what I'm doing off zero here? And I'm going round every so often and measuring 10. Exactly. So we want what we do. What? We want this to be a really nice, perfect, symmetrical circle that if you folded out on, then folded out into your 4/4 it would be a perfect circle, which would be what your hem would be as well 10. 10 Circular Skirt part 2: measure around, then put your measuring tape on your new line. So I've just done 10 centimeters from zero. Just as a rough guide. I'm just measuring it back again, saying I've got 16 or 16 on the head. What did I need? 16.5 on about two millimeters out. Okay, so I'm just gonna mark that line slightly wider. I'm just joining that. Those dots together. I'm just going slightly wide. Uh, measuring that. What we do want, we just want it completely. 16.2, or I'll take that. I'll take that. Okay, let me draw that in just so you can see what I've done. So that was completely by I Again, if you've got a bigger waist, the only difference would be that measurement would be bigger, whatever your waist would be. Let's say you've got 100 centimeter waist. You divide that by four, you've got 25. You hold that there and that Where would be 25 used that point and that to get your 25 centimeters in the slightly wider would look something like It's where my 25 a loose guide like that on. Then you get the average off what is happening? 15 from their 15 or 14.5 Oh, I would try something like 15 and I would do 15 or the way around Give it a measure. If it's too big, bring in But bring it in evenly all the way in If it's too small take out but evenly all the way out like maybe 15.2 all the way out Give it a measure and see what you got. What we want to create is his perfect symmetrical half circle. When we fold that out, that would be completely the same that way as well. I'm just gonna draw in the other side too. So you can see really what's truly happening. So what was that? About 10 point to all the way out. Sorry if you can hear snoring. My dog is fast asleep in the other room, which is wonderful. But hey, snores louder than my husband. Okay, so I'm just going to troll that's in there like that Just so you can see OK, so you could see it started to take say so. This is now only half off my waist measurement. So if I and then made a full circle off that that would be my entire waist measurement, which is my 65 centimeters. But because of purposes of fabric, we needed to fit in. Also, I want to side seen because I want to put my zip it in the side. This would become my side. See, I'm just gonna do quite a short skirt just to show you again. The length is very variable. There's no rule. There's no regulation of how sure or whatever skirt can go unless you, you know, I don't know. I'm not one for short skirts myself, but yeah, I'm going to say my skirt is going to be 40 centimeters from my waist, which is incredibly short. In fact, I'm not even sure that I would cover much, but I'll just do it on here to show you. So she square across, So this is now my waistline. So what you want to do is get your measuring tape and again you can work twist on 1/4 because if you folded across that line and open it out, you know it's going to be symmetrical. So hold that on our your new waste at zero on then go down 40. And then I would just do that all the way. Working along, making sure it's, um you know, you you don't want to bend. You're, uh, your measure. Do you want to keep that tour and get those points all the way around? Have just done it a couple of inch gap moving that around. You see what I'm doing? Now you see what's happening. Hey, and you can see this shape forming. So what you want to do now is just used your line here. Square that across a really nice sweep, just merging all these lines together. I've done this a gazillion times, so I'm just doing it by I But to take her doing this and make sure again you have a nice right angle there. One hair, one there on one there. So when it does get stitched to the other side team or it folds over, you get a very nice sweet. So can you see now it's starting to take shape. This is basically the essence off my my skirt. So what I would do now, person see my columns on this one old away around here did Did it todo There you go. So I woke uncut that out on the fold. So I've got one big horseshoe shape like this, and then that would be one for the front, and then you would have won for the back on there. You have a full circular skirt. Now, what I was saying is, if you wanted to make your front way slightly bigger than your back in that in the 65 centimeters was still tape be the same measurement. But sometimes you need to allow a little bit more for your belly. So whatever you would remove off your front or your back waste, it would be moving off your backs a trace, another half circle off your off your front, make it into a fat and what I would then do if you want to make your back waste slightly smaller. This is a mini scale. Then you would take a little Mezei, a centimetre. This is not to scale. Center me toe off the back here on a parallel, you would add it on to the front so the measurement stays the same, but your side same has just shifted. And that's only if you want to make your back slightly smaller than your front because sometimes people you have to allow for the belly. If you add on to your front side sames parallel, you just remove it off the back. You don't add it on because don't just add it on because your waist will gain with you need to just remove it off the back and all that older is just shift your side seam down parallel and you're to shift it. You wanted a added on Woods. I'll do it. Biggest scale, so you can see. So I'll say that this is my from Isis. My front side team wanted to make that bigger. I can just add on, Let's say, for instance, a centimeter as a really rough measurement. There's no guide of that. I added that on they're not. All I would do is remove it off the back, and it would still continue that same 65 centimeter waist. Thank 11. 11 Wrap over bodice: Hi, guys. Welcome back. I'm going to show you how to do an asymmetric wrap over bodice which can then be transferred onto address. You could elongate it down into address if you want to. Or it could be the top half off a dress or top off of the jumpsuit or anything you want. But I've spoken so much about doing symmetrical garments, folding it down the centre front and down the back or whatever and having this symmetrical garment. So I'm going to show you how to do an asymmetric bodies again. If you know formulas of doing something asymmetric, it doesn't just stop here a body sick and transfer into jackets and shirts and blouses and flies of zippers and all sorts. So it's just kind of having to use that full space off a bodice rather than just 1/2 on assuming it's a symmetrical piece. No, I'm not going to worry too much about the back of the government right now. As you can see on my sketch, I'm going to transform my bodice block here, which has my dark here on my vertical dark. I'm going to manipulate the neckline. Andi, remove this body star. So it looks something like that. And if you watch my previous lessons again, you could join that down to an A line skirt you can have. This is a rap over which would be just two fronts on one back so that the whole thing wrapped Join it to the bottom of a circle skirt. So you've got a nice little skirt dress, but I'm just going to show you how to do this rap over bodies. Now, this is quite a complicated one, actually. And it will come with a lot of trial and error s Oh, yeah, I might have some errors, but bear with me again. So I am going to trace my front body on again. This is this is actually a symmetrical garment because we are wrapping it one way on the next. What I mean is the pattern piece isn't a symmetrical pattern piece. We're not folding it on the centre front because it's not the same on the other side. So although we're creating the 1/2 of the body, it would still be cut a pair because we're wrapping it left and right. But the pattern won't be the same um, down the center from because you've got this line continuing. So if I just leave that there, I'm just going to work on the left hand body because the right body underneath will be the same. So I'm just gonna flip that over two. So it makes a bit more sense. Go down. Yes, my center front or scratch, Mr. So this is going to become my center front hip, And then I want to square across to find my waist. I'm just going to make this wasted at the moment again. This could be elongated for a longer bodice address or top of a jumpsuit was like Well, for this purpose is I'm just going to go to my waist, so that's find a point on there and square across Now, continue that squaring across right the way across because we're going to go right the way across. My body's so again, I'm using my body spoke. So I'm not changing the waste of anything like that. I know what I want, what waist measurement I want because my block tells me so. I'm just going to use the points here. Has already got my keys in it. so I'm not going to worry about that. But if you wanted to customize it to yourself again using your own body measurements, transfer that onto your own body block. But I'm just going to use my size 84 the purpose of viewing. So, yeah, I'm gonna flick that over here. Put my waist on there. Where am I going? So I've got my dark here. This one here. Don't forget to draft in your dance. Very important. We want to keep that shape. Step one like that. So drawback in your darts, we could move these around later, but just draw them in so you can see what is happening. Right? So we still need to get this other side of the body. And so trace this off on this side as well. We won't be using all of that, but it's just to give you I didn't know. I'm not too worried about armholes Whips? Why don't you would go off on that point. I'm not do other armholes and things like this at this point, I just want to show you what's happening on the Net. Klein, You couldn't move that arm hole in make it slimmer because it's sleeveless like we did on the course before again. It's completely up to you on just leaving the arm hole where it is right now just to show you, let's drop that back in quickly. Show you hair DiDio right now looks familiar. So that's what the whole body's book looks like when it's all stick to what we want to do. First of all is get rid off this dot here, So the way you can get rid of it is you can't just Well, you could just delete that out. But then it means without, via and without that your waist has gained for the centimeters because you're just not having that in anymore. So you've got a really loose, fitted waist, and I want to keep mine quite neat at the waist. Just because that's my design you don't have do again. It's your interpretation of what the sketch looks like, But my looks quite fitted around the waist, and I can always join it onto something else. So you can't just eliminate this here. Um, what I'm going to do is shift the volume out off that side, cut this piece, Okay, so I want to do is move that volume of that side like them. So that is about three cm the width of that. So I go in three cm here. Andi basically want to reshape my side seam in like that. But as you can see, that darts in the way a bit. So easiest way I find to do this is close that dart up on paper, Just put a pin in there like that on the door. As you can see, the volume is point. It is no up here. We're not shaping it from the underarm down. We're shaping it roughly from if that was squared across from slight where the bus point is , we want to make a really nice graduated curve down like that. So then that volume has now shifted to there. Can you see what's happened? So I can now completely remove that and shift the owl that has now disappeared or dart anymore. And that is still my same white waist measurement. My at my front because what I did was move that volume there. So this becomes my new side saying you see what I've done there, So I want to do is just a tracing will through my new dark shape there because I just got slightly new. I angle there so that that has now completely gone. So that volume has now gone over there. Now I want to now transfer that all that noise on that side as well because I don't want my dark on my under bus on my on way on the other side as well. So the easiest way you can do anything like that that you worked from 1/2 again, just simply fold that over using your trusty tracing will. You can draw in your new side. Same like you can see now. My under one point stayed the same. That's come slightly in. There's my new side. Same. So that volume has now been shifted out of that side there. So now the only thing I'm left with is this. Start here. So I've removed. Now this one. Okay, so we've got our new side seam in. Got our buster. I want to keep the bus star because this bus start here because it goes from top to bottom . It creates that volume round the bus shape here. This one creates the the shaping that goes into the waste. So I have my bust and it goes into the waste. But if I had a bigger waist, this could be moved. So this is a variable thing. You don't have to have darts here. If I've got a big waste, this would move out. I don't have to create this volume, but this one here, this bus start here. It's such an important dark because it creates that volume around the bust. So I want to keep that there. I now want to create the wrap effect off the neckline. So I wanted to go somewhere in the shoulder and then I want it to come down to my side. Seam Here on again. This is judgment. This is trial and error. This is how far you want the neckline, the brake line to come down. You can have it very, very low if you want. You could have it wrapping quite high. But mine is wrapping somewhere around my bus. Point again. This is a judgment thing. If you want to measure on yourself to see where the brake line would be, measure it from your higher shoulder point, which is this point here and see where you want that rap or break point to come to on that will give you a guy so you can measure on yourself If it's a similar sized body to yourself If you're coming down something like that. So where do I want that to hit? You know what kind of measurement we looking up? I'm looking on the measurement on the mannequin My highest showed a point going down to the lowest point of my waist But the side seam nowhere Where do I want my my rap? You know, if I wanted it quite low if I wanted it very low imagine that The other half is on this as well. You know, if I wanted it quite low, it would be something 30 something. But I think I'm gonna put my rap something I don't want it to look. Something like that is gonna be conceived about 21 centimeters from my heart. A shoulder point again. This is all designed. There's no rule about this. So go 21 of the higher shoulder point from the my middle point. So that's roughly where I think my rap point wants to me. So my rap point will not go any further than that. And then, quite simply, you need to draw in your new neckline so you can take that out from the higher shoulder point if you want. If you want to open that out, you don't have to have the rap starting from here. You can take that out slightly. It might be quite nice again. Use your judgment off what the design says. So I'm going to take that out, sent to me toe, and I want it to end up down there. We know that this doesn't exist anymore, so we're going to imagine that that's not there. So we basically want to join up this point here, that point man, and then that point there we know that my waist we know that my waist is exactly as my block or my Sloper because I used it as my base guide and I moved that measurement from there to there. So always go back and measure. It should be 17.75 times to have now what to should be 35.5 always come back yet know about 35.7 okay, so you could move that in a couple of millimeters. I'm just going to leave this just to show you. So now what we want to do is join these points together, But again, I don't want to see this harsh straight line. Everything's a nice curve, so you can join in the points straight to begin with just so you can see what's going on. And then you can move. Usual French curve justice. Soften that upper. They're gonna see what Don't there she? That's quite a nice straight line. I'll keep that nice and straight. Yes, I'll be quiet. That would be nice, because when it joins to my back body, that would flow nice around there. I won't get this harsh angle finishing in the shoulder. So that becomes my new neckline on. Then that's it. So when you draft in your back body again, you're back. Body is up for design purposes, but if it's just got up curve neckline, make sure whatever you move that shoulder route or wherever you move your arm hole in. I could draft a nice hold on this as well. Open that out, so it becomes a bit slimmer. here. It's completely up to you. But whatever you do on the front area there, so drop here, make sure you do on the back body, and then it should all join. So following on from the lessons before the videos before you could now join this up because we know the waist measurement is exactly the same on the front as my off my skirts . My a line skirt. You could join it to a circle skirt again. Use your front body measurement. Check that it fits to the front of the circle skirt. If it doesn't just shift that side seam of this sort of Crisco anyway, you couldn't join the up to anything that can now be a starting point to a nice wrap over jumpsuit if you like, or a nice rack circular skirt. Thanks. 12. 12 Trapeze Dress: Hi and welcome back. I'm going to show you how to do a trapeze dress which looks like something like this on my sketch. It's got the bus starts in, but it's got a very full waste, is semi fitted at the top off the bodies and then it flares out again. The length is very variable. You can have it sleeveless. If you like, you could move the arm hole in like we did on the previous video. You could drop the neckline, a committee of the anything you like, or you can add a sleeve short sleeve. But the main principle off this is how to get that trapeze shape again. You could make it long you could make into a top minds got a center back, zipper just to show you. So I'm just gonna show you how to draft this out. So I'm just gonna put that there so you can see So the easiest way to gain with through any bodice is to not, in fact, draw these darts in because once these darts are stitched together, that volume closes on that becomes your waist measurement. So the easiest way to gain any with in any bodies or anything is to essentially not put those dots in. This is a very important one because this controls your arm hole on this length here, and it gives you the shaping around the bus, So I'd like to keep that in anyone who wants to remove a bus star. It's a very, very, very risky business. I do have other videos on how to remove darts. I don't massively agree with it because essentially, you can't put a flat piece of fabric over a shaped bust. But there are many ways of getting around it with shaping gathering on. I'll show you how to remove it. But the key thing is, it's all in the balance. This volume here can't just be removed on because it would just shift all of your measurements of everything. So this is a very, very important dark Teoh to keep in. But anything going in this direction, it controls the width of your body, which is so variable with everybody you know, this could be bigger, smaller or anything like that. But it's This is the key dark that we need to control. So we're going to keep that into this government on, then make a trapeze dress from here again. I'm not worried about sleeves at the moment. There's a whole another video on on sleeves and a whole another course. So this could all be adapted to this. I'm just concentrating on the outside outline off this particular shape. I'm going to make a slightly shorter shape just because of the frame off the video, but I'll show you how to do that. So again, we're going to start with our front bodice drafting down really center from I need a new pen. Okay, this is going to become my center front and again draft across for my waist again. I'm just going to work on 1/2 garment because if I folded that out on Bond, cut it out with all my semen outs on it, it would be symmetrical. So line up your waist on your center front. So draft along this. I'm not going to put in my internal dark here because I already want to create more volume so I don't need it fitted on my sketch hasn't got a dark there. So, to me, that indicates that it's quite a loose fitting shape again. It's your judgment by I to see how much volume you want in it again, it's trial and error. So here we go. Here's my bus. Dart did. It s so I haven't put in my body dot Here. I've already gained some with what have I gained my blocks at 17.5 cm. I've already gained while he's 21 now, so I've already got a little bit of width. But if I just continued this line down, it would be fairly straight. And you can see I've got quite the volume in here. But what I just do need to think about is this dark area here. So what I find it quite easy to do is actually foldaway my paper. You couldn't do this. I do a lot of time folding away the paper story. It really is everywhere. Okay, so just foldaway That paper just closed that dark away for a minute on will open her out after a bit. You can see this volume is still the need to keep that closed for just a second. Just to get in our side, see measurement because what we want to do want to keep this all the same again. Later on, you could make that a nice round neckline. You could take the arm hole in, do whatever you want, just creating this shape here. So it basically is from the underground points you could again. It's a design thing. You could go out forever shape. You feel that you need You can add in quite a lot of volume or a little bit. I'm going to just go out maybe a couple a little bit if keeping it zero the underarm point because we want it kind of fitted under the especially if you're gonna put a sleeve in it. We know that that's the good arm, the whole point. Just going to create a new line down something along those lines that don't figure this is now my new dart line here to go through with your tracing will just draft There were your new points bay. OK, extend those lines and that becomes your new side Seem like that. So the way you get the hem length is exactly the same as all the others from the waist down . You just find your point off measure I'm going to do, um 20 centimeters down. Excuse the snoring. That's my dog. So we're going 20 cm down from here down to the hem, pretty much back to zero here because that's what my base block is. You see, it's slightly shaped at the hem. Well, there we go. Just something that I've just done a short bodies to show again. The wider you get, um, that measurement will change. You have what we want to try and create. Here is a nice, sweeping shape on this hem here. We don't want to get any sharp angles on this side. See, where you joining together? You want a nice, sweeping shape here. So when you it's exactly the same formula at the back. The good thing about the backers, you don't have a bus start to worry about. What you want to do is draft your body block out on the back on then again from your underarm point, Draw the same angle out Whatever you went out on your hip, go out on your hit there from your underarm point and you should create the same angle. And that is your trapeze shape. Very simplified for you. Don't forget on this one. We're going to leave that back as a pair so we can add that zip down in the back. If you don't want that shaping down the back there, just simply straighten that off on that will give you even extra with on your back. Thanks. 13. 13 Side seam pockets: Hi. Welcome back. I'm going to show you how to do a side seam pocket. Now. Earlier, I drafted out this a line skirt with a waistband similar to what you can see here. Now, what I want to do is add aside, seem pocket. And it doesn't just, um, refer to skirts. This could be dresses, tops, jackets. But it's a pocket bag that goes into the seam here and what would be stitched into the seams so you can put your hands in your pockets. So I'm just going to show you a brief way of doing that. So earlier I got the skirt base front and back on, this was my waistline. So again, this little formula is for anything for jackets, trousers, anything pocket bags. Very roughly again. Design dependent. But just as a nice area, fewer hand to sit in is roughly about seven centimeters below the waist. That's the starting point to any pocket. So we know that this is the side seams. What we want to do is measure down seven cents meters from the top of the waistband here, seven centimeters down there, just right that mark on then, as again, a really rough guide. The opening for a pocket, especially in a size seem, shouldn't be anything narrower than about 15 centimeters. You can probably creep it back to about 13 but 15 is a really nice measurement. So from that point there, which would be the top off the pocket bag down this side scene, which is where your side pocket would open this measure down 15 centimeters. So that is the opening off your pocket. Now, this is my master draft on what we did earlier is you can trace the front off, trace the back off. So any workings out you can always do within your base master so it can look up a complete mess. As long as you understand what it is on, then you can trace all the pieces off. So something like this is really good toe work into the Master Baesa's well, so then you can see exactly where it's sitting. Now what we want to do is actually create that pocket bag shape. Now I'm just gonna turn this around. So what you don't want to do is have it really big, like this big Mickey Mouse ear flapping about on the inside, there's no point. It's just gonna be annoying. And your feeling on the inside of your garment You want something quite neat n tidy, but something that's not too small that you can't actually put anything in or your hand or anything. So the best way to gauge this is actually just lay your your own hand on it. So this would actually be, you know, my hand going in the pocket, for instance. So this is the opening of my pocket. Don't forget on my hand would sit something like that. Now we just want to show create this rough shape that slightly curved downwards because we don't forget. When you've got your hand in your pocket, it angle slightly down towards the ground. You're not putting your hand in your pocket like this. Some designs might cater for a little jacket or something, but a loose, nice fitting pocket bag. You want that slight curve shaping towards the ground, that slight semi circle heading further towards towards the ground, which looks like that, and you could see if my hands in there it's big enough for my whole hand. Even if my hands bit bigger, I can put things in. There is not this joy, enormous thing flapping about. What you can see, though, is I've gone to slightly longer of the opening, and it makes it a lot easier when you stitch that pocket into the side seam that you will close that. Then, up to that point, you'll stitch into the side seam, your stitch, your pocket bags closed, and then when you stitch your side seam, you just run it past there and stitch it closed to that point. And it just means you get this deeper area here without having to bend that line back up to that point and creating a smaller pocket bag. So what we don't want to do is that we want to create this deep shape like this that gravitates towards the ground a bit and goes again. This is no formula, maybe four centimeters, a couple of inches down from the opening, and that would be your pocket bag shape so you would trace it off in this shape here. That would be your opening, and then this would be your pocket bag. This would be the shape that you trace off. Andi, you don't just want one Because you can't just stitch one of these into the side seam because you've got no nothing for it to back onto. You need to bits of pocket to sandwich together to create that little pocket inside. So that pocket there needs a front and a back. It would be exactly the same. Something simple like that in a side seam in a skirt. Something like that. You could do it in lining. You could do in a self fabric, depending what the main fabric is. If you wanted to nice on the inside. If you think that you might see it on the inside, you could do it on the self on the back pocket and then lining to keep it nice and flat on the inside pocket. So you you will need two pairs. You'll need one for the left, one for the right on, one for the back left of one back, right, so they will stitch closed on that bit. There again, depending on if you have a pocket on a side, you could just have one. So again it's designed dependent. But that's just a really simple way of us getting in a nice, roomy sized side seam pocket. Thanks 14. 14 Adding Facings: so earlier I was explaining the terminology about what facings are. Andi are just thought I'd show you a couple of ways how to create these one in a top on one in a skirt. So if you just crossed your mind back to when I just created on a line skirt again, this could be the bottom half of address. Could be anything, but we are going back to the A line skirt. I added my pocket bag in the side there that I've later traced off. I've got a waist band, but which looks something like this. However, if I don't want to put a waistband on it, how would I finish that top edge if I don't want that here? And I want it to look something like that. Essentially, I kind of wanna waistband that sits inside something like that. But having a straight waistband at the top that I created, it's not really going to suit that shape on the inside because you've got two shapes. Fighting a straight band on the inside of something that you can see is quite curved. So we want to create this shape on the inside that reflects the top curve off that waistline, and this goes throughout everything. This could be a trouser waistline. This could be addressed. Waistline. It doesn't have to be a waistline. I'm going to show you a neckline later on. But it's something to clean off that outside edge of something that you don't want abound on or a border, or it's not fully lined. It's something that's quite share. Maybe, and you just want to clean off on make that top edge really nice by not having a complete, fully line garment and just having something nice inside. He also looks nice on the inside and against your skin because you've got that nice print or the self fabric, what we would call it with maybe something, maybe a bit refusing on it, to give it a bit of strength for the zip or something, or the top of the waste, because it could stretch. So we want to create almost his band just to finish off edges of things. So I'm just gonna create a facing for the inside off this skirt, and it is very, very similar formula to creating a band that would sit on the inside of a neckline, the shapes just a slightly different curves. But the formula is exactly the same. This is, you know, you could put that round there it be slightly similar curve. You know, it's just creating that extra bit of fabric on the inside to clean off this top edge, and it really is quite as simple as it looks. So I just use a nice measurement of four centimeters, but you could use two inches. It's completely up to you. This is my master draft off my A line skirt from my waist down, he's going to use our ruler to square across. Just find your four c M. Measurement from your waist, very similar to how we created or him. We just went there and found on him just making slightly short one. That's it really on joining the dots quite literally back up together and you can trace that bit off again on the fold, a nice front waste burned or front neckline and it be exactly the same shape. And that would just sit inside when you so that what you would need to do is just add on your seam allowance all the way around the outside, leaving this in front on then. Exactly the same with the back. Foresee em down. Making sure the side seams both much together on. There you go. So that would be the same for this. Or for a skirt waistband in. Trace that off. I want to show you a slightly different variation of this on A for you. I have something that looks like this. You could do two different ways on duh. One of them is. Nope. Sorry is as we see on my mannequin on this T shirt. So, quite simply, you've got this shape again. I'll use my four four centimeters go all the way around. Using this is my zero point and going out for CME the whole way around, then joining those don't again. I've done this a 1,000,000 times. I'm just doing this by I but do this with a nice sharp pencil. Usual. Use your own nice French curves to get that nice curve. And then again, we're using that same measurement to just go around the back neck. And then you couldn't just trace these off. Remember, if you've got a center back or zip anywhere to make sure that you leave the same opening in the facing as you do for the garment, so you can again trace these pieces off. You can put that on the fold on the centre front that on the fold on the centre back. Now, let's say, for instance, I've also got an arm hole that I want to add a facing on something that you know you can add facing on here and facing on the neckline on. Then create a border or facing around the arm home. So it looks like that. But it's all a bit fussy on the inside, and you've got this bit flapping about on that bit fluffing about. Wouldn't it just be so lovely if they were joined together as one? And you can have this lovely, curved effect going around the arm on the neckline so you can merge these two lines and again, there's no rule or regulation or what you need to do with this. It's just a really nice, clean way inside of just merging a neckline or an arm or something is close together. You've got two facings. Try being creative on the inside, making a beautiful on the inside as it is on the outside. Eso something like this. I just show you this jacket show you this jacket. You can see how it has got this front border that comes up here, this front facing. But also we need something around the neck. So it's just been merged into the two. We don't have a separate one for the neck and a separate one here. We're joined that all in one, and it continues. Right round on continues right round into the back neck here. We just got a shoulder joined in there so you can merge to Facings together. So what I'm gonna do here, it's just draw this line, just gonna get creative and just merge. We don't want any harsh sharp lines because it's difficult to stitch up when you've got corners and things like that make it a nice, smooth curve. You can remove this when all of a sudden you've got this lovely shaped semi lining that'll clean often back out the arm hole from back out like that time and similarly, you couldn't do the same. The front, Let's say, for instance, you wanted an arm hole facing. I'm just marking quickly. Let's say four C m around here, Joy. No starts up. See? Okay, just doing this quickly. But make sure these match make sure the side seams match. Make sure the shoulders all match. But again, you don't want this arm hole facing in the neck hole is all a bit fussy. So again you can merge these two lines together. You know, use routers, use your nice curves. I've just on that freehand, cause I I'm just showing you then that removes. And all of a sudden you've got this lovely built in facing. And if you did want to line the whole government, but still keep your faces, that's absolutely fine. The rest of your lining would just be joined to that edge there, Similarly again to the jacket. Although the jacket lining hasn't been stitched in for purposes to show you, it has this facing which looks beautiful when you're wearing it on the hangar. You put your your label there and then the lining The rest of the lining would be joined here. If we lined it all the way here, would be very thin here. Andi, actually, this needs a bit of weight with the buttons on. It needs some support around the neckline. So the way we do that is creating these facings with the self fabric usually on. It would always help, depending on the fabric, to put some fuse herbal fabric on it to give it that extra weight on it just looks a lot nicer than when you've got. If it's on again, the hangar, it looks much nicer because you don't see what is that? Pop it up That looks much nicer. Seeing the self fabric There, you can have your nice label or something mayor or whatever you want on it looks lovely. When you've got the jacket open as well. You see a bit of the fabric, so that's just a basic slide. But that couldn't transfer again into the top off trouser edges. If you don't want a waistband, you can get the shape of your waistband and just joined the darts together. Pick close the darts off a new trist. Draw your your line or your border on the inside, similar with cuffs on the edges off hems on anything like that. Thank you