1. FLATPATTERN MAKING
BY
SAIMA HABIB
SARWAT HALIMA
SADIA AMEEN

2. PATTERN MAKING
 Pattern making is an
art. It is the art of
manipulating and
shaping a flat piece of
fabric to conform to
one or more curves of
the human figure .
 Pattern making is a
bridge function
between design and
production.

3. PATTERN MAKING
 A sketch can be turned
into a garment via a
pattern which interprets
the design in the form
of the garment
components (Cooklin).
 Now a day’s
sophisticated software
programs are used
for pattern making.

4. BASICS OF PATTERN MAKING
 A pattern is flat while the
body is not. The body has
height, width and depth.
 Darts are the basis of all
pattern making. They
convert the flat piece of
cloth into a three
dimensional form, which
fits the bulges of the
body.
 A patternmaker typically
makes a pattern from a
flat sketch with
measurements or a two
dimensional fashion
illustration.

5. BASICS OF PATTERN MAKING
 The basic pattern is the
very foundation upon
which pattern making,
fit and design are
based.
 The basic pattern is the
starting point for flat
pattern designing.
 It is a simple pattern
that fits the body with
just enough ease for
movement and comfort
(Shoben and Ward).

6. HISTORY OF PATTERN MAKING
 Prior to the Industrial Revolution the art of
patternmaking was highly revered.
 Tailors meticulously worked with their client's
personal measurements to customize patterns
 Clothing made by tailors was elaborate and
relegated only to the very rich.

7. HISTORY OF PATTERN MAKING
 With the onset of the Industrial
Revolution, standardized patterns were essential to
the success of ready-to-wear clothing.
 Initial attempts to create standardized patterns
resulted in poorly fitting garments with little detail.
 After lengthy experimentation and standardized
sizing, patternmaking made a triumphant
transformation from customization to
standardization.

8. HISTORY OF PATTERN MAKING
 Computers have been used by apparel companies
since the early 1980's.
 Pattern Design Systems (PDS) have become
invaluable tools to the patternmaker, assisting in
much of the repetitive tasks associated with
patternmaking.
 PDS systems are capable of storing an incredible
amount of data that can be quickly
retrieved, tweaked and re-filed.

9. HISTORY OF PATTERN MAKING
 Using a mouse or stylus, patternmakers are able to
swiftly add style details and make changes.
 There are many benefits to PDS - speed, accuracy
and ease of data transmission being some of the
most obvious.
 In today's competitive environment, software
companies are zeroing in on the growing demands
of the apparel manufacturer.

10. HISTORY OF PATTERN MAKING
 Current research focuses
on generating patterns
that produce better fitting
garments and 3D
visualization tools to help
fine tune style.
 With on
going technological
advances and diligent
research, patternmaking
software companies
continue to successfully
address the needs of
their customers.

11. METHODS OF PATTERN MAKING
 Pattern making involves three methods-
1. Drafting
2. Draping
3. Flat pattern making

12. FLAT PATTERN MAKING
 The right fit is key to gaining consumer confidence
and loyalty.
 Once a brand’s target fit has been defined, it must
be wielded intelligently to maintain a competitive
advantage.
 Flat pattern making, when done correctly, provides
the code to this integral part of a brand’s DNA and
helps ensure competitiveness in a challenging
market place.

13. FLAT PATTERN MAKING
 A sloper is a pattern
that has no seam
allowances or style
lines.
 From a sloper a myriad
of garment styles can
be generated.
 The patternmaker
creates a new style by
adding design details
such as a collar, pocket
and pleats.

14. DESIGNING APPAREL THROUGH THE FLAT
PATTERN
 The rapid output of new flat
pattern designs, facilitated
by slopers, is a useful skill
for any fashion designer.
 Flat pattern can be use as a
means of developing
original ideas effectively and
efficiently.
 Flat pattern is use of the
three basic slopers
 waist,
 sleeve and skirt
 and some popular variations
of these such as the kimono
waist, raglan sleeves and
pants.

15. THE FLAT PATTERN METHOD
 The flat pattern method uses twelve basic pattern
slopers that are manipulated by the patternmaker to
achieve a desired style or design.

16. FLAT PATTERN MAKING
 It involves the development of a fitted basic pattern
with comfort ease to fit a person or body form.
 A sloper is the starting point for flat pattern
designing.
 It is a simple pattern that fits the body with just
enough ease for movement and comfort
(Pattern Cutting & Making Up Vol. 1
Shoben and Ward).

17. FLAT PATTERN MAKING
 Five basic pattern pieces are used for womens
clothing. They include
1. a snug-fitting bodice front
2. bodice back with darts
3. a basic neckline,
4. a sleeve
5. a fitted skirt front and back with darts.
However, as fashion changes frequently women's
styles fluctuate frequently.
 These basic slopers are then manipulated to create
fashions.

18. PATTERN MAKING PROCESS
 "Patternmaking" is the process of creating all the
correctly sized pieces needed to make a complete
garment.
 For many smaller manufacturers, pattern making is
still done on paper because the cost of
computerized systems remains prohibitive.
 The patternmaker may use one of the following
techniques to develop a sample pattern.
1. They may "manipulate" a new pattern by using
geometric rules to modify or alter existing pattern
pieces.

19. PATTERN MAKING PROCESS
2 They may translate a
design that has been
"draped" and pinned on a
dress form by converting
the shapes of the draped
garment sections
into paper pattern pieces.
3 They may pin pieces of
muslin to a garment being
copied and rub tailor's
chalk over the seams and
darts, making a "muslin
rub." The chalk markings
are then used to create a
flat paper pattern.

20. PATTERN MAKING PROCESS
 From this initial pattern, a sample garment is
developed.
 The sample process allows a designer to correct
any problems inherent in translating a one-
dimensional sketch into a two-dimensional garment;
it ensures that the designer's fabric yardage
specifications are accurate; and it provides an
opportunity to spot potential production problems
inherent in a design.

21. PATTERN MAKING PROCESS
 Once the sample is made, the manufacturer makes
a small batch of duplicates for its sales force to test
market. If they sell well, the garment goes into
larger volume production.
 Although many firms still make patterns by hand,
larger manufacturers make production patterns on
a computer using CAD software.

22. PATTERN MAKING PROCESS
 Other systems have been developed that allow
patternmakers to create patterns manually by using
a life-sized, sensitized table and a stylus attached
to a computer. As the patternmaker indicates points
with the stylus, the pattern pieces are automatically
entered into the CAD system where they can
immediately be accessed for grading and marking.

23. BASIC TOOLS FOR APPAREL
PATTERNMAKING
 Having the right tools for making a pattern is a
super important place to start. Luckily, most tools
are not expensive and are easy to get.
 Here’s the quick list.
1) Large scale paper
2) Clear Gridded Ruler
3) Flexible Design Rule
4) Hip/Arm Curve (Styling Design Ruler)
5) Pencil and a good Eraser
6) Large pins
7) Cork panels
8) Flexible Measuring Tape
9) Basic sewing book

24. 1. LARGE SCALE PAPER
 Such as butcher paper
(18″ wide on long rolls),
banner paper (18″ wide
roll and often sold with
school/office supplies),
patterning paper (36″-
48″ wide, sold by
stores that sell
patterning tools or
cater to high end
sewing and tailoring).

25. 2. CLEAR GRIDDED RULER

These rulers are pretty easy
to find at most craft stores.
 The most common size
seems to be 18″x2″ which is
a great size to start
with. This style of ruler
comes in many sizes and
shapes. The variety comes
in handy and the more you
pattern (and figure out who
you are as a designer) you
will want to grow your
collection by buying rulers to
fulfill certain needs and
uses. The 12″x1″ ruler is
extremely useful when
adding seam allowances to
small pieces or sharp curves.

26. 3. FLEXIBLE DESIGN RULE (FLEXIBLE
RULER)
 This rule can be curved
into specific shapes and
you use this to measure
curved lines. They are
often placed with quilting
notions in fabric stores
and, like gridded rulers,
can also be found with
graphic design tools. For
most versatile use, make
sure you get one that has
a built in ruler.

27. 4. HIP/ARM CURVE
 These are becoming
easier to find in sewing
stores. This tool is
designed to give you
the best smooth,
consistent hip and arm
curves with little
effort. You
don’t need this tool but
it make patterning
easier!

28. 5. PENCIL AND A GOOD ERASER
 We want to use pencil
when patterning so lines
can be erased and re-
drawn.
 Mechanical pencils are a
better option because of
their incredibly consistent
line width.
 A good eraser is an
imperative also. We will
want a good eraser to
cleanly remove old lines
leaving no marks behind
that could confuse us
later on.

29. 6. LARGE PINS
 Large pins come in
handy when patterning
(especially when use with
cork panels).
 They are used to secure
overlapped layers of
paper when we check to
make sure our lines flow
well as well as to transfer
marks from one layer of
paper to another.
 They are great when we
move or add fullness
(darts, flares, etc).

30. 7. CORK PANELS
 Most large stores that
sell office/school
supplies sell cork
panels.
 They are meant to be
used as bulletin boards
without frames but it
can be use as great
work surface when we
need to rotate our
pattern pieces to move
darts or add fullness.

31. 8. FLEXIBLE MEASURING TAPE
 When making patterns
whether they are custom
fit or you are working with
a generic block/sloper –
we will need to measure
to determine the proper
sizing, proper
proportions, or ideal
placement of certain
aspects and details.
 Keeping a flexible
measuring tape handy
will be an asset.

32. 9. PATTERNING BOOK (NOT PICTURED)
 There are several very
good books for creating
our own sewing
patterns available in
market.
 There are a few
different ways to
approach patterning
and we’ll have to figure
out which techniques
are best for our body
type and working style.

33. PATTERN MAKING IN TODAY’S WORLD
 Pattern making today
has become an easy job
with the use of the
computers.
 Now-a-days different soft
wares are available in the
market to meet the needs
of the manufacturers.
 The different soft wares
used are Gerber, Lectra,
Tukatech , OptiTex etc.
 These softwares has
made the job of the
Pattern master easier.

34. PATTERN MAKING IN TODAY’S WORLD
 They have made the
process of pattern
making more economical
and less time consuming.
 Pattern-making soft
wares enables you to
input your measurements
and draft out a pattern.
These soft wares draft
patterns to fit your
measurements
specifically, eliminating
much fitting trial and error
in the sewing room.

35. PATTERN MAKING IN TODAY’S WORLD
 A pattern can be made from
a 3D form in just a few steps
by using these soft wares.
An individual's
measurements are collected
from 3D body scanner. The
measurements are used to
create a virtual 3D model of
the individual's body.
 The 3D to 2D software
allows the user to define a
garment surface in relation
to the 3D body model. Once
the garment surface is
defined, the application
automatically unwraps and
outputs a 2D flat pattern in
.dxf format.

36. CONCLUSION
 Although pattern making is becoming increasingly
computerized, patternmakers still must learn the
manual method because making patterns manually
develops an advanced understanding of garment
construction, knowledge that cannot yet be
replaced by a computer.

37. READY-TO-WEAR
 The flat patternmaking
method is widely used
in the ready-to-wear
market because it is
fast and accurate

38. REFERENCES
 Aldrich, Winifred. 1997, Metric Pattern Cutting.
Blackwell Science Ltd U.K.
 Armstrong H.J, 2000, Pattern Making for Fashion
Design, Harper & row publishers, New York
 Cooklin, G.1994, Pattern Cutting for Womens
Outerwear
 Hudson, P.B, 1980, The role of fit and Fashion on
Apparel Quality, Bobbin.
 Shoben, M.M and J.P. Ward, 1999, Pattern cutting
and Making up, CBS Publishers, New Delhi
 Helen Stanley, 1991, Flat pattern cutting &
modeling for fashion, U.K

39. ?

40. Now Saima Habib will continuo