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Digital Pattern Cutting For Fashion With Lectra Modaris From 2d Pattern Modification To 3d Prototyping 9781350065123 9781350065147 9781350065130 Compress
Digital Pattern Cutting For Fashion With Lectra Modaris From 2d Pattern Modification To 3d Prototyping 9781350065123 9781350065147 9781350065130 Compress
CUTTING FOR
FASHION WITH
®
LECTRA MODARIS
i
ii
DIGITAL PATTERN
CUTTING FOR
FASHION WITH
®
LECTRA MODARIS
From 2D Pattern Modification
to 3D Prototyping
PATRICIA GRICE
iii
BLOOMSBURY VISUAL ARTS
Bloomsbury Publishing Plc
50 Bedford Square, London, WC 1B 3DP, UK
1385 Broadway, New York, NY 10018, USA
BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of
Bloomsbury Publishing Plc
Patricia Grice has asserted her right under the Copyright, Designs and Patents Act, 1988,
to be identified as Author of this work.
For legal purposes the Acknowledgements on p. xi constitute an extension of this copyright page.
Bloomsbury Publishing Plc does not have any control over, or responsibility for, any
third-party websites referred to or in this book. All internet addresses given in this
book were correct at the time of going to press. The author and publisher regret
any inconvenience caused if addresses have changed or sites have ceased to exist,
but can accept no responsibility for any such changes.
A catalogue record for this book is available from the British Library.
A catalog record for this book is available from the Library of Congress.
ISBN : PB : 978-1-3500-6512-3
ePDF : 978-1-3500-6513-0
eBook: 978-1-3501-0507-2
To find out more about our authors and books visit www.bloomsbury.com
and sign up for our newsletters.
iv
A special dedication to Phil Grice for a lifetime of encouragement,
and to Sam, Ben, Victoria and Kurt for cheering me on.
v
Contents
Acknowledgements xi 3 Getting Started 20
About This Book xii
Learning Objectives 20
A Bit About Lectra xiii
Points and Lines and their Modification 22
What Is Digital Pattern Cutting? xiv
Types of Points – F1 22
Introduction To Modaris Classic And 3D xv
Adding Points 22
How To Use This Book xvii
Print 23
Information For Blocks And Patterns xviii
Modifying Points 23
Changing a Point Type 24
1 How It Works 1 Further F3 Functions 24
Learning Objectives 1 Exercise 3 - Adding and Modifying
Help 2 Points 25
Mouse 3 Adding and Modifying Lines 26
Screen Layout 3 Exercise 4 - Adding and Modifying Lines 31
Keyboard 4 Sheet Menu 32
Function Tools 5 Piece Modification 33
Saving 6 Mirror a Piece 33
Access Paths 6 To Split the Pattern 35
Navigation/Opening a Model 7 To Join Pieces Together 35
Screen Layout with Pattern 7 Adding Fullness 36
Exercise 1 - Navigation 8 Extracting a Shape 37
Learning Outcomes 9 Geometric Shapes 40
To Create a Rounded Edge 40
Circles 40
2 What Is Digitizing? 10
To Extract an Internal Shape 42
Learning Objectives 10 Exercise 5 - Piece Modification 44
The Digitizing Board and Mouse 11 Assembly/Checking Pieces 45
Digitizing Functions 12 Exercise 6 - Checking Assembly 48
Pattern Preparation 12 Orientation 48
Curve Point Positioning 14 Learning Outcomes 49
Digitizing Preparation 14
Digitizing Process 16
Digitizing Tips 17
4 Moving On – Industrialization 50
vi
Grain Lines 51 Define Points Facing Each Other 85
Seam Allowance 51 Slip On Points 85
Corners 52 Layers 87
Step in Seam 54 Exercise 10 - Stitch a T-Shirt in Desk of
Naming Pieces 54 Stitches 88
Exercise 7 - Industrialization of the Learning Outcomes 90
T-Shirt 55
Adding Text 56 6 3D Virtual Prototype 91
What is a Variant? 57
Learning Objectives 91
To Create a Variant 58
The 3D Environment 92
Exercise 8 - Create a Variant for a
Preparing for Simulation 95
T-Shirt 61
Mannequins 95
Measuring 62
Customizing a Mannequin 96
To Measure a Line 62
Hair 98
To Create a Measurement Chart 63
Posture 98
To Customize a Chart Layout 64
Simulation in the 3D Environment 99
To Calculate Measurements 65
Moving around the Screen 100
Size Representation in a Chart 66
Assembly/Simulation in the 3D
Exercise 9 - Create a Measurement
Environment 101
Chart for a T-Shirt 66
Assembly/Assemble + 101
Sizes 67
Pre-Positioning 102
Size Ranges 68
Curvature 106
To Change Size Ranges 68
Simulation 107
Learning Outcomes 69
Relaxation 108
Pull Fabric 108
5 Introduction And Preparation Fall 109
For 3D 71 Mesh 109
Learning Objectives 71 Checking Assembly 112
A Focus on 3D 72 Lock 112
The Principles of 3D Virtual Mechanical Properties 112
Prototyping 72 Fabrics 113
Pattern Preparation for 3D 73 To Change Fabric in 3D View 114
3D Substitute Piece 74 To Create Ribbing Effect 115
Lines to Set as 3D 75 Adding Elastic 116
Variant for 3D 77 Stiffening 116
Assembly/Desk of Stitches 78 To Add Own Print to Garment 117
Create Piece to Stitch 78 To Edit Print on Mannequin 117
Desk of Stitches 80 To Change Plain Colours on
To Stitch Seams 81 Mannequin 118
Seam Types 84 Saving and Opening from 3D 118
xi
About This Book
The importance of CAD for Fashion cannot notes, diagrams and images, tips and advice
be ignored. For the Fashion student, a good are included together with a Quick Reference
knowledge of a digital system is essential and chapter. This book can be used both as a step
highly desirable in the job market. by step guide for the beginner or a reference
manual for the more advanced student wishing
Digital Pattern Cutting for Fashion with Lectra to explore 3D innovation further.
Modaris® has been designed and developed as A set of basic Ladies Blocks are available to
a user-friendly guide providing easy to follow download so the reader is equipped to begin
instructions on: getting started, realistic the pattern exercises and follow the instruc-
exercises, creative workshops and exciting 3D tion from 2D Pattern making to assembly and
realization using Modaris Classic and 3D – simulation in 3D.
Lectra’s leading software solution for pattern For the more accomplished Modaris user,
cutting. who would like to concentrate more on 3D
For the beginner, manual pattern cutting virtual Prototyping, completed patterns for
exercises are re-created on screen, e.g. How the advanced workshops are also available –
to move a dart, How to add a facing, etc. For ready to prepare and assemble in the 3D
the more advanced student, 3D Prototyping environment.
opens up exciting challenges, not only as a Digital pattern making software continues
tool to aid Fit and Alteration, but as an integ- to grow and dominate technical roles in the
ral part of the progression from pattern to Fashion industry. The addition of 3D tech-
toile. By viewing the garment in the Virtual nology innovation makes this an exciting time
environment, the student can make design, for students, offering the opportunity to
colour, print and fabric decisions prior to toile support creative and original pattern cutting.
making. Digital Pattern Cutting for Fashion with Lectra
This easy to follow handbook leads the Modaris® provides the first creative and prac-
reader through the journey from 2D pattern tical guide to include workshops for 3D Virtual
modification to a 3D virtual Prototype. Clear Prototyping.
xii
A Bit About Lectra
The French company Lectra, a world leader are readily encouraged, reinforcing support
in software solutions for Fashion, has always for tomorrow’s professionals.
been committed to the training of future
To increase interaction between the
professionals in design and product develop-
industry and the world of education,
ment. More than 850 schools and universities
Lectra has created an international
in 60 countries benefit from its expertise.
community around fashion: Lectra
Universities can become Education part-
Fashion Network. Companies, schools
ners with Lectra, creating access to the latest
and new talent can meet up and exchange
technology developments, as well as access to
their views on a platform especially
their Fashion Network, offering worldwide
designed for them. By publicizing inter-
communication opportunities.
national contests and events supported
Their specialist Pattern Cutting software –
by Lectra, it showcases the creativity of
Modaris Classic – helps the student learn how
new generations and increases their
to combine know-how and technology in order
visibility with industry players.
to have control over process and give fresh
impetus to their creativity. Quote from Lectra website
Contacts with industry through competi-
tions, seminars and internship programmes
xiii
What Is Digital Pattern
Cutting?
Fashion is fast paced and in order to keep up Most manual Pattern Cutting processes,
with the demands of industry, Pattern Cutting with practice, can be performed digitally with
needs to embrace technology. This said, a the screen, keyboard and mouse.
good Pattern Cutter will combine manual After Pattern manipulation is mastered on
methods with technology to achieve the best screen, we can enter the exciting world of 3D
outcome for the task in hand. Virtual Prototyping – an increasingly important
The application of technology in Pattern addition to digital Pattern Cutting worldwide.
Cutting means that a Pattern can be produced Digital Pattern Cutting is perceived as a
on screen with the aid of specialist Pattern way of performing procedures more quickly,
Cutting software. for example, increasing accuracy, time to
It is, however, important to think of the market and reducing costs are just some of the
computer as a tool. In order to use any Pattern benefits. Now, students are experimenting
Cutting system effectively, the user of this more and realizing that this technology can
technology would still have to be proficient in support creative and original Pattern making,
manual Pattern Cutting. The same rules and drape experimentations can be reproduced on
principals apply as in flat Pattern Cutting. The screen leading to innovative outcomes.
process is the same – the method of perform- As a Modaris student it is an exciting time
ing it is different. to explore and discover new possibilities.
xiv
Introduction To Modaris
Classic And 3D
Lectra’s Modaris Classic, first launched in A Note About Modaris Expert
1984, provides a comprehensive range of It is important to point out that there is an
pattern modification tools designed to meet Industry specific version of Modaris called
the demands of industry. Expert. While most of the procedures are
The addition of the 3D technology innova- exactly the same in Expert, some (for speed
tion makes this an exciting time for students. and efficiency in industry) are not applicable
Modaris Pattern Cutting software is for the Classic version, and therefore are not
Lectra’s leading solution; in fact 80 per cent included in this book. However, for all new
of Lectra’s partners are Modaris users. Modaris users, whether using the Classic
Modaris Classic and 3D is used for all or Expert version, the foundation is taught
stages of Pattern development from initial first.
Digitization to 3D Virtual Prototyping. The
screen, keyboard and mouse all work together Lectra offer the following packages:
in the creation and modification of the Pattern
Pieces, while function tools provide access to Modaris Classic – The Foundation
the software commands. software package and includes all the
The 2D Pattern can then be ‘stitched’ required functions to create Blocks,
together on screen and opened in the 3D Production Patterns and graded Patterns
environment ready for assembly and simula- for industry, comprehensive and to
tion on a Virtual Mannequin. industry standards.
The instructions in this book are for Modaris Classic and 3D – The
Modaris Classic and 3D: V8; however, most Foundation software package as above,
of the functions are applicable for earlier but this package offers Lectra’s 3D
versions – V6R1/V7R2/V7R5. Visualization and Prototyping tools,
I have covered what I consider to be the which are designed to conform fit and
most important foundations to enable the design prior to producing samples.
student to gain a good understanding for
the tasks covered in this book. Modaris Expert – The Foundation soft-
All the Patterns and instruction included ware package and 3D as above, but this
here are for Women’s wear, but Men’s wear package also offers additional tools which
and Children’s wear can also be fully explored include dependencies that connect indi-
using Modaris Classic. vidual pattern pieces. This allows you to
xv
adjust existing Patterns where all the have been added to improve and enhance effi-
pieces change together, allowing you to ciency, but have not replaced the original
proceed without starting a new pattern. formula.
Lectra believe in continual Research and
Development. Upgrades to Modaris Classic
xvii
Information For Blocks
And Patterns
www.bloomsbury.com/grice-digital-pattern
xviii
▲
SKIRT_BLOCK – A close-fit knee length Skirt you just want to practise 3D preparation and
Block virtual Prototyping skills, the finished Patterns
Base size: 12 for each style are provided.
Fabric suitability: Woven – could include Again the Patterns are all NET – no seam
stretch (elastane) allowance – and exclude Variant/Lines Set as
Applicable for: 3D/3D Substitute Piece/Desk of Stitches.
Chapter 7: Workshop 4 These processes need to be applied in order
Chapter 9: Workshop 7 to proceed to 3D. Instructions for this are
TROUSER_BLOCK – An average-fit, straight- provided for all Workshops, but remember,
leg Trouser Block to help refresh skills, go back and look at
Base size: 12 the relevant notes in previous chapters –
Fabric suitability: Woven Chapters 5, 6 and 8.
Applicable for: JEAN – A close-fitting Basic Jean style
Chapter 7: Workshop 4 Base size: 12
Chapter 9: Workshop 7 Fabric suitability: Woven – MUST include
JEAN_BLOCK – An extra-slim-fit Jean Block stretch (elastane)
Base size 12 Applicable for:
Fabric suitability: Woven – MUST include Chapter 9: Workshop 6
stretch (elastane) SKIRT_PLEAT – A knee-length Skirt with
Applicable for: Pleats at waist
Chapter 9: Workshop 6 Base size: 12
SHIRT_BLOCK – A loose, relaxed-fit Shirt Block Fabric suitability: Woven
Base size: M Applicable for:
Fabric suitability: Woven Chapter 9: Workshop 7
Applicable for: TROUSER_PLEAT – A loose-fit Trouser with
Chapter 9 Advanced Workshops – Work- Pleats at waist
shop 8 Base size: 12
Fabric suitability: Woven
Applicable for:
PATTERNS Chapter 9: Workshop 7
For Chapter 9 Advanced Workshops, I have
supplied completed Patterns for each style. SHIRT – A Basic relaxed-fit Shirt with yoke
I would always recommend making the and long sleeves
Pattern from the sketch and then proceeding Base size: M
to 3D, this is a good way to refresh know- Fabric suitability: Woven
ledge and learn new tips along the way. Applicable for:
Instructions are provided for starting from Chapter 9: Workshop 8
scratch with the relevant Blocks. However, if
LEARNING OBJECTIVES
● Getting to know Modaris Classic
figure 1.2
Setting the Access Paths detailed below, NOTE: The Access Path table will look
slightly different if you are working in Icon
or view (mentioned earlier – under Config).
File/Save as – familiar to all software. Symbols replace words (Save as and
Open).
File is the first box on the top Dropdown
Menu. You can save the Model with
another name or into another location/
If you are working for some time without
library, etc.
manually saving your work – Modaris will auto-
Another alternative is to Save under matically apply the save and if there is a system
Source – Open File and File/Save as – tick crash, on re –opening the model, will ask if you
Exercise 1
Navigation
Double click on the Modaris icon to open the Open a Model – File/Open Model –
screen. browse for a file Open (ready to download
Identify the Dropdown Menus (Figure 1.2) for practice use TSHIRT_BLOCK)
and Function Menus (Figure 1.3). File/Save as – name new model
Using the instructions provided, practise (EXERCISE 1).
the following tasks:
▲
figure 1.6
LEARNING OUTCOMES
In this chapter you will have learnt: • to be able to open and save a
Model;
• to become familiar with, and practise
• to start to become familiar with and
using, the mouse, screen and keyboard
identify the Function Tools.
effectively;
• to start to become familiar with (although As part of the first exercise, you will be able
you will need to refer back to this section to bring up a selection of pieces from a
as you progress) the keyboard shortcuts; Pattern and refer to this process in future
• to be able to navigate and identify menus practice as required.
on the screen;
LEARNING OBJECTIVES
● How to prepare and Digitize a Pattern into the system
10
figure 2.1
PATTERN PREPARATION
figure 2.2 Before you can digitize your Pattern pieces
into the system there are a number of steps to
take and rules to follow.
communicated to the computer (therefore the
more accuracy in placement the better). ● If your Pattern is symmetrical – it is only
Digitizing is always done in a Clockwise necessary to digitize Half of the piece
direction (see Figure 2.3).
● It is most important that the Grain line
is marked on each Pattern Piece (mark
DIGITIZING FUNCTIONS this in the centre of each piece).
The system works by defining Points on the
● Ensure that details such as
pattern; these are discussed further in Notches/Internal lines/Drill holes are
Chapter 3. In order to digitize, we need to marked on your Pattern pieces.
identify certain Points, in particular:
● Ensure your Pieces are flat and uncreased
(press if necessary).
● TYPE 2 POINT – start/end of line/ ● Always have an Uneven number of curve
corner – □ points – fewer points give better curves.
● TYPE 1 POINT – intermediate point ● Every Piece should have a minimum of 2
–X Type 2 points (corners).
● CURVE POINT – where a line needs to
Always begin by marking the Points on your
curve – X
pattern in pencil following Figure 2.3.
Functions assigned to the keys on the mouse The second diagram – pattern with an
are as follows: Internal dart.
figure 2.5
The size range selected will appear down the this should turn into a constant light, indicat-
left-hand side of the Model icon sheet and all ing that digitizing can proceed. It is often the
subsequent sheets created (they will only show case, especially if the mouse has been inactive
when the Title Block is activated from the for a while, that the light continues to flash. To
Display Menu) (Figure 2.6). rectify this – turn away from the board and
press on any button on the mouse. If the light
● Each Piece you digitize will be placed on
continues to flash check the batteries.
an individual Sheet.
To create a New Sheet for the first piece,
Take the following steps to digitize each piece
select Sheet/New Sheet from the top
you have taped to the board:
Menu bar. Press Home to re-size.
A new Sheet will be created automatically ● Digitize the first Piece into the system
for the remaining pieces as you digitize. starting with Grain line. Place the
● Select F1/Digit from the Functions Menu mouse with the cross hair X on the Start
right-hand side – look for the prompt on of the line, Click on the A button, then
screen 2 points for horizontal axis, this place the X on the other end of the line.
confirms the function has been activated. Click on the A button (click on the line
(Make sure cursor is on sheet.) from Left to Right).
Now you are ready to digitize. ● Next continue with a corner point –
Type 2. You can start at any corner but
must proceed in a Clockwise direction.
DIGITIZING PROCESS Continue around the first piece on the
At the top right-hand corner of the board, next contour line, pressing the appropriate
to the on/off button is a flashing light. When commands on the mouse button – usually
the digitizing mouse is placed flat on the board 2 – corner C – curve 6 – notch.
figure 2.8
LEARNING OBJECTIVES
● How to Create and Modify a Pattern
20
figure 3.3
In order to get used to the Functions and right at the beginning so that your model will
how to use them it’s a good idea to practise be saved into the correct folder (Chapter 1).
the modifications. The Digitized T-shirt block
completed in Chapter 2 can be used for this Bring up the Front Pattern Piece (Home) and,
exercise – alternatively use the T-shirt block following the above instructions, complete
provided for download TSHIRT_BLOCK the tasks below:
(Figure 3.5).
Add a Slider Point to a line
Add a Type 1 Point to CF line 6 cm from
Open the Model
neck Point.
Either – double click on the Modaris icon on
Reshape the neckline – add and delete
desktop to open the Modaris screen – from
Curve Points.
the Dropdown Menu – File/Open Model –
Practise Aligning 2 Points (straighten the
browse for file select Model – Open.
hemline)
Or – Go to the Start Menu – choose Location
Change a Type 2 Point to a Type 1 Point
in whichyou saved your folder.
and vice versa
Double click on Model (Figure 3.5) to open.
Rotate the CF axis
FILE/SAVE (Figure 3.6).
File/Save As – name the exercise (Exercise 3)
It is good practice to set ACCESS PATHS
figure 3.5
▲
figure 3.6
Left click to finish. TIP: If you have entered values in the box
and you are not getting the required result
Left Click and Hold Shift – for a Right
– check the Rules above have been
Angle to the existing line.
applied correctly.
Left click to finish (Figure 3.7).
Ctrl +Straight
figure 3.7
figure 3.9
figure 3.10
figure 3.8
Use the above information on X and Y axis as measurement is required – enter Value in
a reference when applying the following line box – but note whether a minus (−) number
modifications. is displayed in the Distance box
(Figure 3.10) and apply accordingly.
F1/Parallel To add a Parallel Line
(Figure 3.11). Enter.
Click on the line to be parallel to and drag The new Line created may alter in order to
mouse in direction required. If an exact remain Parallel – so if you need the new line
F1/PARALLEL
figure 3.11
to be exactly the same as original use The Length of a Line can be adjusted by
F1/Duplicate instead. using either F3/Reshape (no need to pin) –
click on the Point and move either by entering
F1/Duplicate Duplicates the Line exactly measurements in the activated box or a left
(Figure 3.11). This is useful if you want to click.
Copy a line you have created and place or –
somewhere else on the same Pattern Piece Pin and Move Described below. The
or a different piece. Pattern Piece needs to be pinned down –
usually end points, but characteristic Points
Click on Line to copy and move across to
may also be required.
new position (click X or Y on Keyboard
Activate the Print button – Status Bar
to flip line if necessary).
(bottom left) in order to see the difference in
F3/Adjust 2 Lines When Lines are not the adjustment.
meeting in the correct place – usually after F3/Pin Pin Points or Ends or both as
using F1/Parallel – use this function to required.
‘tidy up’ the Lines. In this example – moving a shoulder line
(Figure 3.13) the Curve Points will need to
Click on the New line and then the Line to
be pinned (activate Curve Points).
go to (Figure 3.12).
Zoom in to see clearly, either scroll middle
mouse button or Enter and Drag a box around
TIP: Click the Line – Not the Point. area.
F3/Move Click on the end Point of the
Any further adjustments can be done Line to move and drag in the required direc-
with F3/Reshape. tion. Leave the mouse and enter a value in the
F3/Len.Str.Lin Simply lengthens the Line dl column using the Up or Down arrows on
– click and drag the line as required. the keyboard (Figure 3.13).
figure 3.13
figure 3.14
figure 3.15
Exercise 4
Adding and modifying lines
Open the TSHIRT_BLOCK Draw a Parallel line – 3 cms from the neck
File/Save As – name the exercise line and Adjust the line
(Exercise 4) Increase the shoulder line by 1.5cm (from
Add the following modifications – (Figure armhole edge) (Activate Print to see
3.16): change in line)
Divide the CF line into 5 eqal divisions
Bring up the Front piece – Home.
Draw a shape with Straight and Curved
Draw a Straight line at Right angles to
lines on pattern piece. (Semi – Circular or
CF – 10cms long.
Bezier)
Draw a line at a 45° angle
FILE/SAVE
figure 3.16
F3/Remove Pin .
figure 3.20
the half piece – hold down Shift before Folded Corner of Sym 2Pts Command Field
clicking. and make sure
To create a Dependence between the two Mirror Piece is ticked ✓ (Figure 3.20).
sides of the Pattern (in other words – if you
modify one side the other side will do the The Dotted white line left on the half piece
same) – before performing the task – go to the indicates the piece has been mirrored.
TO JOIN PIECES
TO SPLIT THE PATTERN TOGETHER
F5/Cut 2 Pts To reverse the above and split
F5/Join Click on one end (Point) of the
the Pattern
first piece to join and then the other end
Left click on one end of the line and then (Point) and then the same for the other
on the other end – two new sheets will be piece.
created and the original piece still remains A new sheet is generated with the complete
(Figure 3.21). Piece (Figure 3.23).
figure 3.21
figure 3.22
figure 3.26
figure 3.27
figure 3.30
TO EXTRACT AN
INTERNAL SHAPE
In this example (Figure 3.33) another rect-
angle and circle are drawn inside the first one.
The inside shapes can also be extracted.
Draw the shapes as required (Figure 3.33).
F4/Internal Cut .
figure 3.31
Left click on a Corner Point to start.
Half circle skirt – Create circle using Go around the piece in a Clockwise direc-
above values. Use only Half of the circle – the tion and Left click on all points (Line turns
Pattern would be Cut 1 (Figure 3.31). yellow).
To create a Quarter circle skirt (Figure 3.32)
with the same waist measurement – the Radius Right click on Starting Point to finish –
is 43.28 (68 ÷ 6.28 x 4). shape is extracted.
figure 3.32
figure 3.33
Exercise 5
Piece modification
Shorten the length of the Front and Back Front and Back Pieces split into 2 sections
Pieces by 8 cm. (each) 4 cm = 8 cm total fullness in each Piece
Add 8cms Fullness into the Front and Back (Figure 3.34).
Pattern FILE/SAVE
Mirror F5/Sym 2 Pts Front/Back/Sleeve All 3 Pieces mirrored. (Use this exercise for
Patterns on horizontal axis (Figure35). subsequent ones, Figure 3.35.)
▲
figure 3.35
figure 3.36
figure 3.37
figure 3.38
figure 3.39
figure 3.40
LEARNING OBJECTIVES
● Industrialization – How to apply Notches/Grain Lines/
Seam Allowance
50
Down Arrow key to enter seam allowance F4/Del. Line Seam Val Left click on
value in box. seam Line to delete, or Right click and
drag a box around the whole Piece to
Enter value Beginning, e.g. 1 cm. select All the lines at once. Click on one
Down Arrow again. of the lines – Seam Allowance will be
deleted from all Lines.
Enter value End, e.g. 1 cm (Figure 4.1).
figure 4.2
figure 4.3
Click position for New Point – (enter the Edit/Edit from Dropdown Menu – click
value in box). in the Name field and type in name of
Piece (e.g. Front).
Enter – Click on Line.
Click in Comment field and type in how
F4/Add Corner Click on Developed
many to cut (e.g. cut one Pair).
Point (the Point designating the step).
ACD field – is an abbreviated code (e.g. Slv
F4/Piece Seam Click on the part of the
for sleeve, Frt for front).
seam Line to have the Larger value.
File/Save (Figure 4.5).
Down Arrow – enter the Larger seam
value in box (1.5 cm) (Figure 4.4). Upper or Lower case can be used for text.
figure 4.4
Exercise 7
Industrialization of the T-shirt
figure 4.6
TO CREATE A VARIANT
F8/Variant Type in a Name for Variant
in the box (this can be the same name as the
Model – a good idea as easier to identify)
(Figure 4.10).
Remember: No spaces.
figure 4.9
Enter.
The Yellow Variant box appears – but just
A Variant contains all the data – necessary off screen.
details of the Pattern and information for
assembly – associated fabric details – whether Press J or 8 to re-size.
a Piece is required to be cut as a Single or
Paired Piece.
This is a very important information tool
– some processes will not work if the informa-
tion in the Variant does not correspond to
the Pattern. figure 4.10
figure 4.13
Exercise 8
Create a Variant for a T-Shirt
figure 4.14
If you want to record your measurement F8/Chart Manager The Chart opens –
(discussed below) and add to a chart: right click on Mchart – Rename – name
chart.
F8/Length Measure Folded corner and
tick boxes (Figure 4.17). Enter.
Now when the line is measured you will be Double click to open Chart.
asked for Measure Name (Figure 4.18). F8/Length Measure Folded corner in
If you are just doing a check and do not Function – Tick ✓ Add to Measurement
need to go into the chart at this time – press Chart – Tick ✓ Name Result Measure.
Esc.
To Delete a measurement from the Measure Lines as usual as above – box opens.
Pattern – F3/Deletion – click on the meas- Measure Name – type in name (or press
urement Line. Tab on key board and select the appro-
priate name from list).
Enter.
TO CREATE A All measurements will be displayed in chart
MEASUREMENT CHART (Figure 4.19).
A table of measurements associated with the If you don’t want to name a measurement
Model can be created. The chart will be Saved or if wrong line selected, etc. – press Esc.
with the Model and the measurements will To Delete a measurement from Chart –
depend on the Lines they are attached to. This Right Click on the appropriate Row in Chart
means that when you modify a line on your and choose Delet.
figure 4.20
Example:
The result appears in the chart in a line It is possible to have a Chart with just the
containing the symbol: Base size M or size 12.
Exercise 9
Create a Measurement Chart for a T-Shirt
figure 4.24
figure 4.25
(This opens the Size Folder.) Check through all Sheets to make sure they
are the same – for any that have not changed:
Select the New Size Range.
F7/Rep.EVT Click on Model ID sheet
Open.
on top of the Sizes – then click on any
Ctrl + A to select all the sheets. Unchanged sheets on top of the sizes.
figure 4.26
LEARNING OUTCOMES
In this chapter you will have learnt: • to be able to Change Corner and apply
different values for a Stepped Seam After
• to become familiar with the
applying Seam Allowance;
Industrialization process and apply as
• to be able to add all relevant information
required – adding Notches/Grain Lines/
to Pattern Pieces.
Seam Allowances;
CHAPTER 5
And Preparation
For 3D
LEARNING OBJECTIVES
● An understanding of the Principles involved in 3D Virtual
Prototyping
● How to prepare a Pattern for 3D – 3D Substitute Piece/
Lines Set as 3D
● Another reminder about the Variant for 3D
71
figure 5.1
F4/Internal Cut Hold Alt – Left click on F1/Straight Draw a line dividing the Piece
each Point and Right click the last point in half.
(Figure 5.1).
As above – 3D Substitute Piece (Figure 5.2).
To view the Pattern Piece without the Only click inside the Piece required.
Substitute Piece – Un Tick in Display Only a Single Piece for a collar is neces-
menu. sary, double thicknesses cannot be simulated.
If a Piece needs to be mirrored – do this
To Delete a Substitute Piece – press
First prior to 3D Substitute Piece.
Delete on keyboard and Click inside the
Remember to Select all Internal Lines/
Piece.
Points required (Right click to select –
Facings Hold Ctrl for multi selection) before using
The turned back part of the Facing is not F5/Sym 2 Pts .
required for 3D purposes. The Piece will be
stitched together on the CF line.
TIP: If there is only an outline left after
Dropdown Menu – Display/Tick 3D
extraction – this means there is an issue
Substitute Piece
with the extraction. Go back and do 3D
F4/Seam or F4/Cut Hold down Alt – Substitute Piece again. Sometimes –
Left then Right click inside of piece to triangles or crossed lines – curve prolong-
copy – excluding the facing part. (Figure 5.2) ation – means the system cannot read the
Only the Piece without the Facing will be piece.
stitched.
figure 5.3
unchanged fold from the sub menu – you It is necessary to check the 3D column as
must choose the Direction of the fold. The follows:
Lines indicating the positions for each fold
If the 3D column is set to 1 – the piece
need to be drawn on the Pattern as above and
Will be sent to 3D
then the appropriate command selected –
either wrong side wrong side fold or right If the 3D column is set to 0 – the piece
side right side fold. Will Not be sent to 3D.
The selection depends on which side of If there is a mistake with fabric assignment or
the fabric Folds together. (This process is any error in the Variant information (as in
explained in more detail in Chapter 9: the diagram below) – the piece turns RED
Workshop 7. Pleats in Skirts and Trousers) (Figure 5.5).
Make sure the Pieces are facing the right
To Undo 3D Line setting way – ie side seams together – if not use the
∼F1/Unset 3D Attribute Click on Line(s) symmetry function in the Variant to turn the
to delete 3D setting. Pieces before the assembly stage, or change
Orientation in 2D pattern view.
ASSEMBLY/DESK OF
STITCHES
In preparation for 3D Simulation, the Pattern
Pieces need to be ‘Stitched’ together. This
process is done in Desk of Stitches found in
the ∼F1 menu (Figure 5.6).
The Pattern Pieces are added into Phases
– similar to Sheets in 2D.
It is possible to Name the Phase (useful if
you have several) – Title Blocks are associ-
ated with them (same as in the 2D pattern)
Display/Title Block.
figure 5.7
DESK OF STITCHES
The Pieces to Stitch appear in the assembly
Phase in no particular order (Figure 5.9).
They need to be rearranged to facilitate
assembly (Figure 5.10).
TO STITCH SEAMS
To stitch seams together:
Line is selected press Space Bar to change. If Proceed and join all seams together.
the Pattern ‘flashes’ and all seam Lines turn
Practice and Patience is required here.
white it will stitch around the whole Pattern
– so you need to start again. To stitch two seams together and then join to
another – e.g. Front and Back armhole stitched
to the Sleeve – as diagram
TIP: If you are stitching part of a seam or Back armhole Left click start Left click
from a Point that is close to another Point finish then LEFT click Front armhole Right
– it can sometimes be difficult to select click finish – Left click Right click sleeve head
the correct Line. (Figure 5.13).
Click on the Point to start and Hold
down the mouse button while tapping the
space bar until the correct Line is selec- TIP: Spend time here checking all Lines
ted. Release mouse button and proceed. are correct before proceeding. If you are
not sure or you know you have joined the
Left Click
Left Click
Left Click
Right Click
Right Click
Left Click
figure 5.13
figure 5.14
figure 5.16
EACH OTHER
After Stitching is complete it is a good idea to
relate notch information – especially for sleeve SLIP ON POINTS
to armhole – but can be added anywhere that (See note below – Choices – Different
requires notch matching. Methods OF Assembly)
F1/Slider Click on the Line of the Pattern Orange squares appear on the selected
Piece and click again to add Slider. Points (Figure 5.19).
If you amend the Pattern in 2D view – it stages (e.g. you can just sew side seams – then
will automatically change in the Variant. If another Phase for collar, etc.).
you add or reduce Pattern Pieces – make sure If Garment fails to Simulate (Chapter 6)
you update Variant and Desk of Stitches with Slip on Point Error – check Slip on
(if you forget – further along Error messages Points are in correct position first – but it
will arise when trying to simulate garment – it may be the sewing – so check all seams are
will say ‘problem in layer 0’ (this means correct.
Variant). Or ‘Piece not Sewn’. If there are no errors, but Garment is
If Error messages come up always check twisted on Mannequin – it is usually a Sewing
Variant and Desk of Stitches. Error – go back to Desk of Stitches and
Take time in Desk of Stitches – make as check all seams are correctly stitched.
many Phases as you feel comfortable with – It may be advisable to delete stitching and
for complicated styles break down into easy stat again.
Exercise 10
Stitch a T-Shirt in Desk of Stitches
figure 5.21
FILE/SAVE.
CHAPTER 6
Prototype
LEARNING OBJECTIVES
● To understand and become familiar with the 3D
Environment
91
figure 6.4
The Top Menu Bar contains ‘Windows’ By Clicking on the Auto Hide (Pin)
which hold analytical information relating to (Figure 6.6), the window will be docked down
the simulation found under the View menu the Left-hand side of the screen. Click again
(Figure 6.5). to display.
These windows are managed independ- Go back to the View menu at the top to
ently and are ‘dockable’ at the sides of the select or re-select the required window
working window. They can be added or (Figure 6.5).
removed as required. The most commonly used windows are:
Click on the View menu – then on the
Command Bar
Name of the window to be added to the view.
Properties Bar
Manipulation Bar.
figure 6.5
figure 6.8
CUSTOMIZING A
MANNEQUIN
The Mannequin icon is the first tab in the
Working Toolbar – Click here to access
all functions dedicated to Mannequin
management.
To select a Mannequin – Click on the
Mannequin tab on the Working Toolbar.
If you have a Saved Mannequin it is
possible to use the Browser (Yellow Folder)
and open a folder.
In the first instance we will work with Julia
C:\Program\Parametrics.
Click on Julia and drag and drop onto the
3D window (Figure 6.9).
Once the Mannequin is displayed – click
on the Measurements sub menu – (bottom of
Mannequin menu) (Figure 6.9).
The Measurements menu allows access to
the various customization associated with the
Mannequin.
In the Measurements menu (Figure 6.10)
click on the arrows at the side of each para-
metrer (if customizing Bust/Waist/Hip – the
Torso parameter is the only necessary adjust-
ment) – insert measurements into the boxes
(Figure 6.11).
Enter – alternatively – drag the cursor
along the Scale at the side. figure 6.9
figure 6.11
figure 6.13
HAIR
The Mannequin can be displayed with or
without Hair.
This can be useful in collar or hood
construction. You can choose.
To change the view –
Assembly/Simulation – Collision
Management.
Tick or Un Tick Show Hair (Figure 6.13).
POSTURE
Each Mannequin is available in several differ-
ent postures.
Click on the Posture sub menu (Bottom
right of Mannequin Bar).
There are several different poses to choose
figure 6.12 from.
SIMULATION IN THE 3D
ENVIRONMENT
To open the 3D window in 2D View –
when Desk of Stitches is complete –
minimize and go to ~F1/Check 3D Fitting
(Figure 6.15).
figure 6.17
Assembly/Simulation.
Layer Management.
Mount Next Layer (Figure 6.21).
Slip on Points must only be placed in
Layer 1.
PRE-POSITIONING
As discussed above, an alternative for assembly
figure 6.18 is to Pre-Position each piece onto the
Mannequin.
figure 6.21
figure 6.24
figure 6.27
CURVATURE
Pieces now need to be Curved to go around
the body.
Select a piece first (Select tool).
Curvature icon is activated – (Figure 6.31).
Enter an amount in Parameters % box
(usually 20–80). A smaller value for body
figure 6.29 pieces is likely to produce the best results
(30) and higher for sleeves (80) – but insert
different values until the required effect is
achieved.
It is very important that pieces are curved
to go under the arm, otherwise the garment
will not simulate correctly.
Pieces can be curved in different directions
– (dropdown menu) usually on the Grainline
but pieces can be changed to Crossline or
Bias (Figure 6.31).
figure 6.32
(using the Manipulation tools) until a satis- will unfold without having to modify – but for
factory effect is achieved. some styles it will be necessary to Adjust the
Practise here. Remember you can use garment on the mannequin.
Ctrl +Z to Undo. The Pull Fabric tool lets you ‘Pull’ parts of
The same outcome should be achievable the garment if it is not sitting in the correct
using either method experimentation is key. position.
Waistcoat Simulation (Figure 6.33).
Once the Assembly process has been
successful, there are several adjustments and PULL FABRIC
effects that can be applied. Pull Fabric (Figure 6.34) lends a helping hand
The following instructions apply for any to enable the garment to fall into the correct
further modifications and do not depend on position.
the method used for assembly and simulation. Click and Hold down the mouse button
while moving the part of the garment to be
adjusted.
RELAXATION Use Ctrl to pull a complete Line. Move a
The Simulation tools are activated. complete piece by holding Shift + Ctrl at the
The garment is in ‘Relaxation’ Mode when same time.
the Simulation button is activated, and this is Use Shift to pull progressively by area –
the time to adjust the position of the garment Red points display to show progress – then
on the body if required. Usually the garment use Shift + Tab to decrease pull zone.
figure 6.36
figure 6.40
figure 6.38
figure 6.41
Mechanical Properties.
figure 6.43
TO CHANGE FABRIC IN
3D VIEW
If you decide to change the type of fabric after
Simulation (instead of previously entering a
different number in the Variant column in
Pattern View) it is possible to apply this in the
3D View.
It may be that you need to change some
of the pieces to have a rib effect (as in
example below) or you may wish to change
some pieces to have a different colour or to
add a Print.
figure 6.44
figure 6.45
TO CREATE RIBBING
EFFECT
A good example of changing the fabric type is
to change the cuff to a Rib.
figure 6.46
Change the Cuff pattern pieces to Fabric
Type 2 (Selected).
Select Pattern Piece(s) (in 2D Panel View)
with Select Arrow from General Toolbar Click on Ribbing icon (Figure 6.47).
– To multi select Hold Ctrl.
Tick – Create Ribbing Effect.
(Selection turns Pink).
Stretching Effect set with scale (advisable
Mechanical Properties. to go to the end of the +).
Change Fabric Type (Figure 6.46). OK.
Opens Fabric Type box – from the drop- Simulate.
down menu change number in box to 2.
Click on Select arrow again and on back-
OK/Simulate. ground to deselect.
figure 6.47
OK/Simulate.
figure 6.50
figure 6.52
Visual Effects box opens (Figure 6.54). Select Pantone Book or Colour Chooser
Select new colours. (Figure 6.55). Discussed further in Chapter 8.
figure 6.55
Exercise 11
Assemble and Simulate a T-Shirt
figure 6.56
LEARNING OUTCOMES
In this chapter you will have learnt: • to understand the importance of
Mesh, Re-Meshing and be able to
• to understand and navigate around the
apply modifications to the
3D Environment;
Mannequin;
• to be able to open, select and customize a
• to be able to apply a Mechanical
Mannequin;
Property to tour garment;
• to be able to Assemble and Simulate a
• to be able to Change and add
garment using the different methods
Visual Effects – Ribbing/Elastic/
available;
Fabrics.
• to be able to apply modifications to the
assembled garment in order to achieve a Exercise 11 – Will enable you to practise
realistic outcome – Fall/Pull Fabric/ the different methods of Assembly and
Lock Pieces; Simulation for your own T-shirt, and
• to check assembly and activate Lines and apply some Visual Effects, and save as
Panels; .mtg File.
Workshop 1 – TSHIRT_BLOCK
Workshop 2 – WAIST_BLOCK
Workshop 3 – HIP_BLOCK
Workshop 4 – SKIRT_BLOCK/
TROUSER_BLOCK
figure 7.2
figure 7.3
Workshop 1
A Basic T-Shirt
We have looked at a basic T-shirt block from – but also refer back to previous procedures
the beginning – through digitizing the basic throughout.
shape and then Pattern Modification. Here
we will look at the process from Pattern Long Sleeve Loose Fit T-shirt with Rib
construction to Prototyping. The following Neckband and Cuff (Figure 7.4).
workshops include step by step instruction
figure 7.4
▲
BLACK
SLEEVE
FRONT
figure 7.5
F8/Move Marriages .
2D PATTERN Check Pieces match (Side seams/Shoulder)
Straighten CF/CB/Centre Sleeve. and if necessary use F3/ReShape to move
Points. Zoom in for accuracy.
F2/Rotation 2 pts Straighten up hori-
zontal axis lines. Click on CF (CB/Sleeve) F8/Divorce When seams match. Left click
(Type 2 corner points from left to right) on pieces to separate.
ONLY CLICK ON AXIS LINE.
(Sometimes it is necessary to flip or rotate
SAVE. pattern so that seam lines are in the right
direction – do this prior to using the Marry
Straighten Hem command – F2/X Sym .)
F1/Ali 2 points Click on hem Points to
align (the first point you click on stays still T-Shirt Sleeve
the next point moves in alignment) click on We are working with half the sleeve (as both
corner points. sides of sleeve are the same).
figure 7.6
figure 7.8
F4/Seam (as Seam allowance has been Name your Pattern Pieces (Chapter 4:
added) Naming Pieces).
Hold Shift – Left and Right click inside the FILE/SAVE.
Piece – the Piece is replaced and Points can
now be merged. Check Pieces Fit Together/Grain lines/
Seam Allowance.
Add a Notch at Sleeve Head
figure 7.9
figure 7.11
ASSEMBLY – DESK OF
STITCHES (CHAPTER 5)
∼F1/Create Piece to Stitch
Pieces can all be stitched in one Phase –
Single Pieces to Stitch – or – if preferred
– Add another Phase for the Neck Rib and
Cuffs.
Click on Front/Back (Single pieces).
Hold Ctrl – click on Sleeve (Paired pieces)
(Figure 7.13).
Stitch pieces together – if you find it easier –
Neck Rib and Cuff can be stitched in a
separate Phase (Figure 7.14).
Desk of Stitches with Slip on Points
(Figure 7.14) (Chapter 5: Slip on Points). figure 7.13
3D SIMULATION
(CHAPTER 6)
∼F1 Check 3D Fitting
Select Variant – Enter – 3D environment
opens.
Either method can be used for assembly –
for this style the Assembly+ works well if Slip
on Points have been correctly applied.
Click on Assembly/Simulation icon
(Cotton Reel) (Chapter 6).
figure 7.15 Assemble+ The garment unfolds in
Relaxation mode.
Note: It will be necessary to go back to Mesh is 3 to aid assembly.
Pattern and place Sliders to Cuff and
Neck pieces for correct placement of Slip When garment is sitting correctly – Fall
on Points F1/Slider . (Gravity).
Do Not include if Pre-Positioning will
Change Mesh to 1.5.
be used prior to Simulation.
Simulate.
OK/Simulate.
figure 7.18
figure 7.19
In manual Pattern Cutting, moving the shoulder digitally. Remember, the thinking behind the
dart into different positions around the bodice process is exactly the same as with manual
block is one of the first dart exercises we prac- pattern adaptation – e.g. consider the position
tise. Dart Manipulation is the term used for for your new dart and mark on the pattern.
moving the dart by folding up and closing the Pivot the dart into the new position. Always
unwanted dart area and slashing open where start from the BUST POINT
the new dart is required. The same result can
be obtained by Pivoting the pattern from the Figure 7.20 (Basic WAISTBLOCK) should look
bust point. We can achieve the same results familiar to you from manual Pattern exercises.
figure 7.20
figure 7.21
figure 7.22
figure 7.27
3D SUBSTITUTE PIECE
Mirror the Front Piece FIRST. Remember to
Select the Internal Dart Points/Lines first
– Right click – goes Pink/Green.
F5/Sym 2Pts.
Make sure 3D Substitute Piece is ticked
in Display menu.
F4/Cut or F4/Seam to Generate the
Substitute Piece Hold Alt and Left and Right
click inside the piece (Figure 7.28).
Click on Assembly/Simulation
figure 7.30 – Assemble+
Garment should gradually unfold on the
Mannequin.
Apply any modification as appropriate
TIP: Sometimes when a piece has been (Chapter 6).
Mirrored – the corresponding Points do
In this example (Figure 7.31):
not show up in Desk of Stitches (even
though they are on the 2D pattern), e.g. Assembly/Simulation Pre-Positioning.
Armhole point (Figure 7.30) – this Point is
Manual Pre-Positioning was used
required if you are using Slip on Points.
Go back to 2D pattern view.
(Chapter 6: Pre-Positioning).
F4/Imp. Piece Click on Point on Proceed as previous instructions.
pattern.
Back to Desk of Stitches point will Press ‘L’ to see Dart lines (Figure 7.32).
now show. Check Mesh – Remember a Higher
Mesh to start (3 or 4) and then reduce
to (1.5).
Add Slip on Points – Neck/Left Armhole As before – add a Mechanical Property
and Right Armhole/Waist, if using (Chapter 5: (Chapter 6: Fabrics; To Change Fabric in 3D
Slip on Points). View; To Create Ribbing Effect; Adding Elastic;
If you prefer to use the Pre-Positioning Stiffening; To add own Print to Garment; To
method, Do Not include Slip on Points Edit Print on Mannequin). Choose a light-
(Chapter 6). weight woven. Add Colours/Prints.
figure 7.31
figure 7.32
figure 7.35
figure 7.34
figure 7.38
Again – as in manual Pattern Cutting – darts Panel Seam (Straight) (Figure 7.39)
can be modified into seams. The two most
common panel seams are illustrated below.
figure 7.39
Create a new Model and insert Block from Load Files/Close. The SLEEVE pattern
Library. will not be required and can be deleted
File/New – Name Pattern (PANEL_SEAM). (Figure 7.40).
File/Insert Model – Choose HIP_BLOCK
figure 7.40
figure 7.41
figure 7.42
figure 7.44
The Second Panel Seam in this example is Make sure seam lines go through the bust
curved – seam lines can be created else- point to keep the fit consistent.
where and bust dart moved accordingly.
Curved Seam (Figure 7.47)
figure 7.47
File/New – Name Pattern (CURVED_ SLEEVE pattern will not be required and
SEAM) – File/Insert Model – Choose can be deleted. Alternatively only select
HIP_BLOCK – Load Files/Close. The the Front and Back pieces.
figure 7.49
C.F.
figure 7.50
Check again if Gaps are present on the line F2/Orientation to change Notch direc-
and tidy up. tion if necessary. Cut Out CF Panel
F3/Reshape. (Figure 7.50).
F4/Cut or F4/Seam
Seam Zoom in to where
Line meets Bust Point and make sure
Point is on the line before cutting this
section.
F5/Join
/
/Join Left click on Points either end of
one Piece and then the same on the Piece to
join to.
figure 7.51
F3/Merge Type 2 Points.
figure 7.52
figure 7.53
figure 7.54
FILE/SAVE.
VARIANT
Make a Variant – add all Pattern Pieces and
check Single and Paired.
Pieces are entered in correct boxes
(Chapter 4: Variant; and Variant for 3D).
ASSEMBLY – DESK OF
STITCHES (CHAPTER 5:
SLIP ON POINTS)
∼F1/Create Piece to Stitch
Stitch.
As previous style – all pieces can be stitched
in one Phase.
Diagram shows Slip on Point placement.
figure 7.55 Neck/Left and Right Armhole/Left Thigh/
Right Thigh (Figure 7.56).
figure 7.56
figure 7.57
figure 7.59
If you add a Grain line Before cutting out There are several possibilities in 3D –
– both pieces will retain it. Change Panel Colours – Add different
F8/Marry.
Check panels fit together – F8/Marry Fabrics/Prints.
Remember to F3/Attach Points prior to The examples shown are just for
Extraction. ideas and to demonstrate that once you
In Desk of Stitches – the Pieces can be start to manipulate Darts into Seams there
Stitched in 1 Phase. could be endless possibilities. Try using
different Blocks to achieve further design
Remember: Define points Facing Each possibilities.
Other – for Notch positions (Chapter 5). Experiment here and see what develops
Particularly important for unusual Panel (Figure 7.60).
Positions.
Workshop 4
Darts into Flare
In Workshop 2 we looked at moving Darts cutting). The same principle applies for a flared
around the Bodice Block to create different top – the shoulder Dart can be opened into
shapes while retaining the same fit. If a flared the hem. We will look at three examples of
shape is required for a skirt or trouser – the Darts into Flare.
Darts can be closed at the waistline and trans-
ferred to the hemline (as in manual pattern A-Line Skirt (Figure 7.61)
figure 7.61
▲
FRONT SKIRT
BACK SKIRT
figure 7.62
figure 7.63
figure 7.64
figure 7.65
figure 7.66
figure 7.67
figure 7.69
VARIANT 3D SIMULATION
Make a Variant – add all Pattern pieces and ∼F1/Check Fitting.
Fitting
check Single and Paired pieces are entered in Select Variant – Enter.
correct boxes (Chapter 4: Variant; and Variant 3D environment opens.
for 3D). Either method can be used for assembly
(Chapter 6).
For this example – Assembly/Simulation
ASSEMBLY – DESK OF Assembly+. As this is a simple style.
STITCHES (CHAPTER 5) Or – Assembly/Simulation Pre-
∼F1/Create Piece to Stitch . Positioning – Manual Pre-Positioning if
This is a simple Pattern and all the Pieces preferred.
can be stitched in one Phase. As before – add a Mechanical Property.
Diagram shows Slip on Point placement. Change Fabric/Colour/Print (Figure 7.70).
Waist/Left and Right Knee (Figure 7.69).
figure 7.71
Create a new Model and insert Block from File/New – Name Pattern (WIDE_
Library. TROUSER) – File/Insert Model – Choose
TROUSER_BLOCK – Load Files/Close
(Figure 7.72).
figure 7.72
figure 7.73
figure 7.75
figure 7.76
VARIANT
Make a Variant – add all Pattern pieces and NOTE: Remember to make sure that
check Single and Paired pieces are entered in the pieces are in the right direction – (a
Pair – from the same side of the body). If
correct boxes (Chapter 5).
not – go back to 2D Pattern and change
direction of Pattern.
ASSEMBLY – DESK OF
STITCHES (CHAPTER 5) (Slip on Points are shown in diagram,
∼F1/Create Piece to Stitch . Waist/Left and Right Ankle, but omit if
Desk of Stitches can be done in 2 Phases. preferring to use Manual Pre-Positioning
Create Multiple Piece to Stitch (only for Assembly/Simulation, Figure 7.77.)
figure 7.77
figure 7.78
figure 7.79
figure 7.81
Adding a Button Wrap to a pattern is neces- A Facing can be added to neaten a neckline/
sary for button or stud fastenings. As in armhole/waistline for different garment types.
manual Pattern Cutting, the width of the Wrap The following examples are shown for the
is determined by the size of fastening to be Bodice Block (or Waist block) and include
used. In the following example, we will look exercises for Separate and Grown on Facings.
at an average size button and work with a
Wrap of 2 cm. Button Wrap with Grown on or Separate
Facing (Figure 7.82).
figure 7.82
Create a new Model and insert Block from WAIST_BLOCK – Load Files/Close
Library (Figure 7.83).
File/New – Name Pattern (FACING) – The SLEEVE pattern will not be required.
File/Insert Model – Choose
BACK BLOCK
FRONT BLOCK
figure 7.83
figure 7.84
figure 7.85
CF
figure 7.89
TO ADD A GROWN ON
TO ADD A SEPARATE FACING
Add the Button Wrap and draw on the shape
FACING for the Facing as above (Figure 7.90).
Add the Button Wrap as above first Select Facing line – Right click (goes
(Figure 7.84). Green).
Draw on the Facing position (the width of Mirror the Piece on Wrap line –
this will depend on the style creating). F5/Sym 2 Pts click on Wrap Line from left
F1/Add
//Add Point At shoulder and hem as a to right.
guide. Right click outside of Piece to deselect
F1/Semi Circular or F1/Bezier Draw in facing line (Figure 7.92).
facing shape (click on point to start and hold F4/Cut or F4/Seam Cut out Piece – Select
Shift for curves – Right click to finish). any internal lines required first – otherwise
CF
FACING
figure 7.91
figure 7.92
they will not copy when the Cut function is F1/Parallel on Back Piece – neckline –
activated (as above). click on line and drag away (Figure 7.95).
F3/Adjust
//Adjust 2 lines Adjust Lines – as above Adjust line on back Piece where facings
(Figure 7.93). meet at shoulder and line to meet CB –
F3/Adjust 2 lines – F3/Reshape.
F3/Reshape
figure 7.95
figure 7.96
figure 7.97
figure 7.99
figure 7.100
figure 7.102
figure 7.103
LEARNING OBJECTIVES
● Visual Effects to T-Shirt
180
figure 8.1
figure 8.3
figure 8.4
figure 8.6
To Change Fabric:
Click on the Design icon – open Material
Visual Effect (Figure 8.10).
Choose a Fabric from Catalog selection
(select from Wovens/Knits/Prints) (Figure
8.11).
figure 8.8
VISUAL EFFECTS
After simulation of the silhouette is complete
– it is useful to be able to apply Visual Effects
to the garment.
A ‘visual’ can be any image format that is
added to the garment – such as a Fabric texture
Velvet/Satin or Knit. Or Buttons/Topstitching/
Bias Binding – Motifs or drawn images such as
Pockets/Ties/Laces/Drawstrings.
The Visual Effects are found when the
Design icon is activated from the Working
Toolbar (at the bottom of the Command Bar)
(Figure 8.9).
DIFFUSION/OPACITY/
BRIGHTNESS
These can all be adjusted with the sliders
(Figures 8.17 and 8.18).
The Opacity slider is very useful to show
transparent fabric (Figure 8.18), and can also
be helpful when fitting a garment – (checking
ease amount, etc.).
figure 8.14
figure 8.15
figure 8.16
figure 8.17
figure 8.19
figure 8.22
figure 8.24
figure 8.26
figure 8.29
figure 8.32
figure 8.31
figure 8.35
figure 8.36
TO CHANGE COLOUR OF
STITCH
Left click on Select tool (Figure 8.35).
Click on Stitch line (or visual) opens
Visual Effects box (Figure 8.36).
Change colour by selecting from Season
Palette or Pantone Book (or you can apply
any colour by using the Colour Chooser
(Figure 8.37).
Click on colour required – Drag and Drop
into Colour square in visual effects box/OK
(Figure 8.38). figure 8.37
figure 8.38
figure 8.39
figure 8.42
TO VIEW THE EASE
To quickly view the ease around the body you
The garment is shown in colours from can also use the Opacity tool (as discussed
White to Blue to Red, Red meaning the fit is earlier in Fabric Effects). Go to Design
too tight – if this is the case, it may be neces- icon on the Working Toolbar – click on the
sary to go back to pattern and amend. Select tool and click on Mannequin. Then
When the Symmetry option is ticked click on Opacity and slide until the required
(default setting) the system automatically transparency is achieved (Figure 8.45).
figure 8.45
figure 8.47
figure 8.48
figure 8.51
DRAWING LINES
Lines can be drawn on the Mannequin – a
good way to determine style lines/positions or
any alterations required prior to completing
the pattern. It is also possible to draw lines
directly onto the pattern view in 3D and use as
a guide for alterations. figure 8.54
figure 8.58
figure 8.60
figure 8.65
figure 8.67
UNSTITCH/RE-STITCH
This tool enables you to unstitch a seam
(or part of a seam) and can be useful to
troubleshoot if, for example, the garment is
pulling or not sitting correctly.
TO UNSTITCH A SEAM
Click on Unstitch (Figure 8.71). figure 8.71
Click on a Seam line and hold down
mouse button while dragging along part Assembly/Simulate/Fall – WAIT (Figure
to unstitch (the path selected turns Red) – 8.73). This process can be slow.
press Enter to confirm – line goes Black You can unstitch a whole seam – Click
(Figure 8.72). on Unstitch/hold Ctrl while clicking on
figure 8.73
Move Point
This tool allows you to move any point in the
2D window.
Click on the Move Point icon and move
the point in the direction to be moved – enter
the movement values in box/Enter. Use
Down Arrow on keyboard – the movement in
When alterations are complete – click on Remember: This is a visual aid and once
Update Mesh (Figure 8.77). The system the design is approved – you must go
amends the pattern view. back to Modaris 2D and finalize the
To confirm the final result – go to production pattern.
Assembly/Simulate and Fall (Figure 8.78).
figure 8.78
Exercise 12
Apply Fitting/Alterations and Visual Effects
Open Exercise 11. mtg (the 3D version. mtg Check Mechanical Properties and make
File).– File/Save 3D as (Exercise 12). sure Fabric is suitable – Jersey;
Go to Garment – Browse – Yellow Folder – Fitting – Check the level of the hem –
search for Folder containing the 2D Pattern Upright Balance and make adjustments
– Exercise 11.mdl. (Horizontal Balance). Correction line shows
The appropriate Files are displayed in the on Pattern view – Transfer to 2D;
Left-hand column. Modify Pattern in 2D.
Click on the 2D Pattern File (Exercise 11).
Click on Synchronize. TIP: If Lines do not show on 2D Pattern
The 2D Pattern will now open automatic- – check connection is not lost – Go to
ally (Chapter 6: Saving and Opening from Garment and Synchronize.
3D).
figure 8.79
figure 8.80
Create a new Model and insert a Block from File/Insert Model – Choose a suitable
Library: block – suggest JEAN_BLOCK
File/New – Name Pattern (JEANS) Load Files/Close (Figure 9.2).
figure 9.2
figure 9.3
figure 9.5
figure 9.6
Cut out Pieces – Pocket Bag/Pocket Cut out Front Body piece (Figure 9.6).
Facing/Pocket Bearer (Figure 9.5).
Select any lines/points/notches prior to TIP: To keep drawn lines on piece (so
cutting out. (Right Click and drag a box pocket bag position can be notched) Right
around.) Click and drag a box around area first prior
F4/Cut or F4/Seam.
F4/Seam to using the Extraction tool.
F3/Adjust 2 Lines Adjust lines.
Make sure to add Notches on Pocket Bag
TIP: If the Extraction does not work it is and Body piece for location of pocket facing.
because the points meeting the lines are It is usual for a jeans style to join the Pocket
not attached F3/Attach
F3/Attach. Click on points Bag and Pocket Facing pieces and cut in one
Zoom in here. (this can eliminate bulk and piece can be cut in
a lightweight pocketing fabric).
figure 9.7
F2/X Sym Flip the pocket bag piece and A parallel line from the seam will give you a
join to facing F5/Join – Remember to add guide.
Notches – add text for Fold Line. F1/Parallel Click on Front Rise Seam
Final Pocket Bag + Facing (Figure 9.7). line – enter value (usually approx. 3.5 cm).
Pocket bearer (Figure 9.8). Enter.
F1/Semi Circular Draw in the fly shape
(remember to hold Shift for curve points).
F3/Reshape Re-shape points as required
FLY FASTENING – FACING until a suitable curved line is achieved.
Bring up the Front Body. Add Notch for zip position (Figure 9.9).
Decide zip length and on the Front Rise F4/Cut or F4/Seam.
F4/Seam
Seam place a Type 2 Point – 2 cm longer Cut out shape for Fly Facing (select Notch
than zip length. (This will be the where the for zip position prior to cutting Check for
stitch line starts.) gaps) (Figure 9.10).
figure 9.10
FLY ZIP GUARD The Fly Zip Guard is 1.5 cm longer than
the Fly Facing.
Sheet/Copy Fly Facing.
F3/Pin and F3/Move Add this amount
Straighten shape on curved edge.
(Figure 9.12).
F2/Rotation 2 pts (Figure 9.11).
The Zip Guard piece can have issues with
F5/Sym 2 Pts Click on Line to Mirror
points when mirrored, especially when Seam
(curved edge) from Left to Right.
Allowance is added. To correct this, Zoom in
It will be necessary to cut out the Piece again.
and check all Points are attached and Replace
F3/Deletion Straighten up shape by
and Refresh Piece.
Deleting centre Point.
F4/Seam Hold Shift and Left and Right
F1/Ali 2 pts To straighten top of fly guard
Click inside the Piece.
(waist seam) make outer lines parallel.
figure 9.12
figure 9.13
figure 9.14
figure 9.16
BACK PATCH POCKET Cut out Pocket piece –make sure all corner
points of pocket shape are Type 2 prior to
Bring up Lower Back Body piece.
cutting out shape.
F1/Semi Circular Draw on required
F3/Section Click on points (Figure
pocket shape (Figure 9.16).
9.17).
F4/Cut or F4/Seam.
F4/Seam
figure 9.18
Sheet/New Sheet
F2/Rectangle Type in values for Total
WAISTBAND Waist in box + 3 cm Height.
Waistbands for jeans are usually cut singular F4/Seam to Extract piece.
and seamed. Add CF Wrap to one end of rectangle –
Front and back waist measurements are 3.5 cm (width of Fly extension).
needed to make a rectangle. F3/Pin Ends and F3/Move Notch.
You can measure and record pieces in Draw in Straight Line for CF.
Chart Manager (Chapter 4: To Create a Using Chart Manager (Figure 9.18) add in
Measurement Chart).This is a good example points and Notches for side seam and CB
of how to use the Chart. positions (Figure 9.19).
figure 9.20
figure 9.22
VARIANT
Make a Variant – add all Pattern pieces
and check Single and Paired pieces are POCKET BEARER
entered in correct boxes (Chapter 4: To To make the structured pocket easier to
Create a Variant; and Chapter 5: Variant assemble it is simpler to stitch the Pocket
for 3D). Mouth of the Bearer to the Pocket mouth of
Because it is usual to have 5 Belt Loops – Front leg.
it is suggested to add 2 × Pairs (for Front The Pocket mouth position must be drawn
and Side) and 1 × Single (for CB Loop) onto the Pocket bearer piece (use the original
This means going back to the Pattern and Lines drawn on pattern) (Figure 9.23).
Sheet/Copy the Belt Loop piece – so
there are 3 separate named Pattern Pieces.
At first it seemed likely that 1 Pattern
piece ×5 Singles would be the answer, but
when launching the 3D simulation this did
not appear to work, and prevented the
simulation.
This is a good example of how trouble
shooting is sometimes necessary. If a process is
not working, it will be necessary to try differ-
ent methods until a satisfactory conclusion is
reached.
3D PATTERN
PREPARATION
It is not necessary to include all the pieces for
3D simulation.
Go to the Variant and uncheck the pieces
not required in the 3D column (at end of
box). Pieces to exclude are – Pocket Bag/Fly
Facing/Zip Guard/. figure 9.23
TICKET POCKET
Because the Ticket Pocket only shows a small
amount on top of the Pocket bearer it is neces-
sary to stop the line where it meets the pocket
mouth – so this line needs to be added to the
piece. figure 9.24
figure 9.25
ASSEMBLY- DESK OF
STITCHES
Break down the Phases to as many as you
need. You can stitch all the pieces in one Phase
if you find this preferable, but if you are getting
confused – just add as many Phases as you feel
comfortable with. Phase/Add Phase – opens
a new sheet for next selection of pieces. figure 9.28
figure 9.30
figure 9.32
figure 9.34
figure 9.36
figure 9.42
figure 9.44
The function for creating pleats in Modaris 2D This workshop looks at inserting pleats into a
is called ‘Effective Pleat’ and can be used to skirt and trouser at the waist.
place a pleat anywhere on your garment. It is
suggested to construct the pattern shape first Skirt with Pleats at Waist (Figure 9.45)
ready for pleat insertion.
figure 9.45
Skirt with 4 pleats at front waist – no fullness File/New – Name Pattern (SKIRT_
at hem. PLEATS).
Create a new Model and insert a Block File/Insert Model – Choose a suitable
from Library. block suggest SKIRT_BLOCK.
Load Files/Close (Figure 9.46).
figure 9.46
figure 9.47
figure 9.49
Pattern Preparation
3D PATTERN F1/Straight Draw Lines on Pattern for the
PREPARATION Fold Positions Only.
∼F1/Set as 3D The Front piece will need to ∼F1/Set as 3D Click on these Fold Lines
be mirrored, but first it is recommended to (Figure 9.50).
mark in pleat Fold positions and Set as 3D. Tab choose Wrong side/Wrong side fold or
Preparing Pleats and Stitching in Desk of Right side/Right side fold.
Stitches can pose quite a challenge, take time As discussed above, this depends on the
here and refer to instructions. Direction of the fold. The Folds either Meet
Important for 3D – 4 Points required together on the Wrong Side of fabric or
for each Pleat. This means marking 4 posi- Meet together on the Right Side of fabric
tions on the pattern for each pleat, 2 of which (Figure 9.51).
Pleat Direction
figure 9.50
figure 9.52
Waistband
TIP: Note the hemline needs to have a The Waistband needs Notches placed for
smoother line – Add a Curve Point stitching position of pleats – it is important to
F3/Reshape for a better finish. be accurate when positioning – Zoom in and
either by:
IMPORTANT: For Each Pleat there are 4 Final Waistband with Pleat/Side seam and
Points on the piece that Includes the CF positions marked (Figure 9.54).
Pleat (skirt front). The piece Receiving the
Pleat (waistband) needs to be marked NOTE: Marking the Pleat positions on
with 2 Points – for Pleat position both Front and Waistband need careful
(Figures 9.53 and 9.54). consideration.
Take time here for accuracy – if this
process is not correct – the required
results will not be achieved in 3D.
figure 9.53
figure 9.54
figure 9.55
figure 9.56
figure 9.59
figure 9.61
Click on Stiffen icon – slide bar to achieve Look closely at the final simulation and
desired effect. make any adjustments to pattern if necessary
OK/Simulate (Chapter 6: Fabric). – again the decision is yours.
Go back to 2D and finalize Production
Material Visual Effects Pattern – add Seam Allowance/Check all
Select colours – Season Palette or Pantone Notches/Grain Lines/Name Pieces/
Book. Quantity to Cut (Chapter 4).
Apply a Fabric visual in Design/Material
Visual Effects.
figure 9.63
Create a new Model and insert a Block from File/Insert Model – Choose a suitable block
Library. – suggest LOOSE_FIT_TROU_BLOCK.
File/New – Name Pattern (TROUSER_ Load Files/Close (Figure 9.64).
PLEATS).
figure 9.64
figure 9.65
figure 9.67
figure 9.70
figure 9.72
figure 9.76
Workshop 8
Basic Shirt
A basic shirt is a useful exercise to undertake The block used in this example is a relaxed
as the pattern offers several components fit – with a lower armhole and wider
including – yoke/collar with stand/grown on shoulder and sleeve. The shape and fit of the
placket/cuff and placket/button wrap – all of shirt can be changed according to the style
which can sometimes present a challenge required.
and need the same consideration as in manual
Basic Shirt (Figure 9.78)
pattern cutting (Figure 9.77).
▲
figure 9.77
Create a new Model and insert a Block from File/Insert Model – Choose a suitable
Library. block – SHIRT_BLOCK – Load Files/Close
SHIRT_BLOCK. (Figure 9.78).
File/New – Name Pattern (SHIRT).
SLEEVE SHIRT
BLOCK
figure 9.78
figure 9.81
figure 9.82
LOWER BACK
LOWER FRONT
figure 9.83
figure 9.84
figure 9.85
figure 9.86
figure 9.87
figure 9.88
COLLAR STAND
figure 9.89
preferably use F8/Marry/Move marriages/ These are the measurements used for this
Pivot/Walking Pieces . This is a good way to example but are obviously determined by the
check/add notches at all the correct points style you are creating and can be subject to
(see Notes in Chapter 7: Workshop 3). style variations.
figure 9.90
10 cm
2.5 cm
SLEEVE PLACKET
figure 9.91
CUFF
figure 9.92
figure 9.93
figure 9.94
figure 9.95
figure 9.97
3D SIMULATION
F1/Check 3D Fitting
Assembly/Simulation
Pre-Positioning – Manual Pre-Positioning
is suggested (Chapter 6).
A suggestion for this assembly would be to
start with Collar and Stand – this seems to be
the easiest solution to achieve the correct
position.
Add Curvature – on Crossline 30%
(Figure 9.100).
For ease of collar simulation, the Show figure 9.100
Hair can be Unticked in the Collision
Management Command Bar menu. Alternatively, another solution would be –
Assemble the rest of the Front and Back first assemble the body pieces in Manual
pieces – remember to activate stitch lines by Pre-Positioning.
pressing L on the keyboard for Lines and P Go back to Desk of Stitches and Change
for Panels (Figure 9.101). Collar and Stand to Layer 2 (Edit/Click
Apply Curvature to Sleeves – 80% – on Piece in box change Layer Number/
Simulate with Mesh on 3. Enter).
figure 9.102
As a designer and creative pattern cutter, the circles for the head, arms and body to go
first choice for realizing an idea is often to through. Practice and experimentation can
drape directly onto the dress stand. As a produce some interesting shapes.
starting point, students engage in manual In this final workshop, we look at replicat-
pattern workshops experimenting with differ- ing this manual pattern cutting exercise using
ent shapes. For example, rectangles, circles, digital techniques.
triangles can be stitched together in different Two large Squares will be constructed (in
ways and draped on the mannequin. This is a this example 100 cm × 100 cm).
really good challenge, leading to a different Take measurements for Neck/Wrist/
way of producing patterns. Sometimes a Hem.
single drape can form the basis for many Circles for these measurements will be
designs. placed onto the shapes. The shape will be
To begin the drape journey – stitch together stitched in Desk of Stitches and Simulated on
two large squares or rectangles and then add the Mannequin.
2 6 4
2 6 4
1 5 3
figure 9.106
Wait until the shape starts to unfold and be necessary to use the Manipulation tools to
then Fall. angle and move the pieces.
Wait – this can take a while to unfold Once the garment has unfolded – go to
(Figure 9.107). Fall.
The bar at the bottom right of the screen Simulate/Pull Fabric may also be required
will be Green when finished. in order to place the garment correctly. –
Alternatively – Manual Pre-Positioning/ Remember to have a high Mesh (Figure
Simulate. If this method is preferred, it will 9. 108).
figure 9.108
figure 9.110
figure 9.111
figure 9.112
figure 9.113
The toile can now be digitized into the F4/Axis Folded corner.
system. Special Axis – Left click and draw a line
Prepare the toile prior to digitizing (just as anywhere on the piece (purple).
you would a paper pattern (Chapter 2)). Edit/Edit – type in Text.
Mark on corner points 2/Curve Points Enter (this places text anywhere on
C/Notches 6. pattern).
After digitizing open pattern in Modaris F3/Move To move text around – drag
and follow steps below. purple line to a new position.
As this function replaces the existing piece Text is not visible until you click on Cut
– it’s a good idea to copy your pattern Piece – bottom bar.
piece first so that you have the original to go Remember to Click off Cut Piece to
back to. continue.
Sheet/Copy Click on piece.
It is useful to name some Lines on your
pattern as points of reference – e.g. Neckline/ TO APPLY SCALE
Shoulder/Armhole, etc. (Figure 9.114). Check Settings – Make sure the Length Unit
F8/Length Measure These can then be is set to cm and Scale unit is set to % Scale.
measured and double checked on final piece Parameters (top bar) Length Unit/cm
to make sure correct. (Always add CF and CB (Figure 9.115).
to your pieces.) Parameters/Scale Unit – tick % scale
(Figure 9.115).
To Add Text to pattern – F3/Shrinkage Click in Centre of pattern
Either: – in box– enter values in X and Y – if ½ scale
Edit/Edit Text on Line – click on a Line to full scale is required enter 200 in both
and type in name (this places text on a line). boxes.
Or: Enter (Figure 9.116).
figure 9.116
288
FACINGS FLARE/FULLNESS
To take a Dart out for a facing F1/Add Point – Add point(s) on hemline where you
F1/Straight – Draw in dart lines on piece want to open up pattern