General Info, Sewing Techniques

Fusible Interfacing – A Guide To Getting The Best Results

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How to apply your fusible interfacing properly!

I use a lot of fusible interfacing. When I worked in the fashion industry I was lucky enough to have a fusing press, so that did all the work for me. However getting a good ‘fuse’ at home is more difficult.

My instructions here are based on trying to simulate the ‘fusing press’ process at home.

Firstly some of the heavier fusing I sell in my shop (the 1055HF) takes quite a bit of force to fuse it, a gentle ironing motion will not do the trick!

Here is the technical info supplied by the factory I use for the non woven fusible interfacing  labelled (1055HF) Stiff Heavy Fusing:

Composition: 100% polyester
Technical: chemical bonded
Coating: LDPE
Weight: Heavy clothing use
Width: 36″
Length: Any length required
Color: black, snow white
Hand feeling: hard, and crisp
Feature: fusible, adhesive, shrink-resistant, waterproof, hard to tear away.

Its also washable at 40 Degrees!

This type of fusing would be suitable for the following applications:

Non-woven fusible interfacing is suitable for inside waist bands for garments made from a medium to heavy weight fabric, clothing and jackets made for autumn and winter that are heavier in weight, embroidery backing, hats, bags etc. Its also great for a number of craft uses. Some people use it to make fabric box’s and apply 2 layers for a stiffer box.

For those new to fusible interfacing, the shiny side is the side that has the resin applied, you will soon know if you make a mistake with fusible interfacing as you then have to spend a long time picking it off your iron! Its worth taking the time to double check which is the sticky side. I speak from experience here.

Why Use Fusible Interfacing?

Interfacing is used on the “wrong” side of fabrics to make an area of a garment more rigid. Interfacing can be used to stiffen or add body and strength to your fabric.

Interfacings are essential in shirt collars and waistbands as they strengthen that area of the garment. Collars are usually fused on the under collar only.

You also need it in button stands to strengthen where the button hole and also the button is sewn, with the added advantage of having a nice clean sharp line at the center front of your shirt or blouse . It’s also common to add interfacing to the back of embroidery or any decorative stitching you do, this type of interfacing doesn’t have to be fusible though.

Its common to cut fusing pattern sections slightly smaller than the whole pattern piece as they can be quite bulky when fused to the seam allowance. It’s best to have them a few millimetres over the seam allowance so that they are caught in by the stitching, but don’t add too much bulk to the seam allowance.

Some coats and jackets can be fully fused, for example the whole pattern piece is fused as a block, this is only common with outerwear. The term for this technique is -block fusing-.

There is also a term called ‘elephants skin’ used in fusing, this is where the fusing partially fuses so you have areas that are not fused and this looks all bumpy and wrinkly on the surface of the fabric. You want to avoid elephants skin at all costs! Fusing can be removed if you make a mess, bu warming it up again and pulling it off – it’s worth a try if you’r not happy with the result. Of course you need to apply fresh fusing then.

How to get the best results – fusing at home

  • Always try a test piece first – it’s much safer than going directly to your garment or project!
  • The clothing factory will follow the instructions below – so lets take a look at how to translate them to home use

  • ■Manufacturers Fusing Condition:

    Temperature: 135-150℃
    Pressure: 1.5-3.5kg/cm2
    Time: 10-16 second

  • The temperature you need for a good fuse depends on the thickness of the fusing and your fabric, the above is a guideline.  A domestic iron commonly heats to a temperature of 180–220 °Celsius, depending on the fabric.
  • You do need to apply quite a bit of pressure when fusing – DO NOT USE AN IRONING MOTION– that will only drag the fabric and fusing.
  • This is my routine – I place the fusing to the wrong side of the fabric – sticky side down – I then use a fusing cloth ( a piece of cotton), this helps regulate the heat a little too, However I sometimes remove the cloth if I need a very strong bond and if I am using a very thick fusing.  I work from the center of the piece I am fusing, and move outwards, using the tip of the iron at first and then when I am confident that it’s all flat and in place – I press as hard as I can. Don’t be afraid to put your weight into it – to simulate the pressure you need to bond the fusing and the fabric together. I don’t use steam – there is an age old debate on this subject – some people do use steam and some don’t – I prefer not to. I let it all cool down for a few seconds and then I then press from the right side of the fabric with a cooler iron
  • As you can see from the guidelines above the fusing does take time, from 10 to 16 seconds. If you have already completed a test piece you can be sure that the conditions you are fusing under are correct. Having a test piece gives you the confidence to leave the iron in position, without worrying!

I also use a lot of  (1035HF), which is more of a medium fuse. It’s a good one for regular clothing use and ideal for blouses and skirts and trouser waistbands. The numbers are a universal code used by the clothing industry, however unless you are buying directly from the factory, you are unlikely to encounter them.

Generally fusing is referred to as either light weight, medium weight and heavy weight, with handles being soft or stiff or crisp or heavy. They are all subjective so an industry code is more accurate for clothing manufacturers.

Here is a handy chart with the full range of fusible interfacing weights and their industry codes if ever you go into mass production or become a clothing technologist!

Other Useful Products

A couple of other very useful products I have come across are worth a mention. If I am doing any delicate embroidery I use a film that dissolves in cold water. Its perfect for the delicate work I do on my lingerie samples.

 

 

 

 

 

 

 

 

 

 

■ Product Description:

Composition: PVA (Polyvinyl Alcohol)

Thickness: 25gsm-50gsm
Width: 40″
Length: As required
Color: translucent
Texture: embossed
Feature: good water-solubility, eco-friendly, no remnant left
Application: cold pva water soluble film is used for senior underwear, fashion clothing and lace embroidery backing.

This film dissolves very quickly in a few seconds when submerged in cold water, I love to use it. Its fairy expensive but a meter lasts a long time when you are doing delicate embroidery and its a good item to have in your sewing box!

100% Cotton Heavy Weight Woven Interfacing

I also find this 100% cotton woven interfacing is ideal for heavier craft projects – or costumes.

■ Product Description:

Composition: 100% cotton
Coating: HDPE
Width: 44″
Length: As required
Weight: 150g-200g
Density: 20*21/60*60
Color: white
Hand feeling:  hard
Characteristics: excellent fusing effect, better peeling strength and washability, Ideal if you want cotton interfacing for a cotton project.
Application: cotton heavy fusible interfacing is applicable to work shirts, uniforms, hats, stiffer cuffs, waistband, placket, purse, bag and so on. In fact anywhere where you need a garment part to be extra stiff.

It takes a little more fusing than the non woven interfacing we looked at above –

■ Fusing Conditions:

Temperature: 165℃-175℃ – not a problem if you are fusing to cotton as it can take the heat!
Time: 18-22 sec – so give it some time.
Pressure: 2-4 kg/c㎡ – so lean in hard if you are fusing this at home!

This product is ideal for costumes and collars if you want them to stand up! Again its quite costly but its cotton and you really don’t need to use too much for a collar or a cuff.

I worked as a costume designer once and I used this fusing all the time, I love it!

Whatever the fusing you use its well worth taking the time to fuse it properly to the chosen area, It can make such a difference to how professional your garment or project looks.

I hope this has helped and if you have any questions or comments then please let me know.

Happy fusing!

Nicola

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Beginners Pattern Drafting Info

Making The Most of Your Bodice Block

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Moving Your Bodice Darts – Example 1

This is the first in a series of posts that will demonstrate the method of moving darts around the bodice block to different locations. This post is aimed at beginners.

Moving both darts to the waistline is very easy. Lets look at the slashing method.

  1. Trace the bodice block marking in all the darts, the bust point and all other block markings such as notches.
  2. If your darts are not connected at the bust point then connect them before you begin, all changes to bust dart locations must happen through the bust point (BP)
  3. Slash up the center of the bust waist dart, right up to the bust point.
  4. Fold in the shoulder bust dart and watch the waist bust dart open up to become a larger dart. Now the 2 darts are combined at the waist.
  5. Trace around the new shape, marking in the new dart. Take the apex of the dart (point of the dart) back by 1.5 cm for sewing. If you sew a dart right up to the bust point it will look very pointy!
  6. To complete the pattern shape, fold in the dart and cut the pattern with the dart folded in as it would be sewn to get the right shape at the dart mouth.

If you want to know more about darts, this detailed workbook will give you everything you need to know!

If you don’t already have my basic bodice block you can find it here:

Modeliste Creative – basic bodice  

Or if you would like a larger size range  we also have a couple of other bodice block options we recommend.

The regular Design Cut & Wear Bodice block, or the Bodice Block with the shoulder dart removed, or the Japanese Style Bunka Bodice Block

Or maybe the plus size bodice block. They are all suitable for this technique.

Hope this helps and I will be back soon with another technique.

Happy Pattern Making.

Nicola x

 

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Beginners Pattern Drafting Info, design and pattern cutting, Pattern Cutting Techniques

Work Flow for creating a pattern from a basic block

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New pattern cutters have the advantage of adopting good working practices right from the start. If you can adapt to follow this process your work flow will be smooth and you will save time.

  1. Trace the relevant block onto your pattern paper – use plain white tracing paper or spot and cross paper  Follow the links for a supplier that will post starter pattern cutting paper packs all over the world !
  2. Transfer all grain lines and construction lines such as hip line, dart lines, notches etc.
  3. Make any changes to the shape of the basic block first, for example adding more flare or moving darts. More paper can always be taped on to extend the first draft.
  4. Plan any new seam lines on the draft. Take care not to plan seam lines unevenly over darts. You can move darts to a temporary position if they are in the way, or measure carefully across the dart as shown in the images below.
  5. Mark each pattern section on the draft with a grain line, add balance marks and notches and any special instructions.
  6. Plan and draft button stands, now draft any off parts such as collars and cuffs.
  7. Plan facing lines, facings are best produced from the final pattern sections but they can be planned now.
  8. Trace each pattern piece off the main draft- never cut the main draft up!
  9. Add seam allowance – only when you are certain you have completed your pattern, adding seam allowance is the last thing you do. See my post on suggested seam allowance quantities.
  10. Label the pattern, see my post on labelling your pattern.
  11. Finally cut out your first pattern – you are ready to test your pattern with a toile.

If you plan across without measuring, the pattern piece you trace off will not be correct, as illustrated below. This is a common mistake people make and it results in an ill fitting pattern.

Planning across a dart results in a jagged pattern piece!

I hope this helps.

Happy pattern drafting,

Nicola

 

 

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Beginners Pattern Drafting Info, Pattern Cutting Techniques

Good Working Practice – For a Pattern Cutter.

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Developing good working practice and good habits saves time.

As a professional pattern cutter, you soon learn that if you don’t have a good working practice, it costs you time, and time is something you rarely have in the fashion industry. If you are a self employed designer/pattern cutter, it also costs you money!

I worked with a wonderful Japanese designer many years ago in Copenhagen. He could only speak Japanese and unfortunately I could only speak a few words to him but he left a lasting impression on me. The reason I still remember him so well over 26 years later is because his working methods and his patterns were faultless and I do mean faultless. In fact it became a daily ritual that we would check his patterns, and see if we could spot any mistake he had made, and we never could, ever, not even once!

He also produced all his designs with the wooden end of a paintbrush, not the brush end, and they were beautiful!

Back to the topic in hand!

This is  broadly the way he worked –

He always used a 4H pencil.

He also only used a set square, no fancy pattern rulers, just a set square and a meter rule.

Pattern Labelling…

When pattern sections are traced from a draft pattern all information needs to be transferred too.

For example:

  • All pattern markings, sewing notches and balance notches. I wonder if you are thinking ” I know what sewing notches are (notches to help you match pieces when you sew) but what are balance notches. Balance notches on a pattern are there to help you ‘balance’ the pattern. For example a notch at center front and also at center back, lets you know that the garment is sitting correctly on the stand when you assess the fit of the pattern.
  • Fold lines or indications where a pattern is to be mirrored – please take note that ‘cut on fold’ is not a practice adopted in the industry. Pattern sections are mirrored and cut flat and open as a whole piece.
  • Grain lines, size of pattern, name of pattern piece, style number if required, the number of pieces to be cut and in which fabric, for example main fabric, lining, fusing, a note of the quantity of seam allowance added to the pattern, indicate the CF (center front) and CB (center back), name of cutter, small sketch or technical sketch of the garment, button and button hole positions, pocket positions, and any other important design or construction detail, for example areas you need to gather and how much to gather back to.
  • There are also a range of pattern symbols you need to know

Buttons and button holes

A solid line with a dash at each end is used to mark a button hole position

Large X’s mark button positions (I intend to do a blog post on button stands very soon and there will be a lot of information on button hole and button placement in the post)

Drill Holes – are sometimes indicated by a + but can also be marked as a circle, they can be filled or empty.

Drill holes are used in industry to indicate pocket placement positions and also indicate where to taper the dart, they are placed a set distance from the end of the dart i.e. the dart apex  (1.5 cm is a good distance).

In an industrial setting drill holes are an actual hole, a small one, but still a hole, a home sewer will mark the point with a fabric pen or a pin.

 

A place on fold or cut on fold symbol is indicated as illustrated below –

Grain lines are placed on pattern pieces to indicate the way a pattern piece should be placed on the fabric. Strictly speaking blocks should not have grain lines placed on them, if they do then the line should not have arrows on the ends.

The arrows on a grain line have meaning. An arrow indicates which direction the pattern piece should be placed on the fabric in relation to the ‘selvedge’ i.e. the finished edge of the fabric.

Knit pattern piece should be labelled with a grain line with an arrow on one end only as knit garment sections should be cut all facing one way. This is also the case with fabrics that have a nap, for example velvet. If velvet is cut with pattern sections facing different ways then the garment will look as though it has been made from different colour fabrics for each panel, as the light hits the pieces in different ways.

Grain lines can also be placed at 45 degrees and this indicates the pattern pieces should be cut on the bias grain.

DOGS

Stretch pattern pieces may need to be labelled with an instruction to cut the pattern piece in the direction of greatest stretch, particularly important with all in one garments and swim suits. This again is a topic in itself and a particular area of interest for me and I will be covering this in detail soon.

You may also need to use the following abbreviations, particularly for A-symmetrical pattern pieces.

RSU – Right Side Up

This is an instruction to cut the pattern piece with the right side up, so the cutter knows not to flip the pattern piece in an attempt to save fabric.

The opposite of RSU is RSD – Right Side Down.

Good Working Practice…

  • Use the edge of your tape measure when measuring curves
  • Sketchy lines are not acceptable in pattern drafting, use at least a 2H sharp pencil
  • Notches are very important, particularly on long or curved seams. Notches should always be marked at 90 degrees to the seam line.
  • Grain lines are marked parallel to center front and center back. A sleeve has the grain line marked down the center, a trouser has the grain line marked down the crease line (center line).
  • When you draft a pattern on a piece of pattern paper, never cut it up. Trace the pattern sections off the main draft. Do not add seam allowance until the very end of the process!
  • Check the draft pattern for the following –
  • Seam lines and lengths match
  • Grain lines have been placed on all pattern pieces.
  • Facing patterns are best cut from a final pattern
  • Check all notches match – particularly sleeve and armhole notches
  • Fitting lines such as button stands and button and button hole placement are accurate.
  • Seams meet at the correct angles – these should be 90 degrees if you want a straight line.

  • Gathers, tucks etc are clearly marked, with measurements indicated.
  • Directions in which to fold pleats are clearly marked.

I think that’s it!! There may be things I have missed, please let me know if you can think of anything at all.

I could go on forever explain all the associated information that goes with certain topics, such as notches, as there is a lot to cover there, in time I will cover these topic so please subscribe to keep up to date.

You may also find my Pattern Language Post – interesting. This covers abbreviations you may come across when using patterns.

Happy Pattern Making!

Nicola x

 

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Current Projects, Free Downloads

Your Free Tie Pattern!

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Your free tie pattern! & a POP suit!

 

Click the link below for your free tie PDF pattern, the file has 9 pattern pages that you will need to assemble to create the pattern. Print the first page of the pattern to check that you have the correct scale, and measure the box to check you have a 5 cm x 5 cm ( 2″ x 2″) box. The pattern comes with full making instructions.

Free Tie Pattern

I don’t have time to make the tie myself today as I have been busy making 2 suits for my 2 Jack Russel terriers!

They both had a little operation and hated the horrible cones they had to wear to stop them licking the wound, so a little suit each has solved the problem!

 

 

Post Operative Protections suit – specially made for Pops and Daisy too!

Ted, my fox terrier loves the feel of the suit too, it makes a nice pillow!

I used a very special technique to make this pattern a perfect fit and it’s so easy, I will be making a video soon showing the technique, so keep watching.

Nicola & Pops and Daisy and Ted today X

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Current Projects, Sewing Techniques

Sewing the “hippy” Smock Top Pattern.

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Making the ‘Hippy Style Smock’

The Smock Top project is one of my favourite patterns, I make it all the time for myself. It’s also one of my mums favourites, she adapts it to make long dresses, shapes the hem, she has even made it as a loose jacket by cutting the front top as an open shape and adding an extra facing. The pattern sleeves are long, but I will show you how they can be easily shortened. Its also lovely as a dress, I will show you how to lengthen the top too!

Here is a run through of the sewing process and also some ideas for adapting the pattern. The pattern can be purchased on Etsy and has a very detailed sew along and also some pattern adaptation ideas.

Click this link to find the pattern on Etsy

The pattern is designed so that the back smock piece is cut as 2 separate pieces with a seam down the center back, this saves fabric, however if you have wide enough fabric and want to take the extra time, then it worth cutting the back smock and the back facing on a fold line. If you choose to cut them on a fold line, then don’t forget to remove the 1 cm (3/8″) seam allowance from the center back of the pattern, or just overlap the 1 cm over the fold when you cut out.

 

The first step is to sew the center back seams (If you didn’t choose to cut them on a fold), both on the main smock, and the back smock facing.

You will also need to apply a light to medium weight fusible interfacing to the facing pieces (back and front), this will give them body and help them lie flatter inside the top.

When applying fusing to a fabric piece, remember its not like ironing, its more like pressing.

With sticky side down (that’s the shiny side) placed to the wrong side of the fabric, PRESS the iron and put a bit of your weight behind it, this will help the fusing process. Fusings are developed for a high heat setting and the resin needs to melt and stick. Don’t burn the fabric though, its always wise to do a test piece. Don’t use an ironing motion and don’t use steam and all will be well!

Now you have whole back pieces, and whole front pieces, so its time to join them all together.

Sew the shoulder seams and the side seams on the main top and do the same for the facing. Press the seams and neaten the edges using your normal method (zig zag or overlocker / serger)

 

The facing can now be applied to the neck line, Before you do this you need to neaten the edge of the facing at its hem edge. I love to apply bias binding to my facings, if you would like to have a go, see my blog post –

Making and applying your own bias binding!

Applying the facing to the neckline is the trickiest part of this process, its worth taking a little time to prepare the pattern pieces and it will help greatly if you mark the seam allowance with a fabric pen at the neckline.

It’s difficult to see where the point of the V is, so marking the seam allowance lets you stop at the V point, with your needle down in the fabric, and allows you to pivot the work, so that you can continue sewing.

Once you have sewn the facing to the main top at the neckline edge, the facing can be turned through. Before you do this you will need to clip in to the seam allowance and also the V to allow the seam allowance to open up. Cut to just within a couple of millimetres of the stitching. This will allow the facing to be pressed flat when turned through.

Now give the neckline a good press and move onto the sleeves.

I plan to make a detailed blog post on setting in a sleeve, there are a number of tips I want to share, so please keep a look out for this, its hard to picture clearly when photographing a garment!

Sew the sleeve underarm seam, I have shortened the sleeves for this top, as I want it as a summer top. I will show you how to do this later in the post, it’s not as simple as just drawing a straight line across if you want the sleeve to look straight on the body.

 

Here is a photo of one I made with long sleeves, just to give you an idea of the sleeve shape and how nicely it hangs.

OK, let’s sew the sleeves into the armholes. I start by pinning the underarm seams together (right sides together). I then travel around the armhole pinning and matching the notches. There is a little bit of ease in the sleeve head on this pattern. This means the sleeve head is larger than the armhole and needs to be eased in. This can be done by compressing the sleeve fabric as you sew. As this is such a loose fitting style then you can also make the extra into a few little pleats at the shoulder seam and this looks quite nice.

Now press and neaten the raw seam allowance edges together.

All that remains is to finish the hems, a machine stitched hem is fine for this style. Press the hems up by 1 cm and stitch into position. If you don’t have a way to neaten the raw edges, then the hems can be stitched as a double hem, but make sure you only take a small hem if you are doing this.

I love a pattern that I can use again and again, I love to make this style slightly longer as a loose summer dress. It’s also great as a cover up on the beach!

Above you can see the top has been made as a dress in a lovely soft cotton!

Some ideas for adapting the pattern!

A shorter sleeve.

Measure down from each underarm the quantity you require, for example 5 cm (2″).
Draw a line straight across and mark a point on the center of the line.

Drop this point by 1.5 cm (1/2″) and draw in a curved line as shown.

A straight line would look as though it went upwards when the sleeve is on the body.

Trace off the new sleeve, transferring the notches from the original pattern.

Making a longer smock or a dress.

Extend a line from the center back and the center front by the amount you wish to lengthen the top.

Measure down at right angles from various points along the hem line by the same amount.

Make the corners all 90 degrees for a couple of centimetres (3/4 inch).

Draw in the new, slightly curved hem line.

If you have any questions or comments, as always, please let me know.

Happy sewing and pattern cutting!

Nicola x

 

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Beginners Pattern Drafting Info, Pattern Cutting Techniques

Bodice Darts- How To Move Darts

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Princess Line Shaping On a Basic Bodice

It always amazes me that a designer can give a pattern cutter a sketch, for a fitted dress or top, in a woven fabric, and there are no darts at all illustrated on the sketch. It’s as though they imagine that a garment will fit the body in some magical way.

I realised along the way that nowadays most clothing is made in stretch or knit fabric, and this can eliminate the need for darts in some circumstances. This has resulted in many students not being aware of darts and their importance. But the fact remains that if you are designing garments in a woven fabric such as a cotton or denim, if you want the garment to fit the body, then there must be darts in some form or another. You don’t necessarily need to see them, but they must be there in some form.

This led me to create my darts booklet -which is available as a PDF instant download on Etsy. The booklet covers everything you need to know about darts!

In this post I am going to cover the method for creating a princess line shape on a basic bodice.

Step 1

The shaping above is a design choice, and can be adapted to your own design, as long as the princess line shaping goes through the bust point.

Close the  front shoulder dart to form the center front section, detach the side back panel too. You now have the sections you need.

If you don’t want a back shoulder blade dart in the center back panel, then please see my video

Removing the back shoulder blade dart for instructions on how to remove this correctly.

When you have finished your pattern you can then add seam allowance and test the pattern as a ‘toile’

Hope this helps and again if you have any questions I am always happy to answer – please subscribe to see more pattern cutting tutorials.

Nicola x

 

 

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General Info

The Story Of How Our Pattern Blocks Are Created.

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All my blocks are created either from scratch, or they are blocks that I have developed throughout my career, they are all tried and tested.

We use the most up to date size charts that we can and all our latest blocks have centimetres and inches with both UK and USA sizing and the EU equivalents too!

I revisit my tried and tested blocks constantly to review the sizing, ladies waists have become larger, so that’s a measurement we always keep our eye on.

We start with a set of basic measurements and a sheet of pattern paper, from there our years of practice allow us to draft the block in a size 12 or sometimes a size 14 to begin with.

 

Once I am satisfied with the draft, I then make a sample and fit this to my concept stand, made by Kennett & Lindsell. I bought this stand because of its measurements, they are almost identical to the latest data for size 14 (UK) measurements, within a couple of millimetres. It was only after I bought the stand from Saville Row in London that they told me it had only been used once to make a dress for Byonce. She obviously has a perfect figure, nice and shapely. The deficiencies of modern dress stands are a subject for another day!

I then fit and perfect the block on the dress stand and make any amendments necessary, this is commonly referred to as ‘toiling’ in the fashion industry.

We Have One Size – How do we then make the full range of sizes we supply –

 

Once we are satisfied with the ‘base size’ we can then ‘grade’ the block. Grading is the term used to create a range of sizes from a base size; in this case our base size is a size 12. (In the case of our outsize blocks our base size will be larger).

Pattern grading uses a set of mathematical formulas to grow a pattern piece by a specific amount and small movements in a positive of negative X or Y direction are made. This is how the various sizes of a pattern or design are developed. Every company has its own set of grade rules, and these are usually guarded closely as a trade secret because they take a lot of time and effort to develop. Once a company has an established set of grade rules, they tend to keep top secret. There are many variations of grading that exist in the industry. On your pattern block size guide you will see that I have indicated the total grading increment. This is the amount your block increases or decreases per size. For example there is usually a 5 cm difference between a size 12 and a size 14 bust. The same difference applies to the waist and hips. Some companies use a 4 cm difference.

Each small increase or decrease of the pattern is carried out in millimetres.

Hopefully this has given you an idea of the time, skill and effort that has gone into creating these blocks for you. If you have one of my blocks then hopefully I have saved you a great deal of time and stress!

If you have any question, comments or ideas please email me at onitnotinit@mail.com

Please see our shops page within the blog for places you can purchase our blocks, we have over 100 different blocks sets. Ranges include Ladies Blocks, Plus Sized Block, Baby, Child and Teen Blocks, and Menswear Blocks.

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Beginners Pattern Drafting Info

What Equipment Do I Need To Begin Pattern Cutting?

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There are 2 ways of answering this question, one is to list absolutely everything that you could possibly need to buy to begin your journey as a pattern cutter. The other way is to list the absolute essentials you could begin with now. When you first start a new hobby it can be motivational to buy all new equipment, but what happens if you don’t like it or you don’t want to spend too much all at once? Below I will give you both scenarios and you can take it from there!

The items highlighted are the ones I feel you could get away with if you want to give pattern making a try but don’t want to break the bank.

The Dream List

  • Good quality pattern cutting paper – spot and cross or plain tracing or both
  • Manila drafting paper – to draft basic block on- slightly heavier than the paper.
  • Some heavy card or plastic sheeting to make copies of your basic blocks
  • A set square to help make right angles and mark angles
  • A clear ruler to add seam allowance and measure small sections
  • A pattern master – a special ruler for marking seam allowance and drawing pattern lines
  • A flexi curve – to allow you to copy curves and transfer them to other pattern areas
  • French curves to help draw curves such as armholes and necklines
  • A good pair of paper scissors
  • A 3H pencil 
  • An eraser as you WILL make mistakes
  • Some colour pencils or marking pens to highlight special areas
  • A tape measure – not a fabric one
  • Sellotape or masking tape or both
  • Some dressmaking pins
  • A meter rule for marking long lines
  • A tracing wheel – there are many types – to trace patterns
  • A cutting board to place under your patterns when tracing
  • Push Pins to secure patterns to the cutting board
  • Pattern weights to hold patterns down
  • Letter template – to apply annotations to your patterns
  • A pattern notcher – to cut out a notch in your paper pattern
  • Pattern Drill or Awl – for making small drill holes to mark dart ends etc
  • Pattern Punch – to make holes in the pattern so they can be hung
  • Pattern Hooks – to hang your patterns from
  • A notebook for recording what you have done and any changes required
  • A dress stand – to apply your patterns to to see how they fit together
  • A set of basic blocks ( we supply these) if you don’t want to draft your own blocks to start with.
  • Quarter or half scale blocks to practice with, so you can save paper!

Subscribers can gain access to my free scaled blocks to use for practice – head over to the subscribers and enter the password you were sent when you subscribed!

Phew! I think that’s it. If you can think of anything else then please let me know. I must say that as a professional pattern cutter I use most of the above at some point in the pattern making process, but not all the time.

There are many fancy pattern masters and pattern cutting rulers out there. My favorite tool is a clear set square, but you can get away with a regular clear perspex ruler.

Join me on YouTube and follow my series on moving darts, it’s a great place to start!

www.youtube.com/modelistecreative

Happy Pattern Cutting!

Nicola x

 

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