Re: TROUBLE POSTING
- From: "FarmI" <ask@itshall be given>
- Date: Mon, 23 Jul 2007 17:19:32 +1000
<gjones2938@xxxxxxxxx> wrote in message
Is anyone else experiencing trouble posting?
No. But you did mention a few days ago that you'd tried to post 3 times nad
had problems. The three posts you mentioned didn't show up.
I have written at least
five messages to the Pattern Drafting subject, and either get an error
message or they just don't appear. I've also gotten messages saying
that the alt.sewing website is unavailable--try later. What's going
on???
Below, I've put the posts that you sent to the Pattern Drafting thread so
that you can see which ones I've seen here in Australia (lets hope you can
see them).
Post on 17/7/07
Dear Susan,
There are many books available for patternmaking, but either the
Armstrong book, Patternmaking for Fashion Design, or the Jack Handford
book, Professional Patternmaking for Designers are the best. I used
both in my fashion design classes. I like these two books because
they explain the secrets of pattern drafting, whereas some of the
books are only meant to teach commercial pattern alterations.
Draping is another way to design, but it requires a dress form that is
the exact duplicate of the model's body. If your daughter is going to
be designing for others, she might want to look into a patternmaking
program. For that, the Wild Ginger program called Patternmaster
Boutique is one that I used with my students, and found to be
excellent. This allows the user to input a model's exact
measurements, then design clothing based on separate garment parts.
While the designs available in the program are pretty basic, there is
an editing component that allows the user to add, change or design
original details.
Teri
Post on 18/7/07
Dear Farml,
I agree that the Texas reviewer probably doesn't know the first thing
about patternmaking. Once a sloper is drafted for a particular
figure, the manipulations are the same--one doesn't need a perfect
figure. Now if one is talking about using a dress form, that form
must be adjusted to the measurements of the model. But drafting is a
very different technique than draping.
The thing that many dressmakers don't realize is that a sloper is the
basis for all women's wear--from bras and bathing suits to heavy
coats. Another thing that sometimes isn't realized is that darts,
whether changed into tucks, pleats or released, always point at the
bust and hip. One of my favorite chapters in the Armstrong book is
how darts can be manipulated into seams so that they disappear, and
can also be made asymmetrical. This allows color blocking with no
apparent darts.
Teri
Post on 19/7/07
I've tried three times to send a message to the Pattern Drafting post,
and cannot get it through. Let's see if this works.
Farml, I found Jacqueline's critique curious, too, considering she
claims to be an experienced drafter. Silhouette, size, or perfect
figure proportions have nothing to do with manipulations. Once a
sloper is perfected, the manipulations for different styles stay the
same.
Someone else said that the book had errors. The first edition of the
book had errors that caused the resulting sloper to have too much
ease. These errors were corrected in subsequent editions.
Two things that potential patternmakers should consider. (1) All
darts point at the bust or hip. That is true whether the dart is
transformed into pleats, tucks or gathers. (2) All designs, from
bras and bathing suits, to heavy coats, are developed from the basic
sloper. I had my students develop a basic four-piece sloper, a pants
block, a jacket block, and a bra and bathing suit. We also did knits
and stretch knits.
My favorite chapter in the Armstrong book is the asymmetrical
manipulation of darts into seams. My students came up with fantastic
variations, and built wonderful, color blocked garments that showed no
darts. What fun!
Teri
Post on 20/7/07
Dear Farml,
I was Director of the Fashion Program at Columbia College, then
Lindenwood University. I have also taught at Syracuse University and
Southern Illinois University at Carbondale, Illinois. I taught
Patternmaking, Draping, Computer-Aided Design, Museology, Textile
Science, Fiber Art, Theatre and Theatre Costume, History of Costume.
I also helped my students with their papers in other classes. I'm
retired now, and my husband says I "play with dolls." I really design
them, and dress them in historic costume. Almost as much fun as
teaching.
My students are in various fashion centers--one of whom has designed
costumes for two movies, and dresses models and country music stars.
Others are in New York, Chicago, Houston and Dallas, working in their
fields. I'm very proud of them.
Teri
Post on 20/7/07
Dear Fran,
The weaknesses I find in the Armstrong book are that the fashion
sketches are now getting old, and the students were getting to the
point that they didn't want to do the exercises because they were "old
fashioned." I imagine that it's quite costly to start from scratch
each time a new edition comes out, so it's understandable that at some
point, the pix are not appropriate to the current student.
Facings should have been addressed more than the book showed. My
students always thought that they could just turn over the edges and
sew them down. I had to convince them that this was rarely done on
good clothing.
I'm pretty sure that the discrepancies in the first edition were
corrected in subsequent editions. I have to tell you, though, that I
wrote a workbook for my CAD students, using my own instructions for
bodices, sleeves, dartless blocks, bras and jackets, and my students
said that the workbook was easier to understand than the Armstrong
book. So, we used it for basic slopers, then used the Armstrong book
for manipulations. I don't remember a problem with the sleeve blocks,
because we didn't use those instructions.
Teri
.
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