Republic of the Philippines

Department of Education
Region VIII
Eastern Visayas

Learning Materials in Dressmaking

 GARMENTS DESIGN

Things/ways to consider in planning garment design.

1. Determine Customer Job Requirements. This refers to the specifications given by the customers as to how
her wardrobe would look.
2. Determine Garment Cost. The Cost of materials and supplies for the customer’s wardrobe including the
sewing service fee are estimated.
3. Measure Body Part. This involves taking of customer’s body measurements.
4. Draft Various Patterns. Pre-construction will be done through pattern drafting.
5. Prepare Materials and Machines. Gathering materials and setting up of sewing machines are done
according
to the job requirements.
6. Perform Sewing. This is the procedure in constructing the garment.
7. Perform Finishing Touches. It is the selection and application of appropriate finishes in the pre-constructed
garment where the first fitting is done.

What is Garment Design?

Garment design is the process of creating ideas for clothing and then translating those ideas into
making clothes items. If you're trying it for the first time, you might want to begin with a pattern, a set of
written instructions and paper templates. The pattern shows you which pieces you'll need, how to cut them, and
how to assemble them to make clothing.

Making clothes involves using a paper pattern

Patterns come in many sizes and designs. While patterns are customizable, be sure to read through any chosen
pattern carefully. It will tell you how much fabric you'll need and what kinds of fabric might work best.

Working with Patterns.

First, on a large, flat and uncluttered workspace, take the pattern pieces from the envelope and unfold
them, sorting out the ones you'll use. Review the pattern instructions to make sure you understand them.
Perhaps you want to change the pattern. This process is called pattern alteration. When you alter a pattern,
you revise the drawing you'll use to cut the fabric. To alter patterns, you can redraw seam lines or
darts. Darts are folds or tucks built into a garment to
give it shape.
 Alterations are often done as changes to the paper pattern before cutting fabric
Other alterations include making certain dimensions larger or smaller, for example shortening a skirt. If
you add alternations, make sure to mark the changes on all relevant seams, and mark equal amounts of change
for things like sleeves and cuffs. Make sure changes to multiple curved seams maintain identical curving lines.
You don't want one half a neckline curving more deeply than the other.
Fabric Preparation.
Now prepare your fabric by washing and prepping it. Flat, wrinkle-free fabric will allow more accuracy
when you cut the pattern.
The instructions will show various ways to lay out pattern pieces on the fabric. The instructions might
include multiple diagrams, because they're used for different sizes and related garment styles. To avoid
confusion, circle the diagram or guide for your project.

Selvage is the tightly woven edge of fabric, often with written information on it
 Fabric grain refers to the way the threads run in the fabric, often interlaced in vertical and horizontal
lines due to the weaving process. These threads are called warp and weft threads. The warp runs
vertically and the weft is perpen- dicular to it.
 Selvage is the self-finished edges of a fabric, and it runs parallel to the warp threads. It's tightly woven
to keep fabric from unraveling and difficult to sew through. Often, the selvage includes printed
information, so it's easy to identify. When laying out your pattern, stay away from the selvage.
 The bias is a 45-degree angle across the surface. You can determine it by folding a corner of fabric
across to the opposite edge. The resulting fold lies along the bias. Cuts along the bias are stretcher
because they don't follow warp or weft threads.
 Fabric Layout and Marking.
The next step is placing the pattern pieces on the fabric. Review the pattern to properly fold the fabric. Folds
might need to be made lengthwise, crosswise, or it might specify a combination of both. It will also tell you if
you need to cut the pattern on a single or double thickness. Fold the fabric as your layout shows, placing the
larger pattern pieces first.
Analyzing the effects of lines and various types of figures and personality
Lines help create the shape of the garment and the shape of the garment relates much to the shapes of
one figure. Garments are made up of different lines such as horizontal, vertical, diagonal and curved. The
waistline and hemline are line in a garment which affects much the appearance of the wearer. Improve
placement of these lines can make you taller, slimmer or shorter.
Various decorative lines can be used to hide figure defects. These lines are vertical, horizontal, diagonal or
curved. They emphasize the attractive parts of the body that enhances the attractiveness of the style of the dress.
 Vertical lines-these lines are used to make a short person appear taller and a plump person.
Horizontal lines- to make figure appear wider and shorter.
 Diagonal lines- these lines have the same effects as those of the horizontal and vertical lines, depending
on the kind of print of the material.
 Curved lines- these have soft, attractive and feminine effect. They are appropriate for individual who are
feminine and frail looking.

Self-check
DIRECTION: Read the following statement carefully. Write T if the statement is TRUE and F if the
statement is FALSE in your answer sheet.

______1. Garment design is the process of creating ideas for clothing and then translating those ideas
into making clothes items.
______2. A trip to a fabric store can reveal beautiful colors and textures.
______3. Selvage is the self-finished edges of a fabric, and it runs parallel to the warp threads.
______4. To alter patterns, you can redraw seam lines or darts. 
______5. Darts are folds or tucks built into a garment to give it shape.
  TAKE CLIENTS BODY MEASUREMENT

Parts of body to be measured can be taken in:

 Horizontal measurement - is taken from the left of the figure to the right.
 Vertical measurement - taken from the top of the body figure to it base.
 Circumferential measurement - is taken around the body.

Correct positioning in taking the body measurements

With the use of measuring tools
1. The person to be measured should stand erect; in a relaxed pose with feet 15 cm apart.
2. Measurements should be taken over foundation garments that fit the body well.
3. Avoid taking measurements over heavy garments like a coat or a sweater.
4. Before taking measurements tie a cord around the waist and armhole. This will help in locating the
natural waist and in measuring shoulder width, armscye depth etc. It also acts as a reference point for
other measurements.
5. Measurements will be more accurate if one person takes them on another.
6. Use a good quality tape that is sturdy and pliable. It should neither stretch nor be stiff.
7. Hold the tape parallel to the floor for horizontal measurements and perpendicular for vertical
measurements.
8. The metal end of the tape is used for vertical measurements while the other end is to be used for
horizontal measurements.
9. Take snug measurements, do not pull the tape either too tight or leave it too loose.

Procedure and sequence in taking body measurements

 FBL (Full Bodice Length) is take from the shoulder neck point passing the bust point to
waistline.
 FBL (Back) is taken from the shoulder neck point passing the shoulder blade to waistline.
 N (Neckline) is taken from the shoulder neck point to shoulder neck point.
 SW (Shoulder width) is taken from shoulder neck point t shoulder tip point.
 SL (Shoulder Length) is taken from the shoulder tip point to desired length of sleeve.
 LA (Lower Arm) is taken around the fullest part of the arm.
 B (Bust) is taken snugly around the fullest part of the bust.
 BPH (Bust Point Height) is taken from the shoulder neck point to bust point.
 BPD (Bust Point Distance) is taken from bust point to bust point.
 SH or Armhole is taken from shoulder tip point, follow arm eye line down to 1” below the armpit.
 C (Chest) is taken around the chest 4” below the neck point.
 W (Waistline) is taken around the smallest part of the waist.
 BL (Blouse Length) is taken from shoulder neck point passing the bust point to desired length of
a blouse.
 SKL (Skirt Length) is taken from the side waist point to desired length of skirt.
 HIP1 is taken around the fullest part of the hip 4” below the waistline.
 HIP 2 is taken around the fullest part of the hip 7” below the waistline.
 FL (Full Length) is taken from shoulder neck point passing the bust point to desired length of the
dress.

PROCEDURES IN TAKING BODY MEASUREMENT

 Self-check
TEST I Direction: Write T if the statement is true and F if otherwise.
______1 The person to be measured should stand erect; in a relaxed pose with feet 27 cm apart.
______2 Measurements should be taken over foundation garments that fit the body well.
______3 Measurements will be more accurate if one person takes them on another.
______4 Use a good quality tape that is sturdy and pliable. It should neither stretch nor be stiff.
______5 Take snug measurements, do pull the tape either too tight or leave it too loose.

TEST II Direction: Identify the given image. Write your answer in the space provided

1.______________ _2._____________

3._______________ 4._______________
  Selection of pattern tools
Measuring tools:
Measuring tools are the most essential things in making a pattern. The key to success in garment
construction lies in taking accurate measurements of the subject and by using the appropriate tool for pattern
making.
1. Measuring tape: It is indispensable for taking body measurements. It is 152 cm or 60″ long with
measurements on both sides. Its one end is made of metal having 3″ length and the other is made of the
same metal having 1/2″ length. The side with the 1/2″ length is used for measuring a circular area,
while the side with 3″ length is used for a vertical area.
2. CPG measuring tape: This is used for taking measurements for a coat. Three measurements, that is,
chest, shoulder and depth of side can be taken at a time. Apart from these, over shoulder and under
shoulder measurements can be recorded with this tape.
3. Leg measuring tape: It is a tape used for measuring the inner part of the leg. It is made of wood in the
shape of a crescent and a measuring tape is fixed at the centre of the circle. The circle is entrapped with
the leg to measure the inner portion of the leg by tape.
4. Measuring stand: This stand is used to measure long garments such as long overcoats, frocks or
gowns, as well as flare of the garment. In this stand, a rod of aluminum is fitted on the stand. The rod
has a graduated scale, which gives the vertical measurement.
5. Ruler: It is the best device for taking long straight measurements. It is mostly used for checking grain
lines and marking hems.

Drafting Devices:
Drafting equipment is used for making paper patterns. This is the second stage of pattern making.
Using the measurements taken, the drafting is carried out according to the design of a garment. The following
drafting equipment is used:
1. scale has one arm, which measures 12″ and the other arm is 24″. It is used for drL-scale: It is called a
tri-scale or L-scale and is made of wood or steel. The L- afting on brown paper to draw perpendicular
lines.
2. Leg shaper: It is made of wood or plastic. Either 24″ or 36″ lengths are available. It is used to measure
and shape the interior part of the leg.
3. Tailor’s art curve: It is made of plastic or wood. This is used to draw curves in the drafting
4. French curve: This is made of transparent plastic. It helps in marking shapes of the neck, depth of
sides and bottom of the garments.
5. Compass: It is mainly used for making a curve for umbrella cloth.
6. Drafting table: It is a wooden table of 3′ height, 4′ wide and 6′ long. The surface should be smooth
and firm.
7. Milton cloth: It is a thick, blue coloured woolen cloth used for drafting. It is mostly used for practicing
drafts by students. The surface can be brushed and reused until correct drafting is obtained.
8. Brush: A brush is used on Milton cloth to rub the mistakes while drafting.
9. Brown paper: It is used for drafting by placing on the drafting table. While using brown paper, a grain
line should be followed.
10. Pencil: Pencil is used for marking on brown paper.
11. Rubber: It is frequently used for deleting mistakes. Good quality rubber, which does not leave black
lines, should be selected.
12. Red and blue pencils: These are used for marking on fold (red line) and grain line (blue arrow).

Marking Devices:
Marking devices are used for transferring the details of the paper draft to the fabric.
1. Tailor’s chalk: It is made of china clay and is available in different colours. It is used for marking
the paper patterns on the cloth. Alterations and construction markings are drawn using tailors’
chalk.
2. Chalk in pencil form: This is used like a pencil and is ideal for marking thin accurate lines. This is
used for marking pleats, darts and buttonholes.
3. Tracing wheel: It is used for transferring the pattern markings on fabrics. But for sheer fabrics and
loosely woven fabrics, the tracing wheel should be used with care; otherwise, the fabric may get
damaged.
4. Dressmaker’s carbon paper: Carbon papers are mostly used for transferring patterns. In
embroidery, they are used for tracing designs. They are available in several colours including
white.
Cutting Devices:
Cutting devices/equipment should be selected and used with maximum accuracy. A slight change in
cut results in huge fitting problems. These tools must be selected and maintained properly in order to use them
effectively.
 Cutting table and cutting board: A cutting table is 6′ long, 4′ wide and 3′ height. People working in a
standing position use the table and people who work sitting use a cutting board. A cutting board should
be 6″ height.
 Shears: These are typically utilized for cutting thick materials and usually 10–15″ in length.
 Scissors: These are used for cutting ladies’ and children’s garments. They are 7–10″ in length.
 Paper cutting scissors: These are small scissors available in various sizes and meant for cutting paper.
 Pinking shears: This cuts the edges in a zigzag manner. It is used for finishing seams and raw edges.
It gives a decorative appeal to the raw edges while at the same time avoids unravelling of yarns.
 Trimming scissors: These are used for carrying out alterations, trimming
seams, repairs and cutting thread while sewing.
 Buttonhole scissors: These are used for making holes for buttons and eyelet holes in garments.

Sewing Devices:
Sewing can be carried out either manually or by a machine. For hand sewing, the following are required:
1. Needles: These needles come in denominations of a 0 to 12 numbers. Based on the thickness of cloth,
the needle number is used.
2. Crewel needle or darn needle: This is used for darning. The front side of the needle is bent.
3. Pins: Pins are used for fixing the pattern on the cloth. They come in different colours.
4. Pin cushion: It is used for keeping pins together.
5. Needle threader: This helps in threading the machine and hand needles.
6. Thimble: This is a cover that protects the finger while hand sewing. It is available in various sizes and
is made of plastic or steel.
7. Seam ripper: It has a sharp curved edge for opening and cutting seams. It can also be used for
slashing machine work buttonholes.

Finishing or Pressing Devices:

The following equipment are needed for pressing:
1. Iron: A good brand with after sale services should be chosen. A steam iron with a thermostat regulator
is preferred.
2. Ironing board: For ironing clothes, a table or ironing board can be used. An ironing board is 36″ long
and 12″ wide. Six inches are left on its right side to keep the iron box. The left side of the board is
angular and is suitable for ironing dart edges and sleeve darts while stitching. The table or ironing
board should have proper stuffed backing.
3. Sleeve board: It is in the shape of a sleeve. This board is 30″ long and 3/4″ thick.

Miscellaneous or General Tools

Often, a few more tools and equipment may be required other than the above-mentioned items, in making the
pattern and constructing the garment. These can be termed miscellaneous tools.
1. Sponge: While pressing, a sponge is used to wet the fabric pieces to smooth the surfaces.
2. Water container: A container with water, which will accommodate the sponge, should be selected.
While ironing, water is sprinkled to remove wrinkles.
3. Damp cloth: If a steam iron is not available, a damp cloth can be used. Any rectangular absorbable
cloth can be chosen for this purpose.
4. Hole maker: It is a sharp-edged instrument with a handle. This is used to make buttonholes.
5. Orange stick: This is a long tool with a pointed edge. This is inserted into the collars or seams to get
pointed edge
 Self-check

TRUE or FALSE.
DIRECTION: Write T if the statement is correct and F if the statement is not correct in your answer sheet.

1. These needles come in denominations of a 0 to 12 numbers. Based on the thickness of cloth, the
needle number is used
2. Iron board, it is in the shape of a sleeve. This board is 30″ long and 3/4″ thick.
3. Pinking shears is used for finishing seams and raw edges. It gives a decorative appeal to the raw edges
while at the same time avoids unravelling of yarns.
4. Measuring tools are the most essential things in making a pattern. The key to success in garment
construction lies in taking accurate measurements of the subject and by using the appropriate tool for
pattern making
5. Paper cutting scissors, these are used for carrying out alterations, trimming seams, repairs and cutting
thread while sewing.
6. Pin cushion is used for keeping pins together
7. Seam ripper has a sharp curved edge for opening and cutting seams. It can also be used for slashing
machine work buttonholes.
8. Needle threader helps in threading the machine and hand needles.
9. Thimble is a cover that protects the finger while hand sewing. It is available in various sizes and is
made of plastic or steel
10. Tailor’s chalk is made of china clay and is available in different colours. It is used for marking the
paper patterns on the cloth. Alterations and construction markings are drawn using tailors’ chalk.
 Procedures in Making Pattern
Front Blouse Sloper
Back Blouse Sloper
Procedure in Drafting Pattern for Set –in Sleeve
Procedure in Drafting Basic Skirt Pattern
  Dart Manipulation
Darts on the Bodice Front
The darts on your Bodice Block Front can be moved to anywhere around the edge of that block.
Example: Moving a dart in the Bodice Block
Figure 1 shows Bodice Block on the left, and a pattern on the right where the side seam dart from the
block has been moved into the shoulder.

Note that in Figure 1, only the side seam dart was moved, and the waist dart stayed the same.  If the
design called for it, I could have moved both darts into the shoulder.  I could have moved the side seam dart into
the shoulder but the waist dart into the centre front.   They are just some of the many options available for
moving darts in the Bodice Front.    There is a great deal of flexibility with the Bodice Front; you can move
either or both of the darts to anywhere around the edge of the block.

Moving Darts in the Bodice: Many Options

Figure 2 below gives an example of where you could move the side seam dart around the edges of the
block.  In this case, I have only moved the value of the side seam dart, so the waist dart would be the same in
each case.  Of course the actual pivoting has not been done; this is just to show some examples of WHERE the
dart can be moved to, and it shows what the dart value would be at the edge of the block.

Dart Values:
Before we move on to how darts can be moved in a skirt, it will pay to understand how dart values
change when you move darts.  Understanding this first in the Bodice Block will help in understanding why the
options of moving darts in the skirt are more limited.
In Image 3 below, we have the same image as at the top of the page; the basic Bodice Block that has a
waist and a side seam dart, and a pattern where the side seam dart has been moved to the shoulder seam.  The
Dart Values of the side seam dart and the shoulder dart are indicated.  The dart value is the width of the dart;
and you can see that the shoulder dart is bigger; it has a greater value that the side seam dart.
 The dart value is the width of the dart; and you can see that the shoulder dart is bigger; it has a greater
value that the side seam dart.
This is because the dart is moved from a central pivot point, the Bust Point, and the Bust Point is the
center of a circle. The radius of the circle is from the Bust Point to furthest edge of the block; in this case, the

Shoulder Tip.  See Image 4 below:

Take this circle and cut out a wedge where the side seam dart is; see Image 5:

In Figure 6, you have just move the circle, with the wedge cut out, around to the shoulder.   You will see
that the value of the wedge is the same, but the shoulder dart is bigger because the shoulder line is further out
towards the edge of the circle.
 In Figure 7, move the same circle (with the same wedge cut out) around to the armhole and the Centre
Front in line with the Dart Point.   You can see that the further in the circle, the smaller the dart value. 

In Figure 8, that circle is moved around to various places on the block.  The black lines indicate the dart
value for the different placements of the dart.

Darts in the Skirt:

Now with the Bodice Front above, we closed a dart to open up a dart in another place.  There are a few
different reasons for doing this on the Bodice; moving a dart for the sole purpose of having the dart in a
different place on the garment as that creates a different style, moving the dart in preparation for a design line
(e.g. a Armhole Princess Line or a Shoulder Princess Line, etc), or moving the dart to create a style that will
have a dart equivalent (tucks, gathers, pleats, etc). 
This is not the same with the skirt.  In Image 9, the same circle is created with a slice cut out to show
you the consequence of moving a dart in the skirt.
The pivot point for the skirt is the same as the Dart Point.  You can see that if we closed one of the darts
in the skirt waist, how much would open up on the skirt hem. 

In this case, it would not make sense to move the waist dart into the hem JUST to use that wedge as a
dart; this would be a waste of fabric. (Note: Of course you could choose to 'cut out' the fabric and have a seam
line instead, but in that case you do not need to manipulate the dart. See Figure 10 below to understand the
difference.) The reason you would close this waist dart and open up the value in the hem is to create an A-line
skirt.  If you closed both darts, the skirt would be contoured in the waist, without having waist darts, but of
course it would have an even wider hem width.
 So, to summarize: moving the dart into the hem only works if you want an A-line skirt.
** In Figure 10: Compare removing dart by creating a seam line and incorporating that dart into the

seam line, and using dart manipulating to move the dart to the hemline.

Moving the dart elsewhere in the skirt:

Manipulate the dart to move it from the waist to the skirt. However with the Bodice Front we could
move it all the way around the Bodice Front, not just from one side to the other. Can we do this with the skirt?
In Figure 11 below, let's look at what we get.
 Self –Check

I. True or False.

DIRECTION: Read each statements thoroughly, and write true if the statement is correct, and write
false if it is wrong. Write your answers on the answer’s sheet provided for.

1. Manipulate the dart to move it from the waist to the skirt.

2. Moving the dart into the hem only works if you want an A-line skirt.
3. Moving, or manipulating the darts, if done correctly, will not change the final shape and
fit of the garment.
4. The radius of the circle is from the waist point to furthest edge of the block.
5. The black lines indicate the dart value for the same placements of the dart.
6. The reason you would close this waist dart and open up the value in the hem is to create
an A-line skirt. 
7. If you closed both darts, the skirt would be contoured in the waist, without having waist
darts.
8. The pivot point for the skirt is the same as the Dart Point. 
9. Manipulating the darts in the skirt is the same as that of dart bodice.
10. The shoulder dart is bigger because the shoulder line is further out towards the edge of
the circle.
Manipulating Basic/Block Pattern
In manipulating basic pattern, it is always based on the previous pattern such as
making blouse from bodice and skirt.
Steps in Manipulating Pattern
1. Determine the design needed in sleeping garments.
2. Prepare the basic patterns for the:
a. Blouse
b. Sleeve
c. Pockets
d. Pants
3. Determine parts, needs, subdivisions and extensions calls by the design.
4. Pin and trace basic pattern in a pattern paper.
5. Transfer points needed in design manipulation
a. Blouse
b. Sleeve
c. Pockets
d. Pants
6. Work on the design based on the project plan.
7. Provide seam and hem allowances.
8. Transfer seam and hem lines and other symbols needed.

Cutting the Final Pattern

Final patterns consists all the necessary symbols, number of pieces per part and garment design that will
guide the fabric cutter and the sewer. Final pattern is cut at the allowance provided for seams and design.

Blouse
 Principles in Laying Out the Fabric
General Guidelines to Laying Out a Pattern
Laying out your pattern on the fabric in preparation for cutting is an important step. It must be done
carefully and accurately for great-looking results.

Pattern preliminaries
Be sure you have all the necessary pattern pieces. Most instruction sheets, list pieces by letter or number
next to the layout diagrams.

1. Make changes or fitting alterations to the pattern. If you significantly alter a garment's length, you may need
extra yardage to make sure you have a workable layout. Press the pattern pieces with a dry iron set to a low-
temperature so that they're easier to work with.
Preshrink your fabric if necessary and make sure the grain is straight. Do this by
a. tearing across the grain at the ends of your fabric piece (if it's firmly woven),
b. pulling a thread across the width of the fabric at the ends,
c. cutting along a dominant line in the pattern or weave,
d. fold lengthwise, matching selvages, to see whether the ends now match, and
e. If they don't and the fabric needs to be straightened, gently pull on the fabric's length from opposite
corners.

Laying out pattern pieces

When positioning pattern pieces with straight arrows, keep the arrows parallel to the selvage so that the fabric
will be straighten when cut. Pieces with a straight line and bent arrows should be cut double on the fabric. For a
fabric with a nap, the lay out must run in the same direction and so a pattern piece can be reversed, placed
printed side down, and cut on a single layer.
Pinning a Pattern to Fabric
Before pinning the pattern pieces to fabric, fold the fabric in half lengthwise with right side together,
unless the cutting layout shows otherwise. Each pattern piece has a straight grain line arrow or a bent arrow for
an edge placed on the fold. Straight grain line arrow must be parallel to the selvage or fold. Pin the pieces to the
fabric.

Check the distance from each grain line arrow end to the selvage has the same measurement. Check also if the
fold edge of the pattern pieces aligns with the fabric fold, otherwise the piece will be smaller or larger than the
correct size. Pin each of the arrow ends to the fabric, and pin around the pattern pieces.
1. The fabric is laid out and folded according to the pattern directions.
2. The selvage is lined up along the corner and along the table’s edge (or T-square).
3. If not square, trim the CUT side (not selvage) until both sides are square and lines are up to the table’s
edge.
4. Two sides of most tables could be used in a pinch.

a. Line up one end of the ruler on a set of straight parallel lines outside the fabric.
b. Find the grain line on the pattern. In exhibit B the ruler’s edge is lined up on the
pattern grain line.
c. Adjust pattern if necessary. When both ends line up, pin in place starting with a
pin in the grain line.

NOTE: Always minimize pin holes if possible.

Line up the grain line on the pattern and the grain line on the fabric, parallel to
the selvage.
Guidelines in Cutting Fabric
Here are some of the important reminders when cutting the final pattern.
1. Practice using the shears on a piece of cloth to have a smooth cutting line.
2. Cut along the pattern so that the other hand rests on the pattern.
3. Start cutting at an edge within your reach.
4. Do not let the blades of the shears slant toward the table.
5. Do not lift the fabric.
6. When you reach a notch, cut directly towards it. Close the points at the exact stopping place.
7. Close the points of the shears to an exact stopping point only.
8. When cutting curves, your strokes will be shorter. Keep your free hand close to the cutting line to help you
cut smooth curved line.

Ways on How to Cut Fabric

1) Pins + Dressmaking Scissors
Cut the pattern pieces out with paper scissors – either exactly on (or just within) the lines, or
leaving some extra paper around the lines. Pin the pattern pieces to the fabric – use enough pins
to hold the pattern in place, but not so many that the pinning distorts the pattern or fabric. Now
cut the fabric with dressmaking scissors. If you’ve cut the pattern pieces out roughly, cut directly
on the lines through both pattern and fabric. This can dull your fabric scissors though; but on the
other hand, it can be more accurate than cutting around a pre-cut pattern.

2) Pattern Weights + Chalk/Pen + Dressmaking Scissors/Rotary Cutter

Cut the pattern pieces out with paper scissors precisely on (or just within) the lines.
Instead of pinning the pattern pieces in place, this time use weights to hold them in place. The
idea is that weights keep the pattern and fabric flatter than the pinning method. You don't have to
buy specialist pattern weights - you can use whatever you have around the house, such as food
tins. Draw around the pieces with a sharp chalk pencil or washable pen. Remove the pattern and
use dressmaking scissors or a rotary cutter to cut the fabric just within the pattern lines you've
just drawn.
 3) Pattern Weights + Dressmaker's Carbon + Tracing Wheel + Dressmaking Scissors
Hold the pattern pieces down on the fabric with weights. Slip a piece of dressmaker's carbon
between the pattern and fabric, face down against the fabric. Trace over the pattern lines using a
tracing wheel moving the dressmaker's carbon as needed. Remove the pattern. Cut out the fabric
directly on the traced lines using dressmaking scissors.

In marking the cutting lines of the pattern, don't forget to mark in the other bits and
bobs such as darts, buttonholes and gather points.

Transferring Pattern Marking and Symbols on the Fabric

Transferring pattern markings to the cloth must be done accurately so that the finished garment will look
peculiar. You are now familiar with the tools used in transferring pattern markings. Now, remember these
pointers for accurate markings on your fabric.

Pointers to remember:
* The pattern details should be marked on the wrong side of garment pieces.
* The tracing paper and tracing wheel will make following markings easy.
* Avoid marks that can be seen outside.
* Mark once along one line with the tracing wheel.
* Protect the table with cardboard.
Parts of Sewing machine

Upper Body Part

Lower Body Part