chore: Merged in left behind PRs from markdown repo
This commit is contained in:
Joost De Cock
parent
b34a2ee2ed
commit
97b8a93a85
126 changed files with 2327 additions and 486 deletions
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@ -7,7 +7,7 @@ about: Shows you how to access user measurements from inside your pattern
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Measurements are stored in `pattern.settings.measurements`.
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You can pull them out of there with
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the [shorthand](/howtos/core/shorthand/) call:
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the [shorthand](/howtos/code/shorthand/) call:
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```js
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@ -7,7 +7,7 @@ about: Shows you how to access user options from inside your pattern
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Options are stored in `pattern.settings.options`.
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You can pull them out of there with
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the [shorthand](/howtos/core/shorthand/) call:
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the [shorthand](/howtos/code/shorthand/) call:
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```js
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@ -5,7 +5,7 @@ icon: pattern
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about: Shows you how to add paths to your pattern
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---
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After using the [shorthand](/howtos/core/shorthand/) call,
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After using the [shorthand](/howtos/code/shorthand/) call,
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`Path` contains the path constructor, while `paths` is a reference to `part.paths`,
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which is where you should store your paths.
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@ -4,7 +4,7 @@ for: developers
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about: Shows you how to add points to your pattern
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---
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After using the [shorthand](/howtos/core/shorthand/) call,
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After using the [shorthand](/howtos/code/shorthand/) call,
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`Point` contains the point constructor, while `points` is a reference to `part.points`,
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which is where you should store your points.
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@ -4,7 +4,7 @@ for: developers
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about: Shows you how to add snippets to your pattern
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---
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After using the [shorthand](/howtos/core/shorthand/) call,
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After using the [shorthand](/howtos/code/shorthand/) call,
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`Snippet` contains the path constructor, while `snippets` is a reference to `part.snippets`,
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which is where you should store your paths.
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@ -21,7 +21,7 @@ You can scale and rotate a snippet by setting the `data-scale` and `data-rotate`
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<Tip>
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See [Using attributes](/howtos/core/attributes/) for details on how to set attributes.
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See [Using attributes](/howtos/code/attributes/) for details on how to set attributes.
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</Tip>
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@ -4,7 +4,7 @@ for: developers
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about: Shows you how to create dependencies between pattern parts
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---
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Part dependencies are set in the [pattern configuration](/config), and
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Part dependencies are set in the [pattern configuration](/reference/config), and
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control the order in which parts are drawn. FreeSewing will make sure
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that before drafting a part, it will first draft all its dependencies.
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@ -21,7 +21,7 @@ dependencies: {
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This could be from a T-shirt pattern where the `front` and `back` patterns are very similar,
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so they both are inheriting a `base` part.
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In addition, the `sleeve` part needs to be drafted after the `front` and `back` part because
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in `front` and `back` we store the length of the armhole seam in the [store](/api/store) and
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in `front` and `back` we store the length of the armhole seam in the [store](/reference/api/store) and
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we need that info to fit the sleevecap to the armhole.
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Now if a user requests to draft only the `sleeve` part, FreeSewing will still draft:
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@ -34,6 +34,6 @@ but it will only render the `sleeve` part, as that's the only thing the user req
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<Note>
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For inheriting parts, please refer to [part inheritance](/howtos/core/inject/).
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For inheriting parts, please refer to [part inheritance](/howtos/code/inject/).
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</Note>
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@ -9,7 +9,7 @@ For example, you may store the length of the armhole in your front and back part
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and then read that value when drafting the sleeve so you can verify the sleeve fits the armhole.
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For this, you should use the [Store](/reference/api/store/), which is available via
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the [shorthand](/howtos/core/shorthand/) call:
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the [shorthand](/howtos/code/shorthand/) call:
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```js
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export default function(part) {
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@ -33,6 +33,6 @@ const Sorcha = new freesewing.Design(config, plugins)
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This method is a *super-constructor*. It will return a constructor
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method that should be called to instantiate your pattern.
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See [creating a new pattern design](/howtos/core/new-design/) for an example.
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See [creating a new pattern design](/howtos/code/create-new-design) for an example.
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</Tip>
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@ -8,6 +8,7 @@ object Part.shorthand();
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This method returns a plain object with the following properties:
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- `complete` = `pattern.settings.complete`
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- `events` : An object holding the raised events (see `raise`)
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- `final` : `true` is this is a full draft, or `false` if this is a sample.
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- `macro` : The macro runner
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@ -15,6 +15,6 @@ has the points, paths, and snippets of the `value` part.
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<Tip>
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See [the Howto on Part inheritance](/howtos/core/inject) for an example.
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See [the Howto on Part inheritance](/howtos/code/inject) for an example.
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</Tip>
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@ -6,7 +6,7 @@ order: 1140
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Freesewing is proudly multilingual, and for this we depend on translators to help us.
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We use [crowdin](https://crowdin.com/) to manage translations for FreeSewing,
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and current support 5 languages.
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and currently support 5 languages.
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Find out more with the links below:
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@ -21,7 +21,7 @@ Only a few of these are mandatory.
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- **Pattern name**: This will be the name of your pattern, but also the name of the folder we'll setup for you. If you're just kicking the tires, something like `test` will do you fine.
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- **description**: A description of your pattern. It's not mandatory.
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- **Pattern type**: Use the arrow keys to chose either `block` or `pattern`. Choose `pattern` if you're not sure what to pick
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- **department**: Use the arrow keys to pick a department like `menswear`, `womenswear` or `accessories`. This is is only relevant if you decide to publish your pattern later. But by that time you will have learned how to change this.
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- **department**: Use the arrow keys to pick a department like `tops`, `bottoms` or `accessories`. This is is only relevant if you decide to publish your pattern later. But by that time you will have learned how to change this.
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- **Author**: You can enter your name, or leave this blank for now
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- **GitHub repository**: You can leave this blank for now
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- **Package manager**: Choose either `npm` or `yarn` as your package manager. If you're not sure, pick `npm`.
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@ -21,7 +21,7 @@ Only a few of these are mandatory.
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- **Pattern name**: This will be the name of your pattern, but also the name of the folder we'll setup for you. If you're just kicking the tires, something like `test` will do you fine.
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- **description**: A description of your pattern. It's not mandatory.
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- **Pattern type**: Use the arrow keys to chose either `block` or `pattern`. Choose `pattern` if you're not sure what to pick
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- **department**: Use the arrow keys to pick a department like `menswear`, `womenswear` or `accessories`. This is is only relevant if you decide to publish your pattern later. But by that time you will have learned how to change this.
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- **department**: Use the arrow keys to pick a department like `tops`, `bottoms` or `accessories`. This is is only relevant if you decide to publish your pattern later. But by that time you will have learned how to change this.
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- **Author**: You can enter your name, or leave this blank for now
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- **GitHub repository**: You can leave this blank for now
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- **Package manager**: Choose either `npm` or `yarn` as your package manager. If you're not sure, pick `npm`.
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@ -25,6 +25,7 @@ Installing and using an IDE is optional, you can skip that step or use a differe
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<Warning>
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This guide uses WSL version 2, which requires installing the Hyper-V virtualisation system. If you have another virtualisation system installed (such as VirtualBox or VMWare) you may run into conflicts which require either updating that system to a version which can use the HyperV backend or porting your existing machines to use HyperV.
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</Warning>
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Follow the [Windows Subsystem for Linux Installation Guide for Windows 10](https://docs.microsoft.com/en-gb/windows/wsl/install-win10) (requires a recent version of Windows 10).
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#### Install NVM
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@ -112,12 +113,10 @@ This script will prompt you for certain options. Only "Pattern name" is mandator
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- **Pattern name**: This will be the name of your pattern, but also the name of the folder we'll setup for you. If you're just kicking the tires, something like `test` will do you fine.
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- **description**: A description of your pattern. It's not mandatory.
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- **Pattern type**: Use the arrow keys to chose either `block` or `pattern`. Choose `pattern` if you're not sure what to pick.
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- **department**: Use the arrow keys to pick a department like `menswear`, `womenswear` or `accessories`. This is is only relevant if you decide to publish your pattern later. But by that time you will have learned how to change this.
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- **department**: Use the arrow keys to pick a department like `tops`, `bottoms` or `accessories`. This is is only relevant if you decide to publish your pattern later. But by that time you will have learned how to change this.
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- **Author**: You can enter your name, or leave this blank for now.
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- **GitHub repository**: You can leave this blank for now.
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- **Package manager**: Choose either `npm` or `yarn` as your package manager. If you're not sure, pick `npm`.
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### Start the development environment
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After this process completes you will be ready to run the development environment. In the current terminal (or a new window if you prefer) you will need to build the package. Navigate to the folder you created during the previous step (whatever you provided for the "Pattern name" option) and run `npm start` or `yarn start` depending on the build system you chose. This will build the pattern package which is used by the development instance.
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Next, open a new terminal window and navigate to the `example` folder inside this folder. Run `npm start`/`yarn start` again to build the example application and start a local web server instance so you can test your changes.
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After this process completes you will be ready to run the development environment. In the current terminal (or a new window if you prefer) you will need to build the package. Navigate to the folder you created during the previous step (whatever you provided for the "Pattern name" option) and then to the `example` folder inside this folder, then run `npm start` or `yarn start` depending on the build system you chose. This will build the pattern package which is used by the development instance, build the example application, and start a local web server instance so you can test your changes.
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@ -4,7 +4,7 @@ order: 130
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---
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FreeSewing is all about *made-to-measure* sewing patterns;
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We are going to draft our pattern according to the measurements provided to us.
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we are going to draft our pattern according to the measurements provided to us.
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Which begs the question, which measurements?
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@ -35,10 +35,10 @@ This change will also get picked up by the development environment, and you'll n
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Since it's just one measurements, let's simply enter a value by hand.
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Since it's just one measurement, let's simply enter a value by hand.
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For example `38` as 38cm is a realistic head circumference measurement for a baby.
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Enter `38` in the box, and click on **Draft your pattern** in the top navigation bar to get back to your draft
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Enter `38` in the box, and click on **Draft your pattern** in the top navigation bar to get back to your draft,
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which for now still looks like this:
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<Example pattern="tutorial" part="step1" caption="Nothing has changed, yet" />
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Binary file not shown.
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Before Width: | Height: | Size: 70 KiB After Width: | Height: | Size: 66 KiB |
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@ -51,12 +51,12 @@ Let's do something similar for the width and length of our bib:
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options: {
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neckRatio: { pct: 80, min: 70, max: 90 },
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widthRatio: { pct: 45, min: 35, max: 55 },
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lengthRatio: { pct: 50, min: 40, max: 65 },
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lengthRatio: { pct: 75, min: 55, max: 85 },
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}
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```
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- You've added `widthRatio` and `lengthRatio` options
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- You've given all options sensible defauls
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- You've given all options sensible defaults
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- You've given all options sensible maximum and minimum boundaries
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<Note>
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@ -27,24 +27,24 @@ let rotateThese = [
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"tipRightBottom",
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"top",
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"topCp2"
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];
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]
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```
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Now you can rotate them. How far? Until the strap no longer overlaps:
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```js
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while (points.tipRightBottomStart.x > -1) {
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for (let p of rotateThese) points[p] = points[p].rotate(1, points.edgeLeft);
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for (let p of rotateThese) points[p] = points[p].rotate(1, points.edgeLeft)
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}
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```
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We're rotating all the points in the `rotateThese` array around the `edgeLeft` points.
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We're using increments of 1 degree until the `tipRightBottomStart` point is 1mm passed the center of our bib.
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While we're add it, let's add a point where the closure's snap should go:
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While we're at it, let's add a point where the closure's snap should go:
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```js
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points.snapLeft = points.top.shiftFractionTowards(points.edgeTop, 0.5);
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points.snapLeft = points.top.shiftFractionTowards(points.edgeTop, 0.5)
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```
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<Example pattern="tutorial" part="step8" caption="The right part looks a bit wonky now, but we'll get to that" />
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@ -9,16 +9,16 @@ on the other side. You can just flip them over, so to speak. And that's exactly
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First create some new points:
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```js
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points.rightCp2 = points.rightCp1.flipY();
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points.bottomCp1 = points.bottomCp2.flipX();
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points.rightCp2 = points.rightCp1.flipY()
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points.bottomCp1 = points.bottomCp2.flipX()
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points.left = points.right.flipX();
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points.leftCp1 = points.rightCp2.flipX();
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points.leftCp2 = points.rightCp1.flipX();
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points.left = points.right.flipX()
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points.leftCp1 = points.rightCp2.flipX()
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points.leftCp2 = points.rightCp1.flipX()
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points.top = points.bottom.flipY();
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points.topCp1 = points.bottomCp2.flipY();
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points.topCp2 = points.bottomCp1.flipY();
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points.top = points.bottom.flipY()
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points.topCp1 = points.bottomCp2.flipY()
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points.topCp2 = points.bottomCp1.flipY()
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```
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<Note>
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@ -37,7 +37,7 @@ paths.neck = new Path()
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.curve(points.leftCp2, points.bottomCp1, points.bottom)
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.curve(points.bottomCp2, points.rightCp1, points.right)
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.curve(points.rightCp2, points.topCp1, points.top)
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.close();
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.close()
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```
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<Example pattern="tutorial" part="step4" caption="And now you have a complete neck opening" />
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@ -7,7 +7,7 @@ When we started out, we said a good part boilerplate looks like this:
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```js
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export default function(part) {
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let { Point, points, Path, paths } = part.shorthand();
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let { Point, points, Path, paths, complete, sa, paperless } = part.shorthand()
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// Design pattern here
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// Complete?
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@ -18,7 +18,7 @@ export default function(part) {
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if (paperless) {
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}
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}
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return part;
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return part
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}
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```
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@ -30,7 +30,7 @@ the area under *// Complete?*
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###### The point of (non) complete patterns
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Users can set the `complete` setting to `false`. When that's the case, you
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should draft a base outline of the pattern, rather than a fully detailed pattern.i
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should draft a base outline of the pattern, rather than a fully detailed pattern.
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This has different uses, such as generating patterns to be cut out with a laser cutter.
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@ -47,13 +47,16 @@ let {
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points,
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Path,
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paths,
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complete,
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sa,
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paperless,
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measurements,
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options,
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macro,
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complete,
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snippets,
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Snippet
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} = part.shorthand();
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} = part.shorthand()
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```
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## Adding snippets
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@ -64,9 +67,9 @@ Things like buttons or buttonholes, a logo, or snaps:
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```js
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// Complete?
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if (complete) {
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snippets.snapMale = new Snippet("snap-male", points.snapLeft);
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snippets.snapFemale = new Snippet("snap-female", points.snapRight)
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.attr("opacity", 0.5);
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snippets.snapStud = new Snippet("snap-stud", points.snapLeft)
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snippets.snapSocket = new Snippet("snap-socket", points.snapRight)
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.attr("opacity", 0.5)
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if (sa) {
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}
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@ -76,9 +79,9 @@ if (complete) {
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}
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```
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We've added a `snap-male` and `snap-female` snippet to the points we had foreseen for that.
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We've added a `snap-stud` and `snap-socket` snippet to the points we had foreseen for that.
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Because the female snippet is at the back of the fabric, we've made it semi-transparent by
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Because the socket snippet is at the back of the fabric, we've made it semi-transparent by
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setting the `opacity` attribute to `0.5`. Yes, you can do that.
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<Tip>
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@ -90,10 +93,16 @@ Any attributes you set will be added to the SVG output.
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Since we're adding snippets, let's throw a logo on there too:
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```js
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points.logo = new Point(0, 0);
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snippets.logo = new Snippet("logo", points.logo);
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points.logo = new Point(0, 0)
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snippets.logo = new Snippet("logo", points.logo)
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```
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<Note>
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You can find all possible snippets in [our documentation](/reference/snippets/).
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</Note>
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## Seam allowance
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Just like users can choose whether they want a complete pattern or not, they can choose
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@ -110,7 +119,7 @@ Our bib does not use seam allowance. Instead we'll finish it with bias tape.
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So you can simply remove that condition.
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However, for future refefence, `sa` is a variable that you can get from `part.shorthand()`
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just like `complete`. But instead of `true` or `false` it will hold the amount if seam allowance
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just like `complete`. But instead of `true` or `false` it will hold the amount of seam allowance
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in mm.
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Note that you can still do `if (sa)` because zero is *falsy*.
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@ -124,11 +133,11 @@ paths.bias = paths.seam
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.offset(-5)
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.attr("class", "various dashed")
|
||||
.attr("data-text", "finishWithBiasTape")
|
||||
.attr("data-text-class", "center fill-various");
|
||||
.attr("data-text-class", "center fill-various")
|
||||
```
|
||||
|
||||
The `path.offset()` method makes it trivial to add seam allowance, since it will contruct
|
||||
a path parallel at the distance you pass it. 9 times out of 10, you'll be using it as `path.offset(sa)`.
|
||||
a path parallel to the given path at the distance you pass it. 9 times out of 10, you'll be using it as `path.offset(sa)`.
|
||||
|
||||
Note that we're also using the attributes again, to change the look of the line, and add text to it,
|
||||
as explained in [Adding text](/concepts/adding-text).
|
||||
|
|
@ -145,25 +154,25 @@ That's why you should number your parts and give them a name.
|
|||
The `title` macro can help you with that:
|
||||
|
||||
```js
|
||||
points.title = points.bottom.shift(-90, 45);
|
||||
points.title = points.bottom.shift(-90, 45)
|
||||
macro("title", {
|
||||
at: points.title,
|
||||
nr: 1,
|
||||
title: "bib"
|
||||
});
|
||||
})
|
||||
```
|
||||
|
||||
The `scalebox` macro prints a box of an exact size.
|
||||
It is used by people who print the pattern to make sure their print is correctly scaled.
|
||||
|
||||
```js
|
||||
points.scalebox = points.title.shift(-90, 55);
|
||||
macro("scalebox", { at: points.scalebox });
|
||||
points.scalebox = points.title.shift(-90, 55)
|
||||
macro("scalebox", { at: points.scalebox })
|
||||
```
|
||||
|
||||
And with that, our pattern is now *complete*:
|
||||
|
||||
<Example pattern="tutorial" part="step11" caption="We used attributed to add color, dashes, text on a path and even opacity" />
|
||||
<Example pattern="tutorial" part="step11" caption="We used attributes to add color, dashes, text on a path and even opacity" />
|
||||
|
||||
We're not done yet though. There's one more thing the user can ask for: a *paperless* pattern.
|
||||
|
||||
|
|
|
|||
|
|
@ -6,11 +6,11 @@ order: 280
|
|||
Congratulations, you have created your first pattern. And while it's arguably rather simple,
|
||||
you have learned a bunch of things along the way. Let's list some of the things you've learned:
|
||||
|
||||
- You have learned how to [setup your development environment](/tutorials/pattern-design/create-freesewing-pattern) with `npm init freesewing-pattern`
|
||||
- You have learned how to [setup your development environment](/tutorials/pattern-design/create-freesewing-pattern) with `npx create-freesewing-pattern`
|
||||
- You learned how to [add parts](/tutorials/pattern-design/your-first-part), [measurements](/tutorials/pattern-design/adding-measurements), and [options](/tutorials/pattern-design/adding-options) to your pattern's configuration file
|
||||
- You learned what [a good boilerplate is to start with a new part](/tutorials/pattern-design/part-structure)
|
||||
- You've learned [how to add points and draw paths](/tutorials/pattern-design/constructing-the-neck-opening)
|
||||
- You learned how you can make changes in a loop to [adapt the neckopening](/tutorials/pattern-design/fitting-the-neck-opening) or [rotate the straps](/tutorials/pattern-design/avoiding-overlap) until they were just right
|
||||
- You learned how you can make changes in a loop to [adapt the neck opening](/tutorials/pattern-design/fitting-the-neck-opening) or [rotate the straps](/tutorials/pattern-design/avoiding-overlap) until they were just right
|
||||
- You learned about [macros and how to use them](/tutorials/pattern-design/creating-the-closure)
|
||||
- You learned different methods to manipulate [points](/reference/api/point/) and [paths](/reference/api/path/)
|
||||
- You learned about using [attributes](/reference/api/attributes/) to influence the appearance of points and paths
|
||||
|
|
|
|||
|
|
@ -20,22 +20,25 @@ let {
|
|||
points,
|
||||
Path,
|
||||
paths,
|
||||
complete,
|
||||
sa,
|
||||
paperless,
|
||||
measurements,
|
||||
options
|
||||
} = part.shorthand();
|
||||
} = part.shorthand()
|
||||
```
|
||||
|
||||
Great. Now let's get to work:
|
||||
|
||||
```js
|
||||
// Design pattern here
|
||||
points.right = new Point(measurements.head / 10, 0);
|
||||
points.bottom = new Point(0, measurements.head / 12);
|
||||
points.right = new Point(measurements.head / 10, 0)
|
||||
points.bottom = new Point(0, measurements.head / 12)
|
||||
|
||||
points.rightCp1 = points.right
|
||||
.shift(90, points.bottom.dy(points.right)/2);
|
||||
.shift(90, points.bottom.dy(points.right)/2)
|
||||
points.bottomCp2 = points.bottom
|
||||
.shift(0, points.bottom.dx(points.right)/2);
|
||||
.shift(0, points.bottom.dx(points.right)/2)
|
||||
|
||||
paths.neck = new Path()
|
||||
.move(points.right)
|
||||
|
|
@ -45,11 +48,11 @@ paths.neck = new Path()
|
|||
You've added some points to your part, and drawn your first path. Let's look at each line in detail:
|
||||
|
||||
```js
|
||||
points.right = new Point(measurements.head / 10, 0);
|
||||
points.right = new Point(measurements.head / 10, 0)
|
||||
```
|
||||
|
||||
- We're adding a point named `right` to `points` which holds our part's points
|
||||
- We're using the Point constructor, which takes two arguments: The points X and Y values
|
||||
- We're using the Point constructor, which takes two arguments: The point's X and Y values
|
||||
- The X value is `measurements.head / 10`
|
||||
- The Y value is `0`
|
||||
|
||||
|
|
@ -57,7 +60,7 @@ The `bottom` part is very similar, so let's skip to the next line:
|
|||
|
||||
```js
|
||||
points.rightCp1 = points.right
|
||||
.shift(90, points.bottom.dy(points.right)/2);
|
||||
.shift(90, points.bottom.dy(points.right)/2)
|
||||
```
|
||||
|
||||
- We're adding a point named `rightCp1`, which will become the *control point* of the right part
|
||||
|
|
|
|||
Binary file not shown.
|
Before Width: | Height: | Size: 151 KiB After Width: | Height: | Size: 82 KiB |
|
|
@ -3,10 +3,18 @@ title: Setting up the development environment
|
|||
order: 100
|
||||
---
|
||||
|
||||
<Note>
|
||||
|
||||
###### Already did the Getting started tutorial?
|
||||
|
||||
If you already set up the FreeSewing development environment and created a pattern, you can use that pattern and skip these steps. You can move on to [Your first part](/tutorials/pattern-design/your-first-part/).
|
||||
|
||||
</Note>
|
||||
|
||||
Open a terminal and enter the following command:
|
||||
|
||||
```bash
|
||||
npm init freesewing-pattern
|
||||
npx create-freesewing-pattern
|
||||
```
|
||||
|
||||
This will load a few dependencies, and then ask you the following questions:
|
||||
|
|
@ -18,7 +26,7 @@ This will load a few dependencies, and then ask you the following questions:
|
|||
- **Department**: Use the arrow keys to select `Accessories`
|
||||
- **Author**: Enter your GitHub username
|
||||
- **GitHub repository**: This will be prefilled for you, so just hit Enter
|
||||
- **Package manager**: Use the arrow to choose. Pick `NPM` if you're not sure.
|
||||
- **Package manager**: Use the arrow to choose. Pick `npm` if you're not sure.
|
||||
|
||||
After you've answered these questions, the default template will be copied, after which all dependencies will be installed.
|
||||
|
||||
|
|
@ -28,26 +36,11 @@ This will take a few minutes because we're loading some software for your develo
|
|||
|
||||
</Note>
|
||||
|
||||
When it's ready, you'll need to run two commands in parallel. In the current terminal,
|
||||
enter the directory that was just created for our `tutorial` pattern and start rollup in watch mode:
|
||||
|
||||
```bash
|
||||
cd tutorial
|
||||
npm run start
|
||||
```
|
||||
|
||||
Or if you chose to use Yarn as package manager:
|
||||
|
||||
```bash
|
||||
cd tutorial
|
||||
yarn start
|
||||
```
|
||||
|
||||
Now open a second terminal, and navigate to the `example` subfolder and run the same command there:
|
||||
When it's ready, enter the directory that was just created for our `tutorial` pattern and navigate to the `example` subfolder. There, start the development environment:
|
||||
|
||||
```bash:
|
||||
cd tutorial/example
|
||||
npm run start
|
||||
npm start
|
||||
```
|
||||
|
||||
Or if you chose to use Yarn as package manager:
|
||||
|
|
@ -63,10 +56,7 @@ If all goes well, your browser will open and show the following landing page:
|
|||
|
||||
<Note>
|
||||
|
||||
###### Using Windows?
|
||||
|
||||
We have tested this on Linux and MacOS, but not on Windows since I (joost) don't have
|
||||
a Windows machine I can test this on.
|
||||
###### Need help?
|
||||
|
||||
If you run into any issues, join [our chatroom](https://discord.freesewing.org/) and
|
||||
we'll figure it out together.
|
||||
|
|
|
|||
|
|
@ -21,10 +21,13 @@ let {
|
|||
points,
|
||||
Path,
|
||||
paths,
|
||||
complete,
|
||||
sa,
|
||||
paperless,
|
||||
measurements,
|
||||
options,
|
||||
macro
|
||||
} = part.shorthand();
|
||||
} = part.shorthand()
|
||||
```
|
||||
|
||||
We need a half circle here, but the `round` macro works on 90° angles, so you'll use it twice.
|
||||
|
|
@ -32,11 +35,11 @@ We need a half circle here, but the `round` macro works on 90° angles, so you'l
|
|||
As such, let's add some points to guide the macro, and then put it to work:
|
||||
|
||||
```js
|
||||
let strap = points.edgeTop.dy(points.top);
|
||||
let strap = points.edgeTop.dy(points.top)
|
||||
|
||||
points.tipRight = points.edgeTop.translate(strap / 2, strap / 2);
|
||||
points.tipRightTop = new Point(points.tipRight.x, points.edgeTop.y);
|
||||
points.tipRightBottom = new Point(points.tipRight.x, points.top.y);
|
||||
points.tipRight = points.edgeTop.translate(strap / 2, strap / 2)
|
||||
points.tipRightTop = new Point(points.tipRight.x, points.edgeTop.y)
|
||||
points.tipRightBottom = new Point(points.tipRight.x, points.top.y)
|
||||
|
||||
macro("round", {
|
||||
from: points.edgeTop,
|
||||
|
|
@ -44,17 +47,17 @@ macro("round", {
|
|||
via: points.tipRightTop,
|
||||
prefix: "tipRightTop",
|
||||
render: true
|
||||
});
|
||||
})
|
||||
macro("round", {
|
||||
from: points.tipRight,
|
||||
to: points.top,
|
||||
via: points.tipRightBottom,
|
||||
prefix: "tipRightBottom",
|
||||
render: true
|
||||
});
|
||||
})
|
||||
```
|
||||
|
||||
<Fixme> Add link to macro/extend docs </Fixme>
|
||||
<Note> You can find more information on the `round` macro in [the macros docs](/reference/macros/round/).</Note>
|
||||
|
||||
<Example pattern="tutorial" part="step7" caption="Pretty good, but how are we going to fit it over the baby's head?" />
|
||||
|
||||
|
|
|
|||
|
|
@ -6,16 +6,16 @@ order: 190
|
|||
With our neck opening in place, let's draw the basic outline of our bib:
|
||||
|
||||
```js
|
||||
let width = measurements.head * options.widthRatio;
|
||||
let length = measurements.head * options.lengthRatio;
|
||||
let width = measurements.head * options.widthRatio
|
||||
let length = measurements.head * options.lengthRatio
|
||||
|
||||
points.topLeft = new Point(
|
||||
width / -2,
|
||||
points.top.y - (width / 2 - points.right.x)
|
||||
);
|
||||
points.topRight = points.topLeft.shift(0, width);
|
||||
points.bottomLeft = points.topLeft.shift(-90, length);
|
||||
points.bottomRight = points.topRight.shift(-90, length);
|
||||
points.topRight = points.topLeft.shift(0, width)
|
||||
points.bottomLeft = points.topLeft.shift(-90, length)
|
||||
points.bottomRight = points.topRight.shift(-90, length)
|
||||
|
||||
paths.rect = new Path()
|
||||
.move(points.topLeft)
|
||||
|
|
@ -23,15 +23,15 @@ paths.rect = new Path()
|
|||
.line(points.bottomRight)
|
||||
.line(points.topRight)
|
||||
.line(points.topLeft)
|
||||
.close();
|
||||
.close()
|
||||
```
|
||||
|
||||
First thing we did was create the `width` and `length` variables to
|
||||
save ourselves some typing:
|
||||
|
||||
```js
|
||||
let width = measurements.head * options.widthRatio;
|
||||
let length = measurements.head * options.lengthRatio;
|
||||
let width = measurements.head * options.widthRatio
|
||||
let length = measurements.head * options.lengthRatio
|
||||
```
|
||||
|
||||
Both the length and width of your bib are a factor of the head circumference.
|
||||
|
|
@ -44,10 +44,10 @@ Once we have our variables, we're adding some new points, and a second path call
|
|||
points.topLeft = new Point(
|
||||
width / -2,
|
||||
points.top.y - (width / 2 - points.right.x)
|
||||
);
|
||||
points.topRight = points.topLeft.shift(0, width);
|
||||
points.bottomLeft = points.topLeft.shift(-90, length);
|
||||
points.bottomRight = points.topRight.shift(-90, length);
|
||||
)
|
||||
points.topRight = points.topLeft.shift(0, width)
|
||||
points.bottomLeft = points.topLeft.shift(-90, length)
|
||||
points.bottomRight = points.topRight.shift(-90, length)
|
||||
|
||||
paths.rect = new Path()
|
||||
.move(points.topLeft)
|
||||
|
|
@ -55,7 +55,7 @@ paths.rect = new Path()
|
|||
.line(points.bottomRight)
|
||||
.line(points.topRight)
|
||||
.line(points.topLeft)
|
||||
.close();
|
||||
.close()
|
||||
```
|
||||
|
||||
We're calculating the `topLeft` point so that the top edge of our bib
|
||||
|
|
|
|||
|
|
@ -9,17 +9,17 @@ and create one single path that follows our bib outline.
|
|||
First, let's create the points:
|
||||
|
||||
```js
|
||||
points.edgeTopRightCp = points.edgeTopLeftCp.flipX();
|
||||
points.topCp1 = points.topCp2.flipX();
|
||||
points.tipLeftTopStart = points.tipRightTopStart.flipX();
|
||||
points.tipLeftTopCp1 = points.tipRightTopCp1.flipX();
|
||||
points.tipLeftTopCp2 = points.tipRightTopCp2.flipX();
|
||||
points.tipLeftTopEnd = points.tipRightTopEnd.flipX();
|
||||
points.tipLeftBottomStart = points.tipRightBottomStart.flipX();
|
||||
points.tipLeftBottomCp1 = points.tipRightBottomCp1.flipX();
|
||||
points.tipLeftBottomCp2 = points.tipRightBottomCp2.flipX();
|
||||
points.tipLeftBottomEnd = points.tipRightBottomEnd.flipX();
|
||||
points.snapRight = points.snapLeft.flipX();
|
||||
points.edgeTopRightCp = points.edgeTopLeftCp.flipX()
|
||||
points.topCp1 = points.topCp2.flipX()
|
||||
points.tipLeftTopStart = points.tipRightTopStart.flipX()
|
||||
points.tipLeftTopCp1 = points.tipRightTopCp1.flipX()
|
||||
points.tipLeftTopCp2 = points.tipRightTopCp2.flipX()
|
||||
points.tipLeftTopEnd = points.tipRightTopEnd.flipX()
|
||||
points.tipLeftBottomStart = points.tipRightBottomStart.flipX()
|
||||
points.tipLeftBottomCp1 = points.tipRightBottomCp1.flipX()
|
||||
points.tipLeftBottomCp2 = points.tipRightBottomCp2.flipX()
|
||||
points.tipLeftBottomEnd = points.tipRightBottomEnd.flipX()
|
||||
points.snapRight = points.snapLeft.flipX()
|
||||
```
|
||||
|
||||
Now, remove the `neck` and `rect` paths that we created earlier, and replace
|
||||
|
|
@ -82,9 +82,35 @@ paths.seam = new Path()
|
|||
points.edgeLeft
|
||||
)
|
||||
.close()
|
||||
.attr("class", "fabric");
|
||||
.attr("class", "fabric")
|
||||
```
|
||||
|
||||
The `round` macro we added earlier is still drawing a half-circle. We cannot remove the macros, or the points it creates would also disappear. Luckily, we can simply set `render` to `false` and keep the points without drawing the curves between them:
|
||||
|
||||
```js
|
||||
macro("round", {
|
||||
from: points.edgeTop,
|
||||
to: points.tipRight,
|
||||
via: points.tipRightTop,
|
||||
prefix: "tipRightTop",
|
||||
render: false // set this from true to false
|
||||
})
|
||||
macro("round", {
|
||||
from: points.tipRight,
|
||||
to: points.top,
|
||||
via: points.tipRightBottom,
|
||||
prefix: "tipRightBottom",
|
||||
render: false // set this from true to false
|
||||
})
|
||||
|
||||
```
|
||||
|
||||
<Note>
|
||||
|
||||
You can also remove the `render` line completely. More on this in the next section.
|
||||
|
||||
</Note>
|
||||
|
||||
With that out of the way, our bib now looks like this:
|
||||
|
||||
<Example pattern="tutorial" part="step9" caption="That is looking a lot like a bib" />
|
||||
|
|
|
|||
|
|
@ -6,24 +6,24 @@ order: 170
|
|||
Here's how we'll make sure the neck opening is *just right*:
|
||||
|
||||
```js
|
||||
let tweak = 1;
|
||||
let target = (measurements.head * options.neckRatio) /4;
|
||||
let delta;
|
||||
let tweak = 1
|
||||
let target = (measurements.head * options.neckRatio) /4
|
||||
let delta
|
||||
do {
|
||||
points.right = new Point(tweak * measurements.head / 10, 0);
|
||||
points.bottom = new Point(0, tweak * measurements.head / 12);
|
||||
points.right = new Point(tweak * measurements.head / 10, 0)
|
||||
points.bottom = new Point(0, tweak * measurements.head / 12)
|
||||
|
||||
points.rightCp1 = points.right.shift(90, points.bottom.dy(points.right)/2);
|
||||
points.bottomCp2 = points.bottom.shift(0, points.bottom.dx(points.right)/2);
|
||||
points.rightCp1 = points.right.shift(90, points.bottom.dy(points.right)/2)
|
||||
points.bottomCp2 = points.bottom.shift(0, points.bottom.dx(points.right)/2)
|
||||
|
||||
paths.neck = new Path()
|
||||
.move(points.right)
|
||||
.curve(points.rightCp1, points.bottomCp2, points.bottom);
|
||||
.curve(points.rightCp1, points.bottomCp2, points.bottom)
|
||||
|
||||
delta = paths.neck.length() - target;
|
||||
if (delta > 0) tweak = tweak * 0.99;
|
||||
else tweak = tweak * 1.02;
|
||||
} while (Math.abs(delta) > 1);
|
||||
delta = paths.neck.length() - target
|
||||
if (delta > 0) tweak = tweak * 0.99
|
||||
else tweak = tweak * 1.02
|
||||
} while (Math.abs(delta) > 1)
|
||||
```
|
||||
|
||||
We've added a few new variables:
|
||||
|
|
@ -41,7 +41,7 @@ length of our neck path.
|
|||
If the delta is positive, our path is too long and we reduce the tweak factor.
|
||||
If the delta is negative, our path is too short and we increase the tweak factor.
|
||||
|
||||
We keep on doing this until `Math.abs(delta)` is less than 1. Meaning that we are withing 1mm or our target value.
|
||||
We keep on doing this until `Math.abs(delta)` is less than 1. Meaning that we are within 1mm of our target value.
|
||||
|
||||
<Example pattern="tutorial" part="step2" caption="It might look the same as before, but now it's just right" />
|
||||
|
||||
|
|
|
|||
|
|
@ -6,7 +6,7 @@ order: 270
|
|||
Users can request paperless patterns by setting the `paperless` setting to `true`.
|
||||
|
||||
We can get that value of the setting from the `part.shorthand()` method.
|
||||
It will be the last shorthand we need:
|
||||
It will be the last shorthand we will put to use:
|
||||
|
||||
```js
|
||||
let {
|
||||
|
|
@ -14,14 +14,15 @@ let {
|
|||
points,
|
||||
Path,
|
||||
paths,
|
||||
complete,
|
||||
sa,
|
||||
paperless, // <- this one here
|
||||
measurements,
|
||||
options,
|
||||
macro,
|
||||
complete,
|
||||
snippets,
|
||||
Snippet,
|
||||
paperless
|
||||
} = part.shorthand();
|
||||
Snippet
|
||||
} = part.shorthand()
|
||||
```
|
||||
|
||||
The idea behind *paperless patterns* is that users don't need to print your
|
||||
|
|
@ -30,7 +31,7 @@ Instead, we include dimensions on the pattern that allows them to transfer
|
|||
the pattern directly onto fabric, or onto an intermediate medium such as tracing paper.
|
||||
|
||||
In addition, FreeSewing will automatically render a grid for each pattern part with metric or imperial
|
||||
marcations, depending on the units requested by the user.
|
||||
markings, depending on the units requested by the user.
|
||||
|
||||
While the grid gets added automatically, the dimensions you have to add yourself.
|
||||
Thankfully, there's macros that can help you with that, specifically:
|
||||
|
|
@ -40,7 +41,7 @@ Thankfully, there's macros that can help you with that, specifically:
|
|||
- The `ld` macro adds a linear dimension
|
||||
- The `pd` macro adds a path dimension that follows a given path
|
||||
|
||||
<Fixme> Add links to macro docs </Fixme>
|
||||
<Note> The documentation, as always, holds [all the information about the macros](/reference/macros/). </Note>
|
||||
|
||||
Let's look at the code:
|
||||
|
||||
|
|
@ -51,36 +52,36 @@ if (paperless) {
|
|||
from: points.bottomLeftStart,
|
||||
to: points.bottomRightEnd,
|
||||
y: points.bottomLeft.y + 15
|
||||
});
|
||||
})
|
||||
macro("vd", {
|
||||
from: points.bottomRightStart,
|
||||
to: points.bottom,
|
||||
x: points.bottomRight.x + 15
|
||||
});
|
||||
})
|
||||
macro("vd", {
|
||||
from: points.bottomRightStart,
|
||||
to: points.right,
|
||||
x: points.bottomRight.x + 30
|
||||
});
|
||||
})
|
||||
macro("vd", {
|
||||
from: points.bottomRightStart,
|
||||
to: points.tipLeftTopStart,
|
||||
x: points.bottomRight.x + 45
|
||||
});
|
||||
})
|
||||
macro("hd", {
|
||||
from: points.left,
|
||||
to: points.right,
|
||||
y: points.left.y + 25
|
||||
});
|
||||
})
|
||||
macro("ld", {
|
||||
from: points.tipLeftBottomEnd,
|
||||
to: points.tipLeftTopStart,
|
||||
d: 15
|
||||
});
|
||||
})
|
||||
}
|
||||
```
|
||||
|
||||
There's a lot going on, but it's mostly repetition. Let's look at the end result, and discuss:
|
||||
There's a lot going on, but it's mostly repetition. To see what that did to your pattern, you have to enable *paperless mode* in your developing environment; you can find the option under *Pattern options* on the right. Let's look at the end result, and discuss:
|
||||
|
||||
<Example pattern="tutorial" part="bib" caption="Your paperless bib" settings={{paperless: true}} />
|
||||
|
||||
|
|
|
|||
|
|
@ -8,7 +8,7 @@ Open `src/bib.js` and make sure it looks like this:
|
|||
|
||||
```js
|
||||
export default function(part) {
|
||||
let { Point, points, Path, paths } = part.shorthand();
|
||||
let { Point, points, Path, paths, complete, sa, paperless } = part.shorthand()
|
||||
// Design pattern here
|
||||
|
||||
// Complete?
|
||||
|
|
@ -19,7 +19,7 @@ export default function(part) {
|
|||
if (paperless) {
|
||||
}
|
||||
}
|
||||
return part;
|
||||
return part
|
||||
}
|
||||
```
|
||||
|
||||
|
|
@ -36,7 +36,7 @@ export default function(part) {
|
|||
|
||||
// ...
|
||||
|
||||
return part;
|
||||
return part
|
||||
}
|
||||
|
||||
```
|
||||
|
|
@ -57,7 +57,7 @@ let {
|
|||
points,
|
||||
Path,
|
||||
paths,
|
||||
} = part.shorthand();
|
||||
} = part.shorthand()
|
||||
```
|
||||
|
||||
This is FreeSewing's **shorthand** method. It returns an object with a bunch of handy helpers
|
||||
|
|
@ -70,10 +70,21 @@ The example above makes the following variables available:
|
|||
- `Path`: The Path constructor
|
||||
- `paths`: A reference to the part's paths
|
||||
|
||||
These will make it possible for you to draw points and paths easily.
|
||||
|
||||
The following three variables are also needed to create a full-fledged FreeSewing pattern; their function and usage will
|
||||
be covered in detail [later on in this tutorial](/tutorials/pattern-design/completing-your-pattern/):
|
||||
|
||||
- `complete`: create a *complete* pattern (or not)
|
||||
- `sa`: include *seam allowance* (or not)
|
||||
- `paperless`: allow the pattern to be *paperless*
|
||||
|
||||
For now, we only need these so that the pattern skeleton compiles properly.
|
||||
|
||||
<Note>
|
||||
|
||||
This will all become clear, but if you're curious, the API docs have all the details
|
||||
on [the Part.shorthand() method](/reference/api/part/#shorthand)
|
||||
on [the Part.shorthand() method](/reference/api/part/#shorthand).
|
||||
|
||||
</Note>
|
||||
|
||||
|
|
|
|||
|
|
@ -13,18 +13,18 @@ macro("round", {
|
|||
via: points.bottomLeft,
|
||||
radius: points.bottomRight.x / 4,
|
||||
prefix: "bottomLeft"
|
||||
});
|
||||
})
|
||||
macro("round", {
|
||||
from: points.bottomLeft,
|
||||
to: points.topRight,
|
||||
via: points.bottomRight,
|
||||
radius: points.bottomRight.x / 4,
|
||||
prefix: "bottomRight"
|
||||
});
|
||||
})
|
||||
```
|
||||
|
||||
But there's still something to be learned here. If you look at our earlier use of the `round` macro,
|
||||
you'll notice that we used this line:
|
||||
you'll notice that we used this line in the beginning:
|
||||
|
||||
```js
|
||||
render: true,
|
||||
|
|
@ -37,7 +37,13 @@ Typically, your rounded corner will be part of a larger path and so you don't wa
|
|||
to draw it. That's why the `round` macro's `render` property defaults to `false`.
|
||||
|
||||
We've left it out here, and you should also remove it from your earlier use of the `round` macro.
|
||||
We merely set `render` to `true` at that time so you could see what the macro was doing.
|
||||
We merely set `render` to `true` and then `false` at that time so you could see what the macro was doing.
|
||||
|
||||
<Note>
|
||||
|
||||
There is no need to explicitly specify a default value. While writing `render: false,` also works, it clutters up your code a bit.
|
||||
|
||||
</Note>
|
||||
|
||||
With our corners rounded, we should update our path.
|
||||
Fortunately, we merely have to update the start of it. Replace this:
|
||||
|
|
|
|||
|
|
@ -16,17 +16,17 @@ As always, [the API docs](/reference/api/point/) have all the details.
|
|||
</Note>
|
||||
|
||||
```js
|
||||
points.edgeLeft = new Point(points.topLeft.x, points.left.y);
|
||||
points.edgeRight = new Point(points.topRight.x, points.right.y);
|
||||
points.edgeTop = new Point(0, points.topLeft.y);
|
||||
points.edgeLeft = new Point(points.topLeft.x, points.left.y)
|
||||
points.edgeRight = new Point(points.topRight.x, points.right.y)
|
||||
points.edgeTop = new Point(0, points.topLeft.y)
|
||||
|
||||
points.edgeLeftCp = points.edgeLeft.shiftFractionTowards(points.topLeft, 0.5);
|
||||
points.edgeRightCp = points.edgeLeftCp.flipX();
|
||||
points.edgeLeftCp = points.edgeLeft.shiftFractionTowards(points.topLeft, 0.5)
|
||||
points.edgeRightCp = points.edgeLeftCp.flipX()
|
||||
points.edgeTopLeftCp = points.edgeTop.shiftFractionTowards(
|
||||
points.topLeft,
|
||||
0.5
|
||||
);
|
||||
points.edgeTopRightCp = points.edgeTopLeftCp.flipX();
|
||||
)
|
||||
points.edgeTopRightCp = points.edgeTopLeftCp.flipX()
|
||||
```
|
||||
|
||||
Now, adapt our `rect` path so it's no longer a rectangle:
|
||||
|
|
@ -39,7 +39,7 @@ paths.rect = new Path()
|
|||
.line(points.bottomRight)
|
||||
.line(points.edgeRight)
|
||||
.curve(points.edgeRightCp, points.edgeTopRightCp, points.edgeTop)
|
||||
.close();
|
||||
.close()
|
||||
```
|
||||
|
||||
All of a sudden, things are starting to look like a bib:
|
||||
|
|
|
|||
|
|
@ -19,7 +19,7 @@ for different measurements and options to see how well it adapts.
|
|||
|
||||
If testing your pattern sounds like a lot of work, you're in luck. FreeSewing can do it
|
||||
for you. Click the **Test your pattern** button in the top navigation bar of your
|
||||
development environment, and you'll see a number of choices at the right:
|
||||
development environment, and you'll see a number of choices on the right:
|
||||
|
||||
- Test pattern options
|
||||
- Test measurements
|
||||
|
|
@ -81,7 +81,7 @@ For a the same `head` measurement, varying this option should result in increasi
|
|||
|
||||
If we test it, we can see that it works as intended. But there's one thing that perhaps requires your attention.
|
||||
Making the bib wider shortens the length from the bottom of the neck opening to the bottom of the bib.
|
||||
Thereby making the bib shortern when its worn.
|
||||
Thereby making the bib shorter when it's worn.
|
||||
|
||||
Even if the *total length* of the bib stays the same, the *useable length* shortens when the bib is made wider.
|
||||
Users will not expect this, so it's something that we should fix in our pattern.
|
||||
|
|
@ -136,7 +136,7 @@ only uses one measurement. So testing that one measurement ends up being the sam
|
|||
set of measurements.
|
||||
|
||||
But most patterns use multiple measurements, and you'll find this test gives you insight into how your
|
||||
pattern will adapt to differently sizes bodies.
|
||||
pattern will adapt to differently sized bodies.
|
||||
|
||||
<Example
|
||||
sample
|
||||
|
|
@ -175,7 +175,7 @@ that will not properly scale.
|
|||
Many drafting books will tell you to *add 3cm there* or *measure 2 inch to the right*. Those instructions
|
||||
don't scale, and you should avoid them.
|
||||
|
||||
The best patterns will pass the antperson test with 2 exact pattern. One will simply be 1/10th the scale of the other.
|
||||
The best patterns will pass the antperson test with 2 patterns exactly the same, where one will simply be 1/10th the scale of the other.
|
||||
|
||||
<Example
|
||||
sample
|
||||
|
|
|
|||
|
|
@ -24,6 +24,14 @@ Update the **parts** array with `bib`, rather than `box`:
|
|||
```js
|
||||
parts: ["bib"],
|
||||
```
|
||||
<Note>
|
||||
|
||||
##### Don't worry about the big red error
|
||||
|
||||
This will (temporarily) cause en error to appear in your development environment, because the rest of the code is still expecting to find a part named `box`, but we will fix this in the next steps.
|
||||
|
||||
</Note>
|
||||
|
||||
|
||||
When that's done, rename the `src/box.js` file into `src/bib.js`.
|
||||
|
||||
|
|
@ -31,20 +39,20 @@ Then, in the `src/index.js` file, change the import accordingly:
|
|||
|
||||
```js
|
||||
// Change this line
|
||||
//import draftBox from "./box";
|
||||
//import draftBox from "./box"
|
||||
|
||||
// Into this
|
||||
import draftBib from "./bib";
|
||||
import draftBib from "./bib"
|
||||
```
|
||||
|
||||
Finally, still in the `src/index.js` file, update the draftmethod:
|
||||
|
||||
```js
|
||||
// Change this line
|
||||
//Pattern.prototype.draftBox = draftBox;
|
||||
//Pattern.prototype.draftBox = draftBox
|
||||
|
||||
// Into this
|
||||
Pattern.prototype.draftBib = draftBib;
|
||||
Pattern.prototype.draftBib = draftBib
|
||||
```
|
||||
|
||||
<Tip>
|
||||
|
|
|
|||
Binary file not shown.
|
Before Width: | Height: | Size: 146 KiB After Width: | Height: | Size: 130 KiB |
|
|
@ -2,6 +2,6 @@
|
|||
title: Fersenumfang
|
||||
---
|
||||
|
||||
The **heel circumference** measurement is the narrowest measurement a trouser leg can be so you can still get in to it.
|
||||
Das Maß für den **Fersenumfang** ist die kleinste Weite, die ein Hosenbein haben kann und du immer noch hineinkommst.
|
||||
|
||||
To measure your heel circumference, stretch your foot forward, and run the tape measure around your foot at the widest part of your heel.
|
||||
Um deinen Fersenumfang zu messen, strecke deinen Fuß nach vorne und wickel das Maßband an der breitesten Stelle deiner Ferse um den Fuß.
|
||||
|
|
|
|||
|
|
@ -1,18 +0,0 @@
|
|||
---
|
||||
title: HPS to bust
|
||||
---
|
||||
|
||||
<Note>
|
||||
|
||||
###### HPS: high point shoulder
|
||||
|
||||
The *high point shoulder* or *HPS* point is used as the base for several vertical measurements.
|
||||
Refer to [the hps documentation](/docs/measurements/hps/) for information on how to locate this point.
|
||||
|
||||
</Note>
|
||||
|
||||
The **high point shoulder (HPS) to bust** measurement runs from your HPS down to the line that forms you bust span.
|
||||
|
||||
The HPS is where your shoulder seam would meet your neck. The point is situated where your neck meets your shoulder. If you put a marble there, it should not roll forward or backward, but roll towards your shoulder (as in, it should sit in the middle) Tp measure your HPS to bust, first localize your HPS point. Then measure straight down to the line that forms your chest circumference/bust span.
|
||||
|
||||
The point of this measurement is to locate the fullest part of your bust vertically on your torso.
|
||||
|
|
@ -1,19 +0,0 @@
|
|||
---
|
||||
title: HPS to bust
|
||||
---
|
||||
|
||||
<Note>
|
||||
|
||||
###### HPS: high point shoulder
|
||||
|
||||
The *high point shoulder* or *HPS* point is used as the base for several vertical measurements.
|
||||
Refer to [the hps documentation](/docs/measurements/hps/) for information on how to locate this point.
|
||||
|
||||
</Note>
|
||||
|
||||
The **high point shoulder (HPS) to bust** measurement runs from your HPS down to the line that forms you bust span.
|
||||
|
||||
The HPS is where your shoulder seam would meet your neck. The point is situated where your neck meets your shoulder. If you put a marble there, it should not roll forward or backward, but roll towards your shoulder (as in, it should sit in the middle)
|
||||
Tp measure your HPS to bust, first localize your HPS point. Then measure straight down to the line that forms your chest circumference/bust span.
|
||||
|
||||
The point of this measurement is to locate the fullest part of your bust vertically on your torso.
|
||||
|
|
@ -1,18 +0,0 @@
|
|||
---
|
||||
title: HPS to bust
|
||||
---
|
||||
|
||||
<Note>
|
||||
|
||||
###### HPS: high point shoulder
|
||||
|
||||
The *high point shoulder* or *HPS* point is used as the base for several vertical measurements.
|
||||
Refer to [the hps documentation](/docs/measurements/hps/) for information on how to locate this point.
|
||||
|
||||
</Note>
|
||||
|
||||
The **high point shoulder (HPS) to bust** measurement runs from your HPS down to the line that forms you bust span.
|
||||
|
||||
The HPS is where your shoulder seam would meet your neck. The point is situated where your neck meets your shoulder. If you put a marble there, it should not roll forward or backward, but roll towards your shoulder (as in, it should sit in the middle) Tp measure your HPS to bust, first localize your HPS point. Then measure straight down to the line that forms your chest circumference/bust span.
|
||||
|
||||
The point of this measurement is to locate the fullest part of your bust vertically on your torso.
|
||||
|
|
@ -1,18 +0,0 @@
|
|||
---
|
||||
title: Hauteur de poitrine
|
||||
---
|
||||
|
||||
<Note>
|
||||
|
||||
###### Sommet de l'épaule (ou PHE)
|
||||
|
||||
Le *Sommet de l'épaule* ou *PHE* est un point utilisé comme base pour plusieurs mesures verticales.
|
||||
Reportez-vous à la [documentation du sommet d'épaule](/docs/measurements/hps/) pour savoir comment localiser ce point.
|
||||
|
||||
</Note>
|
||||
|
||||
La mesure de la **hauteur épaule poitrine** (aussi appelée nuque poitrine) se fait verticalement du point le plus haut de l'épaule jusqu'à la ligne qui forme votre tour de poitrine.
|
||||
|
||||
Le point le plus haut de l'épaule est l'endroit où votre couture de l'épaule rencontrerait votre cou. Le point est situé là où le cou se rencontre votre épaule. Si vous mettiez une bille à cet endroit, elle ne devrait pas rouler en avant ou en arrière, mais rouler vers votre épaule (et ainsi tomber au milieu) Pour mesurer hauteur épaule poitrine, il faut d'abord localiser votre point le plus haut de l'épaule. Mesurez alors de façon verticale la ligne qui va jusqu'à la ligne de votre tour de poitrine.
|
||||
|
||||
L'objectif de cette mensuration est de situer la part la plus importante de votre buste avant.
|
||||
|
|
@ -1,18 +0,0 @@
|
|||
---
|
||||
title: HPS to bust
|
||||
---
|
||||
|
||||
<Note>
|
||||
|
||||
###### HPS: high point shoulder
|
||||
|
||||
The *high point shoulder* or *HPS* point is used as the base for several vertical measurements.
|
||||
Refer to [the hps documentation](/docs/measurements/hps/) for information on how to locate this point.
|
||||
|
||||
</Note>
|
||||
|
||||
The **high point shoulder (HPS) to bust** measurement runs from your HPS down to the line that forms you bust span.
|
||||
|
||||
Het HSP zit waar je schoudernaad tegen je nek zou komen. Het is het punt waar je nek overgaat in je schouder. Als je er een knikker op zou leggen zou die niet voorwaarts of achterwaards rollen maar in de richting van je schouder (dit betekent: exact in het midden) Om de afstand van het HSP tot de buste te meten moet je eerst het HSP bepalen. Meet dan verticaal naar beneden tot aan de lijn die je borstomtrek of bustewijdte bepaalt.
|
||||
|
||||
Het punt van deze afmeting is bepalen op welke hoogte het volste deel van je bust zich bevindt op je torso.
|
||||
|
|
@ -16,3 +16,24 @@ The **high point shoulder (HPS) to bust** measurement runs from your HPS down to
|
|||
To measure your HPS to bust, first [localize your HPS point](/docs/measurements/hps/). Then measure straight down to the line that forms your chest circumference/bust span.
|
||||
|
||||
The point of this measurement is to locate the fullest part of your bust vertically on your torso.
|
||||
|
||||
<Tip>
|
||||
|
||||
##### Think about which hand you're using
|
||||
|
||||
If you measure yourself, you might try to hold your measuring tape up to your shoulder with the hand on
|
||||
the same side of your body as the shoulder you're measuring. So, for example, you could be holding the top of
|
||||
the tape up to your right shoulder with your right hand, while your left hand is holding the end.
|
||||
But that means you distort the length you are trying to measure by raising your arm on the same side.
|
||||
You might not think there is a difference, but all is connected in the world of physiology, and
|
||||
doing this could lead to an error of ~2.5cm (~1 inch) in your measurement.
|
||||
Simply switch your hands around, and you get a more accurate measurement.
|
||||
|
||||
For best results, get a second person to take your measurements (if possible).
|
||||
|
||||
</Tip>
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -17,3 +17,21 @@ To measure your HPS to bust, first [localize your HPS point](/docs/measurements/
|
|||
Then measure straight down to the line that forms your chest circumference/bust span.
|
||||
|
||||
The point of this measurement is to locate the fullest part of your bust vertically on your torso.
|
||||
|
||||
<Tip>
|
||||
|
||||
##### Think about which hand you're using
|
||||
|
||||
If you measure yourself, you might try to hold your measuring tape up to your shoulder with the hand on
|
||||
the same side of your body as the shoulder you're measuring. So, for example, you could be holding the top of
|
||||
the tape up to your right shoulder with your right hand, while your left hand is holding the end.
|
||||
But that means you distort the length you are trying to measure by raising your arm on the same side.
|
||||
You might not think there is a difference, but all is connected in the world of physiology, and
|
||||
doing this could lead to an error of ~2.5cm (~1 inch) in your measurement.
|
||||
Simply switch your hands around, and you get a more accurate measurement.
|
||||
|
||||
For best results, get a second person to take your measurements (if possible).
|
||||
|
||||
</Tip>
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -16,3 +16,24 @@ The **high point shoulder (HPS) to bust** measurement runs from your HPS down to
|
|||
To measure your HPS to bust, first [localize your HPS point](/docs/measurements/hps/). Then measure straight down to the line that forms your chest circumference/bust span.
|
||||
|
||||
The point of this measurement is to locate the fullest part of your bust vertically on your torso.
|
||||
|
||||
<Tip>
|
||||
|
||||
##### Think about which hand you're using
|
||||
|
||||
If you measure yourself, you might try to hold your measuring tape up to your shoulder with the hand on
|
||||
the same side of your body as the shoulder you're measuring. So, for example, you could be holding the top of
|
||||
the tape up to your right shoulder with your right hand, while your left hand is holding the end.
|
||||
But that means you distort the length you are trying to measure by raising your arm on the same side.
|
||||
You might not think there is a difference, but all is connected in the world of physiology, and
|
||||
doing this could lead to an error of ~2.5cm (~1 inch) in your measurement.
|
||||
Simply switch your hands around, and you get a more accurate measurement.
|
||||
|
||||
For best results, get a second person to take your measurements (if possible).
|
||||
|
||||
</Tip>
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -16,3 +16,24 @@ The **high point shoulder (HPS) to bust** measurement runs from your HPS down to
|
|||
Pour mesurer votre hauteur de poitrine, il faut d'abord [localiser le point de votre sommet d'épaule](/docs/measurements/hps/). Mesurez alors de façon verticale la ligne qui va jusqu'à la ligne de votre tour de poitrine.
|
||||
|
||||
L'objectif de cette mensuration est de déterminer la part la plus importante verticale de votre buste avant.
|
||||
|
||||
<Tip>
|
||||
|
||||
##### Think about which hand you're using
|
||||
|
||||
If you measure yourself, you might try to hold your measuring tape up to your shoulder with the hand on
|
||||
the same side of your body as the shoulder you're measuring. So, for example, you could be holding the top of
|
||||
the tape up to your right shoulder with your right hand, while your left hand is holding the end.
|
||||
But that means you distort the length you are trying to measure by raising your arm on the same side.
|
||||
You might not think there is a difference, but all is connected in the world of physiology, and
|
||||
doing this could lead to an error of ~2.5cm (~1 inch) in your measurement.
|
||||
Simply switch your hands around, and you get a more accurate measurement.
|
||||
|
||||
For best results, get a second person to take your measurements (if possible).
|
||||
|
||||
</Tip>
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -16,3 +16,24 @@ The **high point shoulder (HPS) to bust** measurement runs from your HPS down to
|
|||
Om je HPS tot buste te meten, [bepaal eerst waar je HPS ligt](/docs/measurements/hps/). Meet dan verticaal naar beneden tot aan de lijn die je borstomtrek of bustewijdte bepaalt.
|
||||
|
||||
Het punt van deze afmeting is bepalen op welke hoogte het volste deel van je bust zich bevindt op je torso.
|
||||
|
||||
<Tip>
|
||||
|
||||
##### Think about which hand you're using
|
||||
|
||||
If you measure yourself, you might try to hold your measuring tape up to your shoulder with the hand on
|
||||
the same side of your body as the shoulder you're measuring. So, for example, you could be holding the top of
|
||||
the tape up to your right shoulder with your right hand, while your left hand is holding the end.
|
||||
But that means you distort the length you are trying to measure by raising your arm on the same side.
|
||||
You might not think there is a difference, but all is connected in the world of physiology, and
|
||||
doing this could lead to an error of ~2.5cm (~1 inch) in your measurement.
|
||||
Simply switch your hands around, and you get a more accurate measurement.
|
||||
|
||||
For best results, get a second person to take your measurements (if possible).
|
||||
|
||||
</Tip>
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,4 @@
|
|||
Benjamin ist ein eher einfaches Schnittmsuter, aber die von dir gewählten Optionen beeinflussen, was ausgeschnitten werden muss. Hier sind zwei typische Layouts:
|
||||
Benjamin ist ein eher einfaches Schnittmuster, aber die von dir gewählten Optionen beeinflussen, was ausgeschnitten werden muss. Hier sind zwei typische Layouts:
|
||||
|
||||
## Ohne Einstellband
|
||||
|
||||
|
|
@ -9,7 +9,7 @@ Benjamin ist ein eher einfaches Schnittmsuter, aber die von dir gewählten Optio
|
|||
- Schneide **4 Einlagen-Knoten**
|
||||
- Schneide **2 Einlagen-Kragenbänder**
|
||||
|
||||
## Mit Einstellband
|
||||
## With adjustment ribbon
|
||||
|
||||
- **Oberstoff**
|
||||
- Schneide **1 Knoten 1**
|
||||
|
|
|
|||
|
|
@ -75,7 +75,7 @@ Das Einzige was jetzt noch zu tun ist, ist die kleine Öffnung zu schließen, di
|
|||
|
||||
Bügel die Fliege nun ein letztes Mal und bewundere deine Arbeit.
|
||||
|
||||
### Mit Einstellband
|
||||
### With adjustment ribbon
|
||||
|
||||
#### Schritt 2: Das Band anfügen
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
|
||||
Controls the flare of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,4 @@
|
|||
|
||||
Controls the flare of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
|
||||
Controls the flare of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
|
||||
Controls the flare of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
|
||||
Controls the flare of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
|
||||
Controls the spread of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,4 @@
|
|||
|
||||
Controls the spread of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
|
||||
Controls the spread of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
|
||||
Controls the spread of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
|
||||
Controls the spread of the collar.
|
||||
|
||||
> FIXME: Explain what this means exactly.
|
||||
<Fixme> Explain what this means exactly. </Fixme>
|
||||
|
||||
|
|
|
|||
BIN
markdown/org/docs/patterns/cathrin/cutting/cathrin_cutting.png
Normal file
BIN
markdown/org/docs/patterns/cathrin/cutting/cathrin_cutting.png
Normal file
Binary file not shown.
|
After Width: | Height: | Size: 213 KiB |
|
|
@ -1,4 +1,13 @@
|
|||
---
|
||||
title: Cutting
|
||||
---
|
||||
Cut 1 core fabric and 1 outer fabric of the center panel, making sure to cut on the fold.
|
||||
|
||||
Cut 2 core and 2 outer of each side panel with _good sides together_.
|
||||
|
||||
For example, for the 11-panel version of Cathrin:
|
||||
* Panel 1 - Cut 1 core and 1 outer
|
||||
* Panel 2 - Cut 2 core and 2 outer
|
||||
* Panel 3 - Cut 2 core and 2 outer
|
||||
* Panel 4 - Cut 2 core and 2 outer
|
||||
* Panel 5 - Cut 2 core and 2 outer
|
||||
* Panel 6 - Cut 2 core and 2 outer
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -0,0 +1,13 @@
|
|||
Cut 1 core fabric and 1 outer fabric of the center panel, making sure to cut on the fold.
|
||||
|
||||
Cut 2 core and 2 outer of each side panel with _good sides together_.
|
||||
|
||||
For example, for the 11-panel version of Cathrin:
|
||||
* Panel 1 - Cut 1 core and 1 outer
|
||||
* Panel 2 - Cut 2 core and 2 outer
|
||||
* Panel 3 - Cut 2 core and 2 outer
|
||||
* Panel 4 - Cut 2 core and 2 outer
|
||||
* Panel 5 - Cut 2 core and 2 outer
|
||||
* Panel 6 - Cut 2 core and 2 outer
|
||||
|
||||
|
||||
|
|
@ -1,4 +1,13 @@
|
|||
---
|
||||
title: Cutting
|
||||
---
|
||||
Cut 1 core fabric and 1 outer fabric of the center panel, making sure to cut on the fold.
|
||||
|
||||
Cut 2 core and 2 outer of each side panel with _good sides together_.
|
||||
|
||||
For example, for the 11-panel version of Cathrin:
|
||||
* Panel 1 - Cut 1 core and 1 outer
|
||||
* Panel 2 - Cut 2 core and 2 outer
|
||||
* Panel 3 - Cut 2 core and 2 outer
|
||||
* Panel 4 - Cut 2 core and 2 outer
|
||||
* Panel 5 - Cut 2 core and 2 outer
|
||||
* Panel 6 - Cut 2 core and 2 outer
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,13 @@
|
|||
---
|
||||
title: Cutting
|
||||
---
|
||||
Cut 1 core fabric and 1 outer fabric of the center panel, making sure to cut on the fold.
|
||||
|
||||
Cut 2 core and 2 outer of each side panel with _good sides together_.
|
||||
|
||||
For example, for the 11-panel version of Cathrin:
|
||||
* Panel 1 - Cut 1 core and 1 outer
|
||||
* Panel 2 - Cut 2 core and 2 outer
|
||||
* Panel 3 - Cut 2 core and 2 outer
|
||||
* Panel 4 - Cut 2 core and 2 outer
|
||||
* Panel 5 - Cut 2 core and 2 outer
|
||||
* Panel 6 - Cut 2 core and 2 outer
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,13 @@
|
|||
---
|
||||
title: Knippen
|
||||
---
|
||||
Cut 1 core fabric and 1 outer fabric of the center panel, making sure to cut on the fold.
|
||||
|
||||
Cut 2 core and 2 outer of each side panel with _good sides together_.
|
||||
|
||||
For example, for the 11-panel version of Cathrin:
|
||||
* Panel 1 - Cut 1 core and 1 outer
|
||||
* Panel 2 - Cut 2 core and 2 outer
|
||||
* Panel 3 - Cut 2 core and 2 outer
|
||||
* Panel 4 - Cut 2 core and 2 outer
|
||||
* Panel 5 - Cut 2 core and 2 outer
|
||||
* Panel 6 - Cut 2 core and 2 outer
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
---
|
||||
title: Fabric options
|
||||
---
|
||||
Korsette müssen aus einem Stoff hergestellt werden, der gar keine Elastizität aufweist. Der Stoff, der für die Korsettherstellung entworfen wurde, nennt man Coutil. Obwohl Coutil teuer ist, wird für ein Korsett nicht viel benötigt. Einige billigere Alternativen sind Leinen, Denim und Baumwoll-Inlett. However, these will stretch over time and are not suitable for any garment with a large waist reduction: they are not strong enough. They are good options for testing the pattern to see how it fits on you. For corsets made from silk and cotton and other fancy fabrics, you need to use several layers - the fabric you want to be seen, on top of a layer of coutil or other strength layer, and perhaps also a third layer made out of lining which will sit next to the body.
|
||||
|
||||
For the core fabric, you need a strong fabric, such as coutil, canvas, or denim.
|
||||
|
||||
For the outer fabric, you can use most non-stretch fabrics, such as linen, cotton, or silk.
|
||||
|
|
|
|||
|
|
@ -0,0 +1,5 @@
|
|||
Corsets must be made from fabric with no stretch at all. The fabric designed for corset making is called coutil. Although coutil is expensive, not much is needed for a corset. Some cheaper alternatives include canvas, denim and cotton ticking. However, these will stretch over time and are not suitable for any garment with a large waist reduction: they are not strong enough. They are good options for testing the pattern to see how it fits on you. For corsets made from silk and cotton and other fancy fabrics, you need to use several layers - the fabric you want to be seen, on top of a layer of coutil or other strength layer, and perhaps also a third layer made out of lining which will sit next to the body.
|
||||
|
||||
For the core fabric, you need a strong fabric, such as coutil, canvas, or denim.
|
||||
|
||||
For the outer fabric, you can use most non-stretch fabrics, such as linen, cotton, or silk.
|
||||
|
|
@ -1,4 +1,5 @@
|
|||
---
|
||||
title: Fabric options
|
||||
---
|
||||
Corsets must be made from fabric with no stretch at all. The fabric designed for corset making is called coutil. Although coutil is expensive, not much is needed for a corset. Some cheaper alternatives include canvas, denim and cotton ticking. However, these will stretch over time and are not suitable for any garment with a large waist reduction: they are not strong enough. They are good options for testing the pattern to see how it fits on you. For corsets made from silk and cotton and other fancy fabrics, you need to use several layers - the fabric you want to be seen, on top of a layer of coutil or other strength layer, and perhaps also a third layer made out of lining which will sit next to the body.
|
||||
|
||||
For the core fabric, you need a strong fabric, such as coutil, canvas, or denim.
|
||||
|
||||
For the outer fabric, you can use most non-stretch fabrics, such as linen, cotton, or silk.
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
---
|
||||
title: Fabric options
|
||||
---
|
||||
Corsets must be made from fabric with no stretch at all. The fabric designed for corset making is called coutil. Although coutil is expensive, not much is needed for a corset. Some cheaper alternatives include canvas, denim and cotton ticking. However, these will stretch over time and are not suitable for any garment with a large waist reduction: they are not strong enough. They are good options for testing the pattern to see how it fits on you. For corsets made from silk and cotton and other fancy fabrics, you need to use several layers - the fabric you want to be seen, on top of a layer of coutil or other strength layer, and perhaps also a third layer made out of lining which will sit next to the body.
|
||||
|
||||
For the core fabric, you need a strong fabric, such as coutil, canvas, or denim.
|
||||
|
||||
For the outer fabric, you can use most non-stretch fabrics, such as linen, cotton, or silk.
|
||||
|
|
|
|||
|
|
@ -1,4 +1,5 @@
|
|||
---
|
||||
title: Stofkeuze
|
||||
---
|
||||
Korsetten moeten gemaakt worden van stof die geen enkele stretch heeft. De stof speciaal gemaakt voor korsetten heet coutil. Hoewel coutil duur is, heb je niet veel nodig voor een korset. Een aantal goedkopere alternatieven zijn canvas, denim en meubelstoffen. Deze rekken met de tijd echter uit en zijn niet geschikt voor eender welk kledingstuk dat de taille echt moet versmallen: ze zijn niet sterk genoeg. Het zijn goede opties om het patroon te testen en te zien hoe het je past. Voor korsetten gemaakt van zijde en katoen of andere chique stoffen heb je meerdere lagen nodig- de stof die je zichtbaar wil bovenop een laag coutil of andere sterke laag, en misschien ook een derde laag met een voering die tegen de huid komt.
|
||||
|
||||
For the core fabric, you need a strong fabric, such as coutil, canvas, or denim.
|
||||
|
||||
For the outer fabric, you can use most non-stretch fabrics, such as linen, cotton, or silk.
|
||||
|
|
|
|||
|
|
@ -1,21 +1,116 @@
|
|||
<Note>
|
||||
|
||||
###### This documentation is incomplete
|
||||
Cathrin is lacking documentation. Essentially, I haven't found the time to write it yet.
|
||||
Probably not helped by the fact that I don't tend to make many corsets.
|
||||
#### Es gibt viele Möglichkeiten, ein Korsett zu konstruieren
|
||||
|
||||
Diese Anleitung ist nur eine davon. With this method, I recommend using a wider seam allowance of at least 1.5cm so that your boning channels fit comfortably inside the seam allowance.
|
||||
|
||||
Beginner corset makers should read the tutorials written by [Sidney Eileen](http://www.sidneyeileen.com), who demonstrates several different construction methods. [Foundations Revealed](https://www.foundationsrevealed.com) is a paywall site for corset makers, with several exceptional articles free for non members.
|
||||
|
||||
#### Check the original tutorial
|
||||
This pattern is based on [this tutorial by Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/).
|
||||
Cathrin also has [this informative post on making corsets](https://katafalk.wordpress.com/2009/05/03/how-i-sew-corsets/) on her blog, which you'll might find helpful.
|
||||
This pattern is based on [this tutorial by Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/). Cathrin also has [this informative post on making corsets](https://katafalk.wordpress.com/2009/05/03/how-i-sew-corsets/) on her blog which you might find helpful.
|
||||
|
||||
</Note>
|
||||
|
||||
Beginner corset makers should read the tutorials written by [Sidney Eileen](http://www.sidneyeileen.com), who demonstrates several different construction methods. [Foundations Revealed](https://www.foundationsrevealed.com) is a paywall site for corset makers,with several exceptional articles free for non members.
|
||||
## Step 1: Sew boning channels in center front
|
||||
|
||||
Corsets must be made from fabric with no stretch at all. The fabric designed for corset making is called coutil. Although coutil is expensive, not much is needed for a corset. Some cheaper alternatives include canvas, denim and cotton ticking. However, these will stretch over time and are not suitable for any garment with a large waist reduction: they are not strong enough. They are good options for testing the pattern to see how it fits on you. For corsets made from silk and cotton and other fancy fabrics, you need to use several layers - the fabric you want to be seen, on top of a layer of coutil or other strength layer, and perhaps also a third layer made out of lining which will sit next to the body.
|
||||
|
||||
|
||||
Corsets are easier than they seem to construct, however they need several specialist items and tools.
|
||||
Start with the center front pieces. For an 11-panel Cathrin, this will be Panel 1. Place the outer Panel 1 on the core Panel 1, bad sides together.
|
||||
|
||||
You will need BONING. Historic corsets used whale bone to stiffen corsets. Modern corset makers use steel. You can get steel bones either as flat steel and spiral steel - do research, as different types of corset and different corset makers have their own preferences. Plastic bones are also a cheaper option.
|
||||
With a small stitch width (I set mine to “2”), sew a line straight down the center front. Then sew two boning channels to either side, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
You can find a good guide to other tools at Foundations Revealed.
|
||||
## Step 2: Attach the first side panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 2.
|
||||
|
||||
Place the outer Panel 2 on the outer Panel 1, _good sides together_.
|
||||
|
||||
Place the core Panel 2 on the core Panel 1, _good sides together_.
|
||||
|
||||
Ensure that the four layers of fabric line up perfectly. Double check that you haven’t mixed up pattern pieces or flipped any over by mistake.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 3: Sew the boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 2 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line. Sew slowly and keep an eye on the stitching to ensure that the distance is kept even at all times. The purpose of adding this topstitch line is to relieve some stress from the connecting seam.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 3mm, in addition to the width of your boning.
|
||||
|
||||
## Step 4: Attach the next panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 3.
|
||||
|
||||
Place the outer Panel 3 on the outer Panel 2, _good sides together_.
|
||||
|
||||
Place the core Panel 3 on the core Panel 2, _good sides together_.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 5: Sew another boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 3 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
This new boning channel should look just like the one you made attaching Panel 2 to Panel 1.
|
||||
|
||||
## Step 6: Continue attaching the side panels
|
||||
|
||||
Continue attaching panels, creating a boning channel in each seam. Attach Panel 4 to Panel, Panel 5 to Panel 4, and finally Panel 6 to Panel 5.
|
||||
|
||||
|
||||
|
||||
Repeat these steps on the other side.
|
||||
|
||||
|
||||
|
||||
## Step 7: Finish the corset back
|
||||
|
||||
With all of your panels connected, you’re working with the flat sides of each Panel 6.
|
||||
|
||||
Fold the seam allowance of both pieces inward so that the seam allowance is hidden. Press flat, then top stitch close to the edge.
|
||||
|
||||
Topstitch another seam next to the edgestitched seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
|
||||
|
||||
Mark the locations of your grommets. (Don’t insert them yet. Just mark the fabric where you’ll place them, and make sure you’re creating a strip suited to the width of your grommets.)
|
||||
|
||||
Top stitch on the opposite side of the grommet markings, then shift and topstitch another seam parallel to the topstitched seam, again leaving enough space for the boning.
|
||||
|
||||
|
||||
|
||||
Repeat on the other side.
|
||||
|
||||
## Step 8: Insert boning
|
||||
|
||||
Insert boning in all of the channels.
|
||||
|
||||
## Step 9: Bind the top and bottom
|
||||
|
||||
Use bias tape or ribbon to bind the top and bottom edges of the corset.
|
||||
|
||||
## Step 10: Set the grommets
|
||||
|
||||
Set the grommets in the locations you marked earlier.
|
||||
|
||||
## Step 11: Lace the corset
|
||||
|
||||
You’re done!
|
||||
|
|
|
|||
|
|
@ -1,21 +1,116 @@
|
|||
<Note>
|
||||
|
||||
###### This documentation is incomplete
|
||||
Cathrin is lacking documentation. Essentially, I haven't found the time to write it yet.
|
||||
Probably not helped by the fact that I don't tend to make many corsets.
|
||||
#### There are many ways to construct a corset
|
||||
|
||||
These instructions are just one way. With this method, I recommend using a wider seam allowance of at least 1.5cm so that your boning channels fit comfortably inside the seam allowance.
|
||||
|
||||
Beginner corset makers should read the tutorials written by [Sidney Eileen](http://www.sidneyeileen.com), who demonstrates several different construction methods. [Foundations Revealed](https://www.foundationsrevealed.com) is a paywall site for corset makers, with several exceptional articles free for non members.
|
||||
|
||||
#### Check the original tutorial
|
||||
This pattern is based on [this tutorial by Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/).
|
||||
Cathrin also has [this informative post on making corsets](https://katafalk.wordpress.com/2009/05/03/how-i-sew-corsets/) on her blog, which you'll might find helpful.
|
||||
This pattern is based on [this tutorial by Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/). Cathrin also has [this informative post on making corsets](https://katafalk.wordpress.com/2009/05/03/how-i-sew-corsets/) on her blog which you might find helpful.
|
||||
|
||||
</Note>
|
||||
|
||||
Beginner corset makers should read the tutorials written by [Sidney Eileen](http://www.sidneyeileen.com), who demonstrates several different construction methods. [Foundations Revealed](https://www.foundationsrevealed.com) is a paywall site for corset makers,with several exceptional articles free for non members.
|
||||
## Step 1: Sew boning channels in center front
|
||||
|
||||
Corsets must be made from fabric with no stretch at all. The fabric designed for corset making is called coutil. Although coutil is expensive, not much is needed for a corset. Some cheaper alternatives include canvas, denim and cotton ticking. However, these will stretch over time and are not suitable for any garment with a large waist reduction: they are not strong enough. They are good options for testing the pattern to see how it fits on you. For corsets made from silk and cotton and other fancy fabrics, you need to use several layers - the fabric you want to be seen, on top of a layer of coutil or other strength layer, and perhaps also a third layer made out of lining which will sit next to the body.
|
||||
|
||||
|
||||
Corsets are easier than they seem to construct, however they need several specialist items and tools.
|
||||
Start with the center front pieces. For an 11-panel Cathrin, this will be Panel 1. Place the outer Panel 1 on the core Panel 1, bad sides together.
|
||||
|
||||
You will need BONING. Historic corsets used whale bone to stiffen corsets. Modern corset makers use steel. You can get steel bones either as flat steel and spiral steel - do research, as different types of corset and different corset makers have their own preferences. Plastic bones are also a cheaper option.
|
||||
With a small stitch width (I set mine to “2”), sew a line straight down the center front. Then sew two boning channels to either side, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
You can find a good guide to other tools at Foundations Revealed.
|
||||
## Step 2: Attach the first side panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 2.
|
||||
|
||||
Place the outer Panel 2 on the outer Panel 1, _good sides together_.
|
||||
|
||||
Place the core Panel 2 on the core Panel 1, _good sides together_.
|
||||
|
||||
Ensure that the four layers of fabric line up perfectly. Double check that you haven’t mixed up pattern pieces or flipped any over by mistake.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 3: Sew the boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 2 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line. Sew slowly and keep an eye on the stitching to ensure that the distance is kept even at all times. The purpose of adding this topstitch line is to relieve some stress from the connecting seam.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 3mm, in addition to the width of your boning.
|
||||
|
||||
## Step 4: Attach the next panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 3.
|
||||
|
||||
Place the outer Panel 3 on the outer Panel 2, _good sides together_.
|
||||
|
||||
Place the core Panel 3 on the core Panel 2, _good sides together_.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 5: Sew another boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 3 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
This new boning channel should look just like the one you made attaching Panel 2 to Panel 1.
|
||||
|
||||
## Step 6: Continue attaching the side panels
|
||||
|
||||
Continue attaching panels, creating a boning channel in each seam. Attach Panel 4 to Panel, Panel 5 to Panel 4, and finally Panel 6 to Panel 5.
|
||||
|
||||
|
||||
|
||||
Repeat these steps on the other side.
|
||||
|
||||
|
||||
|
||||
## Step 7: Finish the corset back
|
||||
|
||||
With all of your panels connected, you’re working with the flat sides of each Panel 6.
|
||||
|
||||
Fold the seam allowance of both pieces inward so that the seam allowance is hidden. Press flat, then top stitch close to the edge.
|
||||
|
||||
Topstitch another seam next to the edgestitched seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
|
||||
|
||||
Mark the locations of your grommets. (Don’t insert them yet. Just mark the fabric where you’ll place them, and make sure you’re creating a strip suited to the width of your grommets.)
|
||||
|
||||
Top stitch on the opposite side of the grommet markings, then shift and topstitch another seam parallel to the topstitched seam, again leaving enough space for the boning.
|
||||
|
||||
|
||||
|
||||
Repeat on the other side.
|
||||
|
||||
## Step 8: Insert boning
|
||||
|
||||
Insert boning in all of the channels.
|
||||
|
||||
## Step 9: Bind the top and bottom
|
||||
|
||||
Use bias tape or ribbon to bind the top and bottom edges of the corset.
|
||||
|
||||
## Step 10: Set the grommets
|
||||
|
||||
Set the grommets in the locations you marked earlier.
|
||||
|
||||
## Step 11: Lace the corset
|
||||
|
||||
You’re done!
|
||||
|
|
|
|||
|
|
@ -1,21 +1,116 @@
|
|||
<Note>
|
||||
|
||||
###### This documentation is incomplete
|
||||
Cathrin is lacking documentation. Essentially, I haven't found the time to write it yet.
|
||||
Probably not helped by the fact that I don't tend to make many corsets.
|
||||
#### There are many ways to construct a corset
|
||||
|
||||
These instructions are just one way. With this method, I recommend using a wider seam allowance of at least 1.5cm so that your boning channels fit comfortably inside the seam allowance.
|
||||
|
||||
Beginner corset makers should read the tutorials written by [Sidney Eileen](http://www.sidneyeileen.com), who demonstrates several different construction methods. [Foundations Revealed](https://www.foundationsrevealed.com) is a paywall site for corset makers, with several exceptional articles free for non members.
|
||||
|
||||
#### Check the original tutorial
|
||||
This pattern is based on [this tutorial by Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/).
|
||||
Cathrin also has [this informative post on making corsets](https://katafalk.wordpress.com/2009/05/03/how-i-sew-corsets/) on her blog, which you'll might find helpful.
|
||||
This pattern is based on [this tutorial by Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/). Cathrin also has [this informative post on making corsets](https://katafalk.wordpress.com/2009/05/03/how-i-sew-corsets/) on her blog which you might find helpful.
|
||||
|
||||
</Note>
|
||||
|
||||
Beginner corset makers should read the tutorials written by [Sidney Eileen](http://www.sidneyeileen.com), who demonstrates several different construction methods. [Foundations Revealed](https://www.foundationsrevealed.com) is a paywall site for corset makers,with several exceptional articles free for non members.
|
||||
## Step 1: Sew boning channels in center front
|
||||
|
||||
Corsets must be made from fabric with no stretch at all. The fabric designed for corset making is called coutil. Although coutil is expensive, not much is needed for a corset. Some cheaper alternatives include canvas, denim and cotton ticking. However, these will stretch over time and are not suitable for any garment with a large waist reduction: they are not strong enough. They are good options for testing the pattern to see how it fits on you. For corsets made from silk and cotton and other fancy fabrics, you need to use several layers - the fabric you want to be seen, on top of a layer of coutil or other strength layer, and perhaps also a third layer made out of lining which will sit next to the body.
|
||||
|
||||
|
||||
Corsets are easier than they seem to construct, however they need several specialist items and tools.
|
||||
Start with the center front pieces. For an 11-panel Cathrin, this will be Panel 1. Place the outer Panel 1 on the core Panel 1, bad sides together.
|
||||
|
||||
You will need BONING. Historic corsets used whale bone to stiffen corsets. Modern corset makers use steel. You can get steel bones either as flat steel and spiral steel - do research, as different types of corset and different corset makers have their own preferences. Plastic bones are also a cheaper option.
|
||||
With a small stitch width (I set mine to “2”), sew a line straight down the center front. Then sew two boning channels to either side, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
You can find a good guide to other tools at Foundations Revealed.
|
||||
## Step 2: Attach the first side panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 2.
|
||||
|
||||
Place the outer Panel 2 on the outer Panel 1, _good sides together_.
|
||||
|
||||
Place the core Panel 2 on the core Panel 1, _good sides together_.
|
||||
|
||||
Ensure that the four layers of fabric line up perfectly. Double check that you haven’t mixed up pattern pieces or flipped any over by mistake.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 3: Sew the boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 2 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line. Sew slowly and keep an eye on the stitching to ensure that the distance is kept even at all times. The purpose of adding this topstitch line is to relieve some stress from the connecting seam.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 3mm, in addition to the width of your boning.
|
||||
|
||||
## Step 4: Attach the next panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 3.
|
||||
|
||||
Place the outer Panel 3 on the outer Panel 2, _good sides together_.
|
||||
|
||||
Place the core Panel 3 on the core Panel 2, _good sides together_.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 5: Sew another boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 3 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
This new boning channel should look just like the one you made attaching Panel 2 to Panel 1.
|
||||
|
||||
## Step 6: Continue attaching the side panels
|
||||
|
||||
Continue attaching panels, creating a boning channel in each seam. Attach Panel 4 to Panel, Panel 5 to Panel 4, and finally Panel 6 to Panel 5.
|
||||
|
||||
|
||||
|
||||
Repeat these steps on the other side.
|
||||
|
||||
|
||||
|
||||
## Step 7: Finish the corset back
|
||||
|
||||
With all of your panels connected, you’re working with the flat sides of each Panel 6.
|
||||
|
||||
Fold the seam allowance of both pieces inward so that the seam allowance is hidden. Press flat, then top stitch close to the edge.
|
||||
|
||||
Topstitch another seam next to the edgestitched seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
|
||||
|
||||
Mark the locations of your grommets. (Don’t insert them yet. Just mark the fabric where you’ll place them, and make sure you’re creating a strip suited to the width of your grommets.)
|
||||
|
||||
Top stitch on the opposite side of the grommet markings, then shift and topstitch another seam parallel to the topstitched seam, again leaving enough space for the boning.
|
||||
|
||||
|
||||
|
||||
Repeat on the other side.
|
||||
|
||||
## Step 8: Insert boning
|
||||
|
||||
Insert boning in all of the channels.
|
||||
|
||||
## Step 9: Bind the top and bottom
|
||||
|
||||
Use bias tape or ribbon to bind the top and bottom edges of the corset.
|
||||
|
||||
## Step 10: Set the grommets
|
||||
|
||||
Set the grommets in the locations you marked earlier.
|
||||
|
||||
## Step 11: Lace the corset
|
||||
|
||||
You’re done!
|
||||
|
|
|
|||
|
|
@ -1,21 +1,116 @@
|
|||
<Note>
|
||||
|
||||
###### This documentation is incomplete
|
||||
Cathrin is lacking documentation. Essentially, I haven't found the time to write it yet.
|
||||
Probably not helped by the fact that I don't tend to make many corsets.
|
||||
#### There are many ways to construct a corset
|
||||
|
||||
These instructions are just one way. With this method, I recommend using a wider seam allowance of at least 1.5cm so that your boning channels fit comfortably inside the seam allowance.
|
||||
|
||||
Beginner corset makers should read the tutorials written by [Sidney Eileen](http://www.sidneyeileen.com), who demonstrates several different construction methods. [Foundations Revealed](https://www.foundationsrevealed.com) is a paywall site for corset makers, with several exceptional articles free for non members.
|
||||
|
||||
#### Check the original tutorial
|
||||
This pattern is based on [this tutorial by Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/).
|
||||
Cathrin also has [this informative post on making corsets](https://katafalk.wordpress.com/2009/05/03/how-i-sew-corsets/) on her blog, which you'll might find helpful.
|
||||
This pattern is based on [this tutorial by Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/). Cathrin also has [this informative post on making corsets](https://katafalk.wordpress.com/2009/05/03/how-i-sew-corsets/) on her blog which you might find helpful.
|
||||
|
||||
</Note>
|
||||
|
||||
Beginner corset makers should read the tutorials written by [Sidney Eileen](http://www.sidneyeileen.com), who demonstrates several different construction methods. [Foundations Revealed](https://www.foundationsrevealed.com) is a paywall site for corset makers,with several exceptional articles free for non members.
|
||||
## Step 1: Sew boning channels in center front
|
||||
|
||||
Corsets must be made from fabric with no stretch at all. The fabric designed for corset making is called coutil. Although coutil is expensive, not much is needed for a corset. Some cheaper alternatives include canvas, denim and cotton ticking. However, these will stretch over time and are not suitable for any garment with a large waist reduction: they are not strong enough. They are good options for testing the pattern to see how it fits on you. For corsets made from silk and cotton and other fancy fabrics, you need to use several layers - the fabric you want to be seen, on top of a layer of coutil or other strength layer, and perhaps also a third layer made out of lining which will sit next to the body.
|
||||
|
||||
|
||||
Corsets are easier than they seem to construct, however they need several specialist items and tools.
|
||||
Start with the center front pieces. For an 11-panel Cathrin, this will be Panel 1. Place the outer Panel 1 on the core Panel 1, bad sides together.
|
||||
|
||||
You will need BONING. Historic corsets used whale bone to stiffen corsets. Modern corset makers use steel. You can get steel bones either as flat steel and spiral steel - do research, as different types of corset and different corset makers have their own preferences. Plastic bones are also a cheaper option.
|
||||
With a small stitch width (I set mine to “2”), sew a line straight down the center front. Then sew two boning channels to either side, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
You can find a good guide to other tools at Foundations Revealed.
|
||||
## Step 2: Attach the first side panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 2.
|
||||
|
||||
Place the outer Panel 2 on the outer Panel 1, _good sides together_.
|
||||
|
||||
Place the core Panel 2 on the core Panel 1, _good sides together_.
|
||||
|
||||
Ensure that the four layers of fabric line up perfectly. Double check that you haven’t mixed up pattern pieces or flipped any over by mistake.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 3: Sew the boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 2 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line. Sew slowly and keep an eye on the stitching to ensure that the distance is kept even at all times. The purpose of adding this topstitch line is to relieve some stress from the connecting seam.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 3mm, in addition to the width of your boning.
|
||||
|
||||
## Step 4: Attach the next panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 3.
|
||||
|
||||
Place the outer Panel 3 on the outer Panel 2, _good sides together_.
|
||||
|
||||
Place the core Panel 3 on the core Panel 2, _good sides together_.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 5: Sew another boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 3 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
This new boning channel should look just like the one you made attaching Panel 2 to Panel 1.
|
||||
|
||||
## Step 6: Continue attaching the side panels
|
||||
|
||||
Continue attaching panels, creating a boning channel in each seam. Attach Panel 4 to Panel, Panel 5 to Panel 4, and finally Panel 6 to Panel 5.
|
||||
|
||||
|
||||
|
||||
Repeat these steps on the other side.
|
||||
|
||||
|
||||
|
||||
## Step 7: Finish the corset back
|
||||
|
||||
With all of your panels connected, you’re working with the flat sides of each Panel 6.
|
||||
|
||||
Fold the seam allowance of both pieces inward so that the seam allowance is hidden. Press flat, then top stitch close to the edge.
|
||||
|
||||
Topstitch another seam next to the edgestitched seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
|
||||
|
||||
Mark the locations of your grommets. (Don’t insert them yet. Just mark the fabric where you’ll place them, and make sure you’re creating a strip suited to the width of your grommets.)
|
||||
|
||||
Top stitch on the opposite side of the grommet markings, then shift and topstitch another seam parallel to the topstitched seam, again leaving enough space for the boning.
|
||||
|
||||
|
||||
|
||||
Repeat on the other side.
|
||||
|
||||
## Step 8: Insert boning
|
||||
|
||||
Insert boning in all of the channels.
|
||||
|
||||
## Step 9: Bind the top and bottom
|
||||
|
||||
Use bias tape or ribbon to bind the top and bottom edges of the corset.
|
||||
|
||||
## Step 10: Set the grommets
|
||||
|
||||
Set the grommets in the locations you marked earlier.
|
||||
|
||||
## Step 11: Lace the corset
|
||||
|
||||
You’re done!
|
||||
|
|
|
|||
|
|
@ -1,21 +1,116 @@
|
|||
<Note>
|
||||
|
||||
###### Deze documentatie is onvolledig
|
||||
Cathrin mist documentatie. Eerlijk gezegd heb ik nog niet de tijd gevonden dit te schrijven.
|
||||
Het feit dat ik niet veel korsetten maak helpt waarschijnlijk niet.
|
||||
#### There are many ways to construct a corset
|
||||
|
||||
These instructions are just one way. With this method, I recommend using a wider seam allowance of at least 1.5cm so that your boning channels fit comfortably inside the seam allowance.
|
||||
|
||||
Beginner corset makers should read the tutorials written by [Sidney Eileen](http://www.sidneyeileen.com), who demonstrates several different construction methods. [Foundations Revealed](https://www.foundationsrevealed.com) is a paywall site for corset makers, with several exceptional articles free for non members.
|
||||
|
||||
#### Check the original tutorial
|
||||
This pattern is based on [this tutorial by Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/). Cathrin also has [this informative post on making corsets](https://katafalk.wordpress.com/2009/05/03/how-i-sew-corsets/) on her blog which you might find helpful.
|
||||
|
||||
#### Bekijk de originele tutorial
|
||||
Dit patroon is gebaseerd op [deze tutorial van Cathrin Alen](https://katafalk.wordpress.com/2010/06/24/underbust-pattern-tutorial/).
|
||||
Cathrin heeft ook [dit informatieve bericht over het maken van korsets](https://katafalk.wordpress.com/2009/05/05/0how-i-sew-korsets/) op haar blog, wat je misschien nuttig zult vinden.
|
||||
</Note>
|
||||
|
||||
Beginnende korsettenmakers zouden de tutorials van [Sidney Eileen](http://www.sidneyeileen.com) moeten lezen, die verschillende constructiemethodes toont. [Foundations revealed](https://www.foundationsrevealed.com) is een betalende site voor korsettenmakers, met een aantal gratis artikels voor niet-leden.
|
||||
## Step 1: Sew boning channels in center front
|
||||
|
||||
Korsetten moeten gemaakt worden van stof die geen enkele stretch heeft. De stof speciaal gemaakt voor korsetten heet coutil. Hoewel coutil duur is, heb je niet veel nodig voor een korset. Een aantal goedkopere alternatieven zijn canvas, denim en meubelstoffen. Deze rekken met de tijd echter uit en zijn niet geschikt voor eender welk kledingstuk dat de taille echt moet versmallen: ze zijn niet sterk genoeg. Het zijn goede opties om het patroon te testen en te zien hoe het je past. Voor korsetten gemaakt van zijde en katoen of andere chique stoffen heb je meerdere lagen nodig- de stof die je zichtbaar wil bovenop een laag coutil of andere sterke laag, en misschien ook een derde laag met een voering die tegen de huid komt.
|
||||
|
||||
|
||||
Korsetten zijn makkelijker in elkaar te zetten dan het lijkt, alhoewel je een paar bijzondere materialen en gereedschappen nodig hebt.
|
||||
Start with the center front pieces. For an 11-panel Cathrin, this will be Panel 1. Place the outer Panel 1 on the core Panel 1, bad sides together.
|
||||
|
||||
Je zal BALEINEN nodig hebben. Historische korsetten gebruikten de baleinen van walvissen om korsetten sterker te maken. Moderne korsetmakers gebruiken staal. De walvissen zijn hier heel blij mee. Je kan stalen baleinband plat of als spiraal vinden - doe wat onderzoek, aangezien verschillende soorten korsetten en verschillende korsetmakers hun eigen voorkeuren hebben. Plastic baleinen zijn ook een goedkopere optie.
|
||||
With a small stitch width (I set mine to “2”), sew a line straight down the center front. Then sew two boning channels to either side, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
Je kan een goede lijst van andere materialen vinden bij Foundations Revealed.
|
||||
## Step 2: Attach the first side panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 2.
|
||||
|
||||
Place the outer Panel 2 on the outer Panel 1, _good sides together_.
|
||||
|
||||
Place the core Panel 2 on the core Panel 1, _good sides together_.
|
||||
|
||||
Ensure that the four layers of fabric line up perfectly. Double check that you haven’t mixed up pattern pieces or flipped any over by mistake.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 3: Sew the boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 2 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line. Sew slowly and keep an eye on the stitching to ensure that the distance is kept even at all times. The purpose of adding this topstitch line is to relieve some stress from the connecting seam.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 3mm, in addition to the width of your boning.
|
||||
|
||||
## Step 4: Attach the next panel
|
||||
|
||||
|
||||
|
||||
Take the next piece. For an 11-panel Cathrin, this will be Panel 3.
|
||||
|
||||
Place the outer Panel 3 on the outer Panel 2, _good sides together_.
|
||||
|
||||
Place the core Panel 3 on the core Panel 2, _good sides together_.
|
||||
|
||||
Match up the four layers of fabric at the narrowest part, _good sides together_, and pin. Then match the top and bottom of each panel and pin. Finally, pin the rest of the edge in place. Use as many pins as needed to make sure the panels stay perfectly aligned.
|
||||
|
||||
Sew the seam.
|
||||
|
||||
## Step 5: Sew another boning channel
|
||||
|
||||
|
||||
|
||||
Press both layers of Panel 3 away from the center, using the iron to ease the material where the seams curve.
|
||||
|
||||
Edgestitch right along the folded edge, just 1-2mm from the seam line.
|
||||
|
||||
Topstitch another seam parallel to the first seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
This new boning channel should look just like the one you made attaching Panel 2 to Panel 1.
|
||||
|
||||
## Step 6: Continue attaching the side panels
|
||||
|
||||
Continue attaching panels, creating a boning channel in each seam. Attach Panel 4 to Panel, Panel 5 to Panel 4, and finally Panel 6 to Panel 5.
|
||||
|
||||
|
||||
|
||||
Repeat these steps on the other side.
|
||||
|
||||
|
||||
|
||||
## Step 7: Finish the corset back
|
||||
|
||||
With all of your panels connected, you’re working with the flat sides of each Panel 6.
|
||||
|
||||
Fold the seam allowance of both pieces inward so that the seam allowance is hidden. Press flat, then top stitch close to the edge.
|
||||
|
||||
Topstitch another seam next to the edgestitched seam, allowing a bit of extra space, about 2mm, in addition to the width of your boning.
|
||||
|
||||
|
||||
|
||||
Mark the locations of your grommets. (Don’t insert them yet. Just mark the fabric where you’ll place them, and make sure you’re creating a strip suited to the width of your grommets.)
|
||||
|
||||
Top stitch on the opposite side of the grommet markings, then shift and topstitch another seam parallel to the topstitched seam, again leaving enough space for the boning.
|
||||
|
||||
|
||||
|
||||
Repeat on the other side.
|
||||
|
||||
## Step 8: Insert boning
|
||||
|
||||
Insert boning in all of the channels.
|
||||
|
||||
## Step 9: Bind the top and bottom
|
||||
|
||||
Use bias tape or ribbon to bind the top and bottom edges of the corset.
|
||||
|
||||
## Step 10: Set the grommets
|
||||
|
||||
Set the grommets in the locations you marked earlier.
|
||||
|
||||
## Step 11: Lace the corset
|
||||
|
||||
You’re done!
|
||||
|
|
|
|||
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|
|
@ -1,4 +1,15 @@
|
|||
---
|
||||
title: What you need
|
||||
---
|
||||
Corsets are easier to construct than they seem, however they need several specialist items and tools.
|
||||
|
||||
You will need BONING. Historic corsets used whale bone to stiffen corsets. Modern corset makers use steel. You can get steel bones either as flat steel and spiral steel - do research, as different types of corset and different corset makers have their own preferences. Plastic bones are also a cheaper option.
|
||||
|
||||
You can find a good guide to other tools at [Foundations Revealed](https://foundationsrevealed.com/).
|
||||
|
||||
Sample supplies list:
|
||||
|
||||
* About 0.5 meter of core fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* About 0.5 meter of outer fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* Boning
|
||||
* Grommets (size 2)
|
||||
* About 2 meters of bias tape
|
||||
* About 3 meters of lacing
|
||||
* Tools: Grommet setter, awl
|
||||
|
|
|
|||
|
|
@ -0,0 +1,15 @@
|
|||
Corsets are easier to construct than they seem, however they need several specialist items and tools.
|
||||
|
||||
You will need BONING. Historic corsets used whale bone to stiffen corsets. Modern corset makers use steel. You can get steel bones either as flat steel and spiral steel - do research, as different types of corset and different corset makers have their own preferences. Plastic bones are also a cheaper option.
|
||||
|
||||
You can find a good guide to other tools at [Foundations Revealed](https://foundationsrevealed.com/).
|
||||
|
||||
Sample supplies list:
|
||||
|
||||
* About 0.5 meter of core fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* About 0.5 meter of outer fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* Boning
|
||||
* Grommets (size 2)
|
||||
* About 2 meters of bias tape
|
||||
* About 3 meters of lacing
|
||||
* Tools: Grommet setter, awl
|
||||
|
|
@ -1,4 +1,15 @@
|
|||
---
|
||||
title: What you need
|
||||
---
|
||||
Corsets are easier to construct than they seem, however they need several specialist items and tools.
|
||||
|
||||
You will need BONING. Historic corsets used whale bone to stiffen corsets. Modern corset makers use steel. You can get steel bones either as flat steel and spiral steel - do research, as different types of corset and different corset makers have their own preferences. Plastic bones are also a cheaper option.
|
||||
|
||||
You can find a good guide to other tools at [Foundations Revealed](https://foundationsrevealed.com/).
|
||||
|
||||
Sample supplies list:
|
||||
|
||||
* About 0.5 meter of core fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* About 0.5 meter of outer fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* Boning
|
||||
* Grommets (size 2)
|
||||
* About 2 meters of bias tape
|
||||
* About 3 meters of lacing
|
||||
* Tools: Grommet setter, awl
|
||||
|
|
|
|||
|
|
@ -1,4 +1,15 @@
|
|||
---
|
||||
title: What you need
|
||||
---
|
||||
Corsets are easier to construct than they seem, however they need several specialist items and tools.
|
||||
|
||||
You will need BONING. Historic corsets used whale bone to stiffen corsets. Modern corset makers use steel. You can get steel bones either as flat steel and spiral steel - do research, as different types of corset and different corset makers have their own preferences. Plastic bones are also a cheaper option.
|
||||
|
||||
You can find a good guide to other tools at [Foundations Revealed](https://foundationsrevealed.com/).
|
||||
|
||||
Sample supplies list:
|
||||
|
||||
* About 0.5 meter of core fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* About 0.5 meter of outer fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* Boning
|
||||
* Grommets (size 2)
|
||||
* About 2 meters of bias tape
|
||||
* About 3 meters of lacing
|
||||
* Tools: Grommet setter, awl
|
||||
|
|
|
|||
|
|
@ -1,4 +1,15 @@
|
|||
---
|
||||
title: Wat je nodig hebt
|
||||
---
|
||||
Corsets are easier to construct than they seem, however they need several specialist items and tools.
|
||||
|
||||
You will need BONING. Historic corsets used whale bone to stiffen corsets. Modern corset makers use steel. You can get steel bones either as flat steel and spiral steel - do research, as different types of corset and different corset makers have their own preferences. Plastic bones are also a cheaper option.
|
||||
|
||||
You can find a good guide to other tools at [Foundations Revealed](https://foundationsrevealed.com/).
|
||||
|
||||
Sample supplies list:
|
||||
|
||||
* About 0.5 meter of core fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* About 0.5 meter of outer fabric ([see Fabric options](/docs/patterns/cathrin/fabric))
|
||||
* Boning
|
||||
* Grommets (size 2)
|
||||
* About 2 meters of bias tape
|
||||
* About 3 meters of lacing
|
||||
* Tools: Grommet setter, awl
|
||||
|
|
|
|||
|
|
@ -1,14 +1,30 @@
|
|||
---
|
||||
title: Zuschnitt
|
||||
title: Holmes Cutting
|
||||
---
|
||||
|
||||
The **gore** pattern piece needs to be cut on the fold to create a whole piece.
|
||||
|
||||
### Materials
|
||||
- **Oberstoff**
|
||||
- Schneiden Sie die Menge von **Keil** die Sie in den Musteroptionen ausgewählt haben
|
||||
- Schnitt **2 Ohrteile**
|
||||
- Schnitt **4 Krempeteile**
|
||||
- Cut the amount of **gores** you selected in the pattern options
|
||||
- Cut **4 ear** parts or Cut **2 ear** from main and lining.
|
||||
- Cut **4 bill** parts
|
||||
- **Futterstoff**
|
||||
- Schneiden Sie die Menge von **Keil** die Sie in den Musteroptionen ausgewählt haben
|
||||
- Schnitt **2 Ohrteile**
|
||||
- **Kunststoff**
|
||||
- Schnitt **2 Krempe**.
|
||||
- Cut the amount of **gores** you selected in the pattern options
|
||||
- **Bill Insert Material**
|
||||
- Cut **2 bill inserts**. Use your bill pattern piece with no seam allowance.
|
||||
|
||||
### Optional Fabric Ties
|
||||
If you don't wish to use ribbon for your ties you can make them out of fabric. Simply cut 4 crossgrain strips of an 1" (2.5cm) or width of your choosen + seam allowances wide and sew two tubes leaving one of the short sides open for turning. Clip the corners and trim seams. Turn out an press. If desired you can ***Edgestitch*** or ***Topstitch*** the tubes to stop the fabric from shifting. The raw edge of the tubes can then be concealed in the ear flap seam when constructing the ear flaps.
|
||||
|
||||
<Note>
|
||||
|
||||
It is recommended to draft the pattern nett and use the pattern to trace the seam lines onto fabric and add the seam allowance on the fabric rather than the pattern. This to allow for a more precise sew which is needed for a hat. Recommended seam allowance 1/4" (6mm) on the sides of the gores, ear flaps and outer curve of the bills. 1/2" (1.3cm) for the bottom of the gores, ear flaps and inner curve of the bills. With these seam allowances you will not have to trim the allowances if you do not want to.
|
||||
|
||||
</Note>
|
||||
<Warning>
|
||||
|
||||
It is recommended to make a mock-up with your gore pattern first before cutting your fabrics. This is to test the length and ease of the gore piece. Make sure to cut off the bottom seam allowance before trying it on. If it is too tight who will need to re-draft the pattern with more ease (longer head circumference) just remember the ease is split across each gore. If the peak is too high you may want to re-draft the pattern with the gore length reduced. Once re-drafted make another mock-up to check whether you are satified with the changes or not. Repeat again if you are not satisfied.
|
||||
|
||||
</Warning>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,14 +1,28 @@
|
|||
---
|
||||
title: Cutting
|
||||
title: Holmes Cutting
|
||||
---
|
||||
The **crown** pattern piece needs to be cut on the fold to create a whole piece.
|
||||
|
||||
### Materials
|
||||
- **Main fabric**
|
||||
- Cut the amount of **gores** the you selected in the pattern options
|
||||
- Cut **2 ear** parts
|
||||
- Cut **4 brim** parts
|
||||
- Cut the amount of **crowns** you selected in the pattern options
|
||||
- Cut **4 ear** parts or Cut **2 ear** from main and lining.
|
||||
- Cut **4 visor** parts
|
||||
- **Lining fabric**
|
||||
- Cut the amount of **gores** the you selected in the pattern options
|
||||
- Cut **2 ear** parts
|
||||
- **Plastic**
|
||||
- Cut **2 brim**.
|
||||
- Cut the amount of **crowns** you selected in the pattern options
|
||||
- **Visor Insert Material**
|
||||
- Cut **2 visor inserts**. Use your visor pattern piece with no seam allowance.
|
||||
|
||||
### Optional Fabric Ties
|
||||
If you don't wish to use ribbon for your ties you can make them out of fabric. Simply cut 4 crossgrain strips of an 1" (2.5cm) or width of your choosen + seam allowances wide and sew two tubes leaving one of the short sides open for turning. Clip the corners and trim seams. Turn out an press. If desired you can ***Edgestitch*** or ***Topstitch*** the tubes to stop the fabric from shifting. The raw edge of the tubes can then be concealed in the ear flap seam when constructing the ear flaps.
|
||||
|
||||
<Note>
|
||||
|
||||
It is recommended to draft the pattern nett and use the pattern to trace the seam lines onto fabric and add the seam allowance on the fabric rather than the pattern. This to allow for a more precise sew which is needed for a hat. Recommended seam allowance 1/4" (6mm) on the sides of the crowns, ear flaps and outer curve of the visors. 1/2" (1.3cm) for the bottom of the crowns, ear flaps and inner curve of the visors. With these seam allowances you will not have to trim the allowances if you do not want to.
|
||||
|
||||
</Note>
|
||||
<Warning>
|
||||
|
||||
It is recommended to make a mock-up with your crown pattern first before cutting your fabrics. This is to test the length and ease of the crown piece. Make sure to cut off the bottom seam allowance before trying it on. If it is too tight who will need to re-draft the pattern with more head ease just remember the ease is split across each crown. If the peak is too high you may want to re-draft the pattern with the crown length reduced. Once re-drafted make another mock-up to check whether you are satified with the changes or not. Repeat again if you are not satisfied.
|
||||
|
||||
</Warning>
|
||||
|
|
|
|||
|
|
@ -1,14 +1,30 @@
|
|||
---
|
||||
title: Cutting
|
||||
title: Holmes Cutting
|
||||
---
|
||||
|
||||
The **gore** pattern piece needs to be cut on the fold to create a whole piece.
|
||||
|
||||
### Materials
|
||||
- **Main fabric**
|
||||
- Cut the amount of **gores** the you selected in the pattern options
|
||||
- Cut **2 ear** parts
|
||||
- Cut **4 brim** parts
|
||||
- Cut the amount of **gores** you selected in the pattern options
|
||||
- Cut **4 ear** parts or Cut **2 ear** from main and lining.
|
||||
- Cut **4 bill** parts
|
||||
- **Lining fabric**
|
||||
- Cut the amount of **gores** the you selected in the pattern options
|
||||
- Cut **2 ear** parts
|
||||
- **Plastic**
|
||||
- Cut **2 brim**.
|
||||
- Cut the amount of **gores** you selected in the pattern options
|
||||
- **Bill Insert Material**
|
||||
- Cut **2 bill inserts**. Use your bill pattern piece with no seam allowance.
|
||||
|
||||
### Optional Fabric Ties
|
||||
If you don't wish to use ribbon for your ties you can make them out of fabric. Simply cut 4 crossgrain strips of an 1" (2.5cm) or width of your choosen + seam allowances wide and sew two tubes leaving one of the short sides open for turning. Clip the corners and trim seams. Turn out an press. If desired you can ***Edgestitch*** or ***Topstitch*** the tubes to stop the fabric from shifting. The raw edge of the tubes can then be concealed in the ear flap seam when constructing the ear flaps.
|
||||
|
||||
<Note>
|
||||
|
||||
It is recommended to draft the pattern nett and use the pattern to trace the seam lines onto fabric and add the seam allowance on the fabric rather than the pattern. This to allow for a more precise sew which is needed for a hat. Recommended seam allowance 1/4" (6mm) on the sides of the gores, ear flaps and outer curve of the bills. 1/2" (1.3cm) for the bottom of the gores, ear flaps and inner curve of the bills. With these seam allowances you will not have to trim the allowances if you do not want to.
|
||||
|
||||
</Note>
|
||||
<Warning>
|
||||
|
||||
It is recommended to make a mock-up with your gore pattern first before cutting your fabrics. This is to test the length and ease of the gore piece. Make sure to cut off the bottom seam allowance before trying it on. If it is too tight who will need to re-draft the pattern with more ease (longer head circumference) just remember the ease is split across each gore. If the peak is too high you may want to re-draft the pattern with the gore length reduced. Once re-drafted make another mock-up to check whether you are satified with the changes or not. Repeat again if you are not satisfied.
|
||||
|
||||
</Warning>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,14 +1,30 @@
|
|||
---
|
||||
title: Coupe
|
||||
title: Holmes Cutting
|
||||
---
|
||||
|
||||
The **gore** pattern piece needs to be cut on the fold to create a whole piece.
|
||||
|
||||
### Materials
|
||||
- **Tissu principal**
|
||||
- Cut the amount of **gores** the you selected in the pattern options
|
||||
- Cut **2 ear** parts
|
||||
- Cut **4 brim** parts
|
||||
- Cut the amount of **gores** you selected in the pattern options
|
||||
- Cut **4 ear** parts or Cut **2 ear** from main and lining.
|
||||
- Cut **4 bill** parts
|
||||
- **Lining fabric**
|
||||
- Cut the amount of **gores** the you selected in the pattern options
|
||||
- Cut **2 ear** parts
|
||||
- **Plastic**
|
||||
- Cut **2 brim**.
|
||||
- Cut the amount of **gores** you selected in the pattern options
|
||||
- **Bill Insert Material**
|
||||
- Cut **2 bill inserts**. Use your bill pattern piece with no seam allowance.
|
||||
|
||||
### Optional Fabric Ties
|
||||
If you don't wish to use ribbon for your ties you can make them out of fabric. Simply cut 4 crossgrain strips of an 1" (2.5cm) or width of your choosen + seam allowances wide and sew two tubes leaving one of the short sides open for turning. Clip the corners and trim seams. Turn out an press. If desired you can ***Edgestitch*** or ***Topstitch*** the tubes to stop the fabric from shifting. The raw edge of the tubes can then be concealed in the ear flap seam when constructing the ear flaps.
|
||||
|
||||
<Note>
|
||||
|
||||
It is recommended to draft the pattern nett and use the pattern to trace the seam lines onto fabric and add the seam allowance on the fabric rather than the pattern. This to allow for a more precise sew which is needed for a hat. Recommended seam allowance 1/4" (6mm) on the sides of the gores, ear flaps and outer curve of the bills. 1/2" (1.3cm) for the bottom of the gores, ear flaps and inner curve of the bills. With these seam allowances you will not have to trim the allowances if you do not want to.
|
||||
|
||||
</Note>
|
||||
<Warning>
|
||||
|
||||
It is recommended to make a mock-up with your gore pattern first before cutting your fabrics. This is to test the length and ease of the gore piece. Make sure to cut off the bottom seam allowance before trying it on. If it is too tight who will need to re-draft the pattern with more ease (longer head circumference) just remember the ease is split across each gore. If the peak is too high you may want to re-draft the pattern with the gore length reduced. Once re-drafted make another mock-up to check whether you are satified with the changes or not. Repeat again if you are not satisfied.
|
||||
|
||||
</Warning>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,14 +1,30 @@
|
|||
---
|
||||
title: Knippen
|
||||
title: Holmes Cutting
|
||||
---
|
||||
|
||||
The **gore** pattern piece needs to be cut on the fold to create a whole piece.
|
||||
|
||||
### Materials
|
||||
- **Buitenstof**
|
||||
- Cut the amount of **gores** the you selected in the pattern options
|
||||
- Cut **2 ear** parts
|
||||
- Cut **4 brim** parts
|
||||
- Cut the amount of **gores** you selected in the pattern options
|
||||
- Cut **4 ear** parts or Cut **2 ear** from main and lining.
|
||||
- Cut **4 bill** parts
|
||||
- **Voering**
|
||||
- Cut the amount of **gores** the you selected in the pattern options
|
||||
- Cut **2 ear** parts
|
||||
- **Plastic**
|
||||
- Cut **2 brim**.
|
||||
- Cut the amount of **gores** you selected in the pattern options
|
||||
- **Bill Insert Material**
|
||||
- Cut **2 bill inserts**. Use your bill pattern piece with no seam allowance.
|
||||
|
||||
### Optional Fabric Ties
|
||||
If you don't wish to use ribbon for your ties you can make them out of fabric. Simply cut 4 crossgrain strips of an 1" (2.5cm) or width of your choosen + seam allowances wide and sew two tubes leaving one of the short sides open for turning. Clip the corners and trim seams. Turn out an press. If desired you can ***Edgestitch*** or ***Topstitch*** the tubes to stop the fabric from shifting. The raw edge of the tubes can then be concealed in the ear flap seam when constructing the ear flaps.
|
||||
|
||||
<Note>
|
||||
|
||||
It is recommended to draft the pattern nett and use the pattern to trace the seam lines onto fabric and add the seam allowance on the fabric rather than the pattern. This to allow for a more precise sew which is needed for a hat. Recommended seam allowance 1/4" (6mm) on the sides of the gores, ear flaps and outer curve of the bills. 1/2" (1.3cm) for the bottom of the gores, ear flaps and inner curve of the bills. With these seam allowances you will not have to trim the allowances if you do not want to.
|
||||
|
||||
</Note>
|
||||
<Warning>
|
||||
|
||||
It is recommended to make a mock-up with your gore pattern first before cutting your fabrics. This is to test the length and ease of the gore piece. Make sure to cut off the bottom seam allowance before trying it on. If it is too tight who will need to re-draft the pattern with more ease (longer head circumference) just remember the ease is split across each gore. If the peak is too high you may want to re-draft the pattern with the gore length reduced. Once re-drafted make another mock-up to check whether you are satified with the changes or not. Repeat again if you are not satisfied.
|
||||
|
||||
</Warning>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,8 +1,34 @@
|
|||
---
|
||||
- title:Fabric options
|
||||
title: Holmes Fabric options
|
||||
---
|
||||
|
||||
For the main fabric of your cap, a thick fabric will shape better, but if you go for a lighter fabric, you can interface it to give it more body.
|
||||
### Main Fabric
|
||||
For the main fabric of your hat, a thick fabric will work best to hold the shape but if you wanna go for a lighter fabric you can interface it to give it more body. Generally you want to use **Wools** of coating weight but you can experiment with different weights and fabrics with the relevant interfacing.
|
||||
<Note>
|
||||
|
||||
A fun thing to try is printed cotton. Just double up the main fabric so each piece is double thickness. Then interface it with a **Medium Firm Interfacing**.
|
||||
|
||||
The lining can be anything, but it is usually something light and nice.
|
||||
</Note>
|
||||
|
||||
### Lining Fabric
|
||||
Generally you want a lightweight fabric such as **Silks** or **Cotton Lawn** but really you can make it from any fabric you deem appropriate for lining. Just remember it needs to protect the facing and the main fabric from your head.
|
||||
|
||||
### Einlage
|
||||
Depending on your main fabric's thickness and how well it keeps its shape you may need to interface your fabric. If you are uncertain of whether your fabric requires interfacing, quickly ***Baste*** your crown pieces together and see if the crown stays up right when placed on a surface. If it doesn't it needs interfacing. As a rule of thumb you will generally need a **Medium Firm Interfacing** but if your fabric is quite thin you may need a firmer interfacing. If you are still uncertain you can face your crown pieces and once again ***Baste*** the crown pieces together and check how it looks on your head. You can either use fusible or non-fusible interfacing. If using non-fusible interfacing you will want to flat line the interfacing to your pieces wih temporary ***Pad Stitches***.
|
||||
|
||||
<Note>
|
||||
|
||||
If you are trying to make a more Historical Holmes you can use **Tarlatan** which is a lightweight stiffened muslin. Just make sure you use natural fibres.
|
||||
|
||||
</Note>
|
||||
|
||||
### Bill Insert
|
||||
|
||||
For the bill insert you want a firm but thin material. You may want to try either, **Millinery Buckram**, **Plastic Canvas**, **Plastic Sheets** or **EVA Foam**. You can use **Leather** just know that depending on depth this may create a thicker bill and may make the bill harder to close.
|
||||
|
||||
<Note>
|
||||
|
||||
Just remember. All of these are recommendations. If you want to use something different go for it!
|
||||
|
||||
</Note>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,8 +1,32 @@
|
|||
---
|
||||
title:Fabric options
|
||||
title: Holmes Fabric options
|
||||
---
|
||||
### Main Fabric
|
||||
For the main fabric of your hat, a thick fabric will work best to hold the shape but if you wanna go for a lighter fabric you can interface it to give it more body. Generally you want to use **Wools** of coating weight but you can experiment with different weights and fabrics with the relevant interfacing.
|
||||
<Note>
|
||||
|
||||
A fun thing to try is printed cotton. Just double up the main fabric so each piece is double thickness. Then interface it with a __Medium Firm Interfacing__.
|
||||
|
||||
For the main fabric of your cap, a thick fabric will shape better, but if you go for a lighter fabric, you can interface it to give it more body.
|
||||
</Note>
|
||||
|
||||
The lining can be anything, but it is usually something light and nice.
|
||||
### Lining Fabric
|
||||
Generally you want a lightweight fabric such as **Silks** or **Cotton Lawn** but really you can make it from any fabric you deem appropriate for lining. Just remember it needs to protect the facing and the main fabric from your head.
|
||||
|
||||
### Interfacing
|
||||
Depending on your main fabric's thickness and how well it keeps its shape you may need to interface your fabric. If you are uncertain of whether your fabric requires interfacing, quickly ***Baste*** your crown pieces together and see if the crown stays up right when placed on a surface. If it doesn't it needs interfacing. As a rule of thumb you will generally need a **Medium Firm Interfacing** but if your fabric is quite thin you may need a firmer interfacing. If you are still uncertain you can face your crown pieces and once again ***Baste*** the crown pieces together and check how it looks on your head. You can either use fusible or non-fusible interfacing. If using non-fusible interfacing you will want to flat line the interfacing to your pieces wih temporary ***Pad Stitches***.
|
||||
|
||||
<Note>
|
||||
|
||||
If you are trying to make a more Historical Holmes you can use __Tarlatan__ which is a lightweight stiffened muslin. Just make sure you use natural fibres.
|
||||
|
||||
</Note>
|
||||
|
||||
### Visor Insert
|
||||
|
||||
For the visor insert you want a firm but thin material. You may want to try either, **Millinery Buckram**, **Plastic Canvas**, **Plastic Sheets** or **EVA Foam**. You can use **Leather** just know that depending on depth this may create a thicker visor and may make the visor harder to close.
|
||||
|
||||
<Note>
|
||||
|
||||
Just remember. All of these are recommendations. If you want to use something different go for it!
|
||||
|
||||
</Note>
|
||||
|
|
|
|||
|
|
@ -1,8 +1,34 @@
|
|||
---
|
||||
- title:Fabric options
|
||||
title: Holmes Fabric options
|
||||
---
|
||||
|
||||
For the main fabric of your cap, a thick fabric will shape better, but if you go for a lighter fabric, you can interface it to give it more body.
|
||||
### Main Fabric
|
||||
For the main fabric of your hat, a thick fabric will work best to hold the shape but if you wanna go for a lighter fabric you can interface it to give it more body. Generally you want to use **Wools** of coating weight but you can experiment with different weights and fabrics with the relevant interfacing.
|
||||
<Note>
|
||||
|
||||
A fun thing to try is printed cotton. Just double up the main fabric so each piece is double thickness. Then interface it with a **Medium Firm Interfacing**.
|
||||
|
||||
The lining can be anything, but it is usually something light and nice.
|
||||
</Note>
|
||||
|
||||
### Lining Fabric
|
||||
Generally you want a lightweight fabric such as **Silks** or **Cotton Lawn** but really you can make it from any fabric you deem appropriate for lining. Just remember it needs to protect the facing and the main fabric from your head.
|
||||
|
||||
### Interfacing
|
||||
Depending on your main fabric's thickness and how well it keeps its shape you may need to interface your fabric. If you are uncertain of whether your fabric requires interfacing, quickly ***Baste*** your crown pieces together and see if the crown stays up right when placed on a surface. If it doesn't it needs interfacing. As a rule of thumb you will generally need a **Medium Firm Interfacing** but if your fabric is quite thin you may need a firmer interfacing. If you are still uncertain you can face your crown pieces and once again ***Baste*** the crown pieces together and check how it looks on your head. You can either use fusible or non-fusible interfacing. If using non-fusible interfacing you will want to flat line the interfacing to your pieces wih temporary ***Pad Stitches***.
|
||||
|
||||
<Note>
|
||||
|
||||
If you are trying to make a more Historical Holmes you can use **Tarlatan** which is a lightweight stiffened muslin. Just make sure you use natural fibres.
|
||||
|
||||
</Note>
|
||||
|
||||
### Bill Insert
|
||||
|
||||
For the bill insert you want a firm but thin material. You may want to try either, **Millinery Buckram**, **Plastic Canvas**, **Plastic Sheets** or **EVA Foam**. You can use **Leather** just know that depending on depth this may create a thicker bill and may make the bill harder to close.
|
||||
|
||||
<Note>
|
||||
|
||||
Just remember. All of these are recommendations. If you want to use something different go for it!
|
||||
|
||||
</Note>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,8 +1,34 @@
|
|||
---
|
||||
- title:Fabric options
|
||||
title: Holmes Fabric options
|
||||
---
|
||||
|
||||
For the main fabric of your cap, a thick fabric will shape better, but if you go for a lighter fabric, you can interface it to give it more body.
|
||||
### Main Fabric
|
||||
For the main fabric of your hat, a thick fabric will work best to hold the shape but if you wanna go for a lighter fabric you can interface it to give it more body. Generally you want to use **Wools** of coating weight but you can experiment with different weights and fabrics with the relevant interfacing.
|
||||
<Note>
|
||||
|
||||
A fun thing to try is printed cotton. Just double up the main fabric so each piece is double thickness. Then interface it with a **Medium Firm Interfacing**.
|
||||
|
||||
The lining can be anything, but it is usually something light and nice.
|
||||
</Note>
|
||||
|
||||
### Lining Fabric
|
||||
Generally you want a lightweight fabric such as **Silks** or **Cotton Lawn** but really you can make it from any fabric you deem appropriate for lining. Just remember it needs to protect the facing and the main fabric from your head.
|
||||
|
||||
### Entoilage
|
||||
Depending on your main fabric's thickness and how well it keeps its shape you may need to interface your fabric. If you are uncertain of whether your fabric requires interfacing, quickly ***Baste*** your crown pieces together and see if the crown stays up right when placed on a surface. If it doesn't it needs interfacing. As a rule of thumb you will generally need a **Medium Firm Interfacing** but if your fabric is quite thin you may need a firmer interfacing. If you are still uncertain you can face your crown pieces and once again ***Baste*** the crown pieces together and check how it looks on your head. You can either use fusible or non-fusible interfacing. If using non-fusible interfacing you will want to flat line the interfacing to your pieces wih temporary ***Pad Stitches***.
|
||||
|
||||
<Note>
|
||||
|
||||
If you are trying to make a more Historical Holmes you can use **Tarlatan** which is a lightweight stiffened muslin. Just make sure you use natural fibres.
|
||||
|
||||
</Note>
|
||||
|
||||
### Bill Insert
|
||||
|
||||
For the bill insert you want a firm but thin material. You may want to try either, **Millinery Buckram**, **Plastic Canvas**, **Plastic Sheets** or **EVA Foam**. You can use **Leather** just know that depending on depth this may create a thicker bill and may make the bill harder to close.
|
||||
|
||||
<Note>
|
||||
|
||||
Just remember. All of these are recommendations. If you want to use something different go for it!
|
||||
|
||||
</Note>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,8 +1,34 @@
|
|||
---
|
||||
- title:Fabric options
|
||||
title: Holmes Fabric options
|
||||
---
|
||||
|
||||
Een zwaardere stof behoudt zijn vorm beter als buitenstof van je pet, maar als je een lichtere stof wil gebruiken kan je tussenvoering toevoegen.
|
||||
### Main Fabric
|
||||
For the main fabric of your hat, a thick fabric will work best to hold the shape but if you wanna go for a lighter fabric you can interface it to give it more body. Generally you want to use **Wools** of coating weight but you can experiment with different weights and fabrics with the relevant interfacing.
|
||||
<Note>
|
||||
|
||||
A fun thing to try is printed cotton. Just double up the main fabric so each piece is double thickness. Then interface it with a **Medium Firm Interfacing**.
|
||||
|
||||
De voering kan vanalles zijn, maar is meestal iets licht en aangenaam.
|
||||
</Note>
|
||||
|
||||
### Lining Fabric
|
||||
Generally you want a lightweight fabric such as **Silks** or **Cotton Lawn** but really you can make it from any fabric you deem appropriate for lining. Just remember it needs to protect the facing and the main fabric from your head.
|
||||
|
||||
### Tussenvoering
|
||||
Depending on your main fabric's thickness and how well it keeps its shape you may need to interface your fabric. If you are uncertain of whether your fabric requires interfacing, quickly ***Baste*** your crown pieces together and see if the crown stays up right when placed on a surface. If it doesn't it needs interfacing. As a rule of thumb you will generally need a **Medium Firm Interfacing** but if your fabric is quite thin you may need a firmer interfacing. If you are still uncertain you can face your crown pieces and once again ***Baste*** the crown pieces together and check how it looks on your head. You can either use fusible or non-fusible interfacing. If using non-fusible interfacing you will want to flat line the interfacing to your pieces wih temporary ***Pad Stitches***.
|
||||
|
||||
<Note>
|
||||
|
||||
If you are trying to make a more Historical Holmes you can use **Tarlatan** which is a lightweight stiffened muslin. Just make sure you use natural fibres.
|
||||
|
||||
</Note>
|
||||
|
||||
### Bill Insert
|
||||
|
||||
For the bill insert you want a firm but thin material. You may want to try either, **Millinery Buckram**, **Plastic Canvas**, **Plastic Sheets** or **EVA Foam**. You can use **Leather** just know that depending on depth this may create a thicker bill and may make the bill harder to close.
|
||||
|
||||
<Note>
|
||||
|
||||
Just remember. All of these are recommendations. If you want to use something different go for it!
|
||||
|
||||
</Note>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,11 +1,179 @@
|
|||
---
|
||||
title: Konstruktion
|
||||
title: Holmes Construction
|
||||
---
|
||||
|
||||
### Glossary
|
||||
- ***Edgestitch*** : Stitch 1/8" (3mm) away or closer from the seam
|
||||
|
||||
- ***Topstitch*** : On outside stitch 1/4" (6mm) away from the seam.
|
||||
|
||||
- ***Slipstitch*** : A concealed stitch to join folded edges to body or another folded edge.
|
||||
|
||||
- ***Whipstitch*** : A close overcast stitch. Also known as a Fell Stitch.
|
||||
|
||||
- ***Understitch*** : Press lining seam and seam allowance away from main fabric. Stitch close to seam on lining catching the seam allowance underneath.
|
||||
|
||||
- ***Baste*** : Long temporary stitches to join pieces together. Can be machined or hand-sewn.
|
||||
|
||||
- ***Pad Stitch*** : A perpendicular running stitch to secure two layers together.
|
||||
|
||||
- ***Tack*** : A running sitch in one spot to secure pieces together.
|
||||
|
||||
Glossary Terms will be formatted in ***bold and italics*** below.
|
||||
|
||||
### Step 1: Prepping the Pieces
|
||||
|
||||
__1.__ If needed, Interface the crown and half the ear flap pieces. __2.__ If not already done so, it is recommended to mark the seam lines on your fabric pieces by either a temporary marker or by thread marking. This is for a more precise sew which is key for hat construction.
|
||||
<Tip>
|
||||
|
||||
Thread marking allows for the seam line to be seen on both the right and wrong sides.
|
||||
|
||||
</Tip>
|
||||
<Note>
|
||||
|
||||
Even if you face the crown you may not want to face the ear flaps if you want them to be less rigid when tieing down.
|
||||
|
||||
</Note>
|
||||
<Warning>
|
||||
|
||||
These instructions assume you have marked your seam lines. They may be harder to follower if you skip this step.
|
||||
|
||||
</Warning>
|
||||
|
||||
### Step 2: The Crown
|
||||
|
||||
__1.__ With right sides together, matching seam lines and peaks, sew two crown pieces together. __2.__ Press seams open. You made need to use a tailors ham for this, if you do not have one you can use flannels or towels instead. __3.__ (Optional) ***Edgestitch*** both sides of the seam, making sure to catch the seam allowances. __4.__ Repeat steps 1 and 2 until you have two halves. If half the number of crown pieces is an odd number you will have to sew a single piece to each half. e.g. If you have 6 crown pieces, you make two halves of 3 sewing one piece to two sewn together pieces. __5.__ With right sides together, matchinig seam lines and peaks, sew the two halves together. You may find it easier to handstitch the peak together due to bulk or for precision. This seam will be refered to as the "centre crown seam" going forward. __6.__ (Optional) ***Edgestitch*** both sides of the centre crown seam, making sure to catch the seam allowances.
|
||||
<Note>
|
||||
|
||||
Depending on your seam allowance you may want to trim seams as you go to reduce bulk.
|
||||
|
||||
</Note>
|
||||
|
||||
### Step 3: The Ear Flaps
|
||||
|
||||
#### Ear Flaps with Ties
|
||||
|
||||
__1.__ Cut two 12" (30cm) - 16" (40cm) length of ribbon. These will be refered to as ties going forward. __2.__ ***Baste*** a tie to the right side of an ear flap (the interfaced one if using). Repeat for other tie. __3.__ With right sides together, matching seam lines, sew a tie ear flap to a non-tie ear flap. __4.__ Clip and trim seam allowance. __5.__ Turn inside out and press. __6.__ (Optional) ***Topstitch*** or ***Edgestitch*** the folded edge. __7.__ ***Baste*** the raw edges together. __8.__ Repeat steps 3 to 7 for the remaining ear flap.
|
||||
<Tip>
|
||||
|
||||
If you are uncertain about the length you want for you ties take 1 metre (39") of ribbon and cut in half. Use these halves as the ties in the instructions above. The ties are finished at the end so you can adjust the lengths then.
|
||||
|
||||
</Tip>
|
||||
<Note>
|
||||
|
||||
The lengths above are recommendations so feel free to go as long or as short as you like with the ties.
|
||||
If you prefer you can make your ties with your main fabric, you can find how to [here](https://freesewing.org/docs/patterns/holmes/cutting/).
|
||||
|
||||
</Note>
|
||||
|
||||
#### Ear Flaps with Buttonholes
|
||||
|
||||
__1.__ Face the backs of two of the buttonholes. (This is not needed if two flaps have already been interfaced) __2.__ With right sides together, matching seam lines, sew two ear flap pieces together (one interfaced, one not). __3.__ Clip and trim seam allowance. __4.__ Turn inside out and press. __5.__ (Optional) ***Topstitch*** or ***Edgestitch*** the folded edge. __6.__ ***Baste*** the raw edges together. __7.__ Sew the buttonhole in your prefered method. __8.__ Repeat steps 2 to 7 for the remaining ear flap.
|
||||
<Warning>
|
||||
|
||||
The ear flaps will need to be long enough to go over the top of the peak so they can be done up by a button on the peak. Do not use this method if you are not using a button on the top.
|
||||
|
||||
</Warning>
|
||||
<Note>
|
||||
|
||||
**For both Ear Flaps with Ties and Button Holes**
|
||||
It is recommended to at least ***Topstitch*** the ear flaps but this may not be desirable with certain patterns so has been marked as optional.
|
||||
|
||||
</Note>
|
||||
|
||||
### Step 4: The Bill
|
||||
|
||||
There are two methods for constructing the bill. This is due to the different types of materials the bill inserts can be made of. Method 1 is for materials that will not be damaged by a needle or iron. Method 2 is for materials that will be damaged by a needle or iron. Read both methods to determine which is best for you to use.
|
||||
|
||||
#### The Bill Method 1
|
||||
|
||||
__1.__ Place bill insert on one bill piece inside seam lines. __2.__ Temporarily secure bill insert to bill with temporary ***Pad Stitches***. This will be refered to as "faced bill" going forward. __3.__ ***Baste*** along the seam line of the inner curve of the bill, making sure not to catch the bill insert. __4.__ With right sides together, matching seam lines and centre fronts, sew the faced bill to another bill piece along the outer curve close to the bill insert, making sure not to catch the bill Insert. __5.__ Notch and trim the outer curve making sure not to clip the stitching. (You may wish to turn and check the shape before this step) __6.__ Turn inside out and press. Making sure that the seam allowances are on top of not under the bill insert. __7.__ Using the previous basting line as a guide, ***Baste*** the opening closed. __8.__ Repeat steps 1 to 7 for remaining bill pieces.
|
||||
|
||||
<Warning>
|
||||
|
||||
Be careful with the heat of an iron when using certain insert materials. You do not want to melt the Bill Insert and damage both it and the fabric.
|
||||
|
||||
</Warning>
|
||||
<Note>
|
||||
|
||||
If preferred you can temporarily attach the bill insert another way that does not require hand sewing and putting a needle through the material. Just make sure it does not damage your hat fabric when removing or applying.
|
||||
|
||||
</Note>
|
||||
|
||||
#### The Bill Method 2
|
||||
|
||||
__1.__ With rights sides together, matching seam lines and centre fronts, sew the outer curver of two bill pieces together. __2.__ Notch and trim (if needed) the outer curve making sure not to clip the stitching. (You may wish to turn and check the shape before this step) __3.__ Turn inside out and press. __4.__ Insert bill insert in to sewn bill tightly so there is no gap on the outer curver and the seam allowances are all one on side of the bill insert. This will be the upper side of the bill. __5.__ Pin the inner curve together making sure that the outer edge is pulled tightly over the bill insert. __6.__ ***Baste*** as close as you can to the inner curve of the bill insert, making sure you pull the fabric tightly over the outer edge as you sew. __7.__ Repeat steps 1 to 6 for the remaining bill pieces.
|
||||
|
||||
### Step 5: Assembly and Lining
|
||||
|
||||
Once again there are two methods for final assembly and lining. Read both methods carefully to determine which is best for you.
|
||||
|
||||
#### Assembly and Lining Method 1
|
||||
|
||||
__1.__ Matchings centres and seam lines align the ear flap with the right side of one of the panels that is not part of the centre crown seam. Making sure the faced side is placed against the crown (if faced). __2.__ Sew ear flap to the crown along seam lines. __3.__ Repeat steps 1 and 2 for the remaining ear flap on the opposite side of the crown. __4.__ Align centre front of bill with the right side of the centre crown seam making sure the bill insert is on the bottom. __5.__ Hand-***Baste*** the bill to the crown matching the bill basting lines to the crown seam lines. It easier to ***Baste*** the centre down first and then work from the centre out. __6.__ Sew the bill to the crown along seam lines. You may find it easier to permanently hand-sew the bill on rather than using a machine. __7.__ Repeat steps 4 to 6 for the remaining bill on the opposite side of the centre crown seam. __8.__ Remove all pad and basting stitches. __9.__ Press the seam allowances inwards, making sure the stitching is not visible on the outside. __10.__ (Optional) Loosely ***Whipstitch*** the seams to the inside of the crown making sure the stitching does not show on the outside. __11.__ Construct lining the same way as the crown ommitting ***Edgestitching***. __12.__ Fold and Press under the bottom seam allowance of the lining. You may find you need to press under more to prevent the lining from showing. You may also find you need to ***Baste*** the seam allowance down. __13.__ Matching centre crown seams and panel seams, pin the lining into the hat wrong sides together. Placing the folded edge along the stitching lines. __14.__ ***Slipstitch*** or ***Whipstitch*** the lining to the seam allowance of the hat. __15.__ Remove lining basting if used. __16.__ (Optional) ***Tack*** the peak of the lining to the peak of the crown. This is to help prevent the lining from falling out.
|
||||
|
||||
#### Assembly and Lining Method 2
|
||||
|
||||
__1.__ Matchings centres and seam lines align the ear flap with the right side of one of the panels that is not part of the centre crown seam. Making sure the faced side is placed against the crown (if faced). __2.__ ***Baste*** the ear flap to the crown along seam lines __3.__ Repeat steps 1 and 2 for the remaining ear flap on the opposite side of the crown. __4.__ Align centre front of bill with the right side of the centre crown seam making sure the bill insert is on the bottom. __5.__ Hand-***Baste*** the bill to the crown matching the bill basting lines to the crown seam lines. It easier to ***Baste*** the centre down first and then work from the centre out. __6.__ (Optional) Machine-***Baste*** the bill to the crown along seam lines. __7.__ Repeat steps 4 to 6 for the remaining bill on the opposite side of the centre crown seam. __8.__ Construct lining the same way as the crown ommitting ***Edgestitching*** and leaving a gap in the centre lining seam large enough to turn the hat. __9.__ With right sides together, matching centre crown seams, panel seams and seam lines. Sew the lining to the the crown along seam lines. If bulky you may want to trim either the lining seams or both seams. __10.__ Turn hat inside out, pressing lining to inside. __11.__ ***Slipstitch*** lining opening closed. __12.__ ***Understitch*** lining. __13.__ Alternatively ***Topstitch*** or ***Edgestitch*** along the outside of the hat, catching the lining on the inside making sure it is not peaking whilst you sew. __14.__ (Optional) ***Tack*** the peak of the lining to the peak of the crown. This is to help prevent the lining from falling out.
|
||||
|
||||
<Note>
|
||||
|
||||
Instructions are yet to be written for this pattern.
|
||||
Meanwhile, watch the YouTube tutorial that ispired this pattern:
|
||||
**For both Assembly and Lining Methods**
|
||||
You can attach the bills on first, just make sure the bills are under the ear flaps if there is any overlap. It is simply whether you prefer the bills to be underneath or prefer the ear flaps to be underneath like in the instructions.
|
||||
|
||||
</Note>
|
||||
<Tip>
|
||||
|
||||
**For both Assembly and Lining Methods**
|
||||
If you are having trouble dealing with the curves of the bills, sew a stitching line an 1/8" (3mm) from the basting line in the seam allowance of the bill and clip to it. This should make it easier to bend the bill to shape. Just make sure to hide this stitching and the clips when attaching the lining.
|
||||
|
||||
</Tip>
|
||||
<Warning>
|
||||
|
||||
**For both Assembly and Lining Methods**
|
||||
Assembly and Lining instructions are written with a 6 panelled Holmes in mind. You may find the placement of bills and ear flap pieces are different for other numbered panelled Holmes. As a rule generally the centre front of the bill is always on the centre crown seam so go from there if struggling.
|
||||
|
||||
</Warning>
|
||||
|
||||
### Step 6: Finishing Ties
|
||||
|
||||
If you did not cut your ties down when constructing the ear flaps, now is the time to do so. If you made your ties with your main fabric then you do not need to do these steps. Again read through both methods carefully and pick which is the best for you.
|
||||
|
||||
#### Finishing Ties Method 1
|
||||
|
||||
__1.__ Fold the ends of a tie in half and cut a triangle out from the corner to the fold. __2.__ Unfold. __3.__ If you are worried about the ties fraying you can use fray check or equivalent. __4.__ Repeat steps 1 to 3 for the remaining tie.
|
||||
|
||||
#### Finishing Ties Method 2
|
||||
|
||||
__1.__ Fold under 1/8" (3mm) and another 1/8" (3mm) on one of the ties. Pin if needed. __2.__ ***Whipstitch*** the folded edge down to the tie __3.__ Repeat steps 1 to 2 for the remaining tie.
|
||||
|
||||
<Note>
|
||||
|
||||
To determine which way you want to fold the ties, you may find it easier to tie the ear flaps up first. Generally you want the fold to be on the underside of the ties but as always it is personal preference.
|
||||
|
||||
</Note>
|
||||
|
||||
### Step 7: Button
|
||||
|
||||
Unless you are doing the Buttonhole Ear Flaps you do not have to sew a button on but it may be useful if you want to hide any misaligned seams at the crown peak.
|
||||
|
||||
__1.__ Construct a covered button. __2.__ Attach the button via the shank to the peak of the crown doing your best to keep it in the middle of the seams. __3.__ Alternatively if you are not using the button with the ear flaps you can bend the shank down and ***Whipstitch*** the edge of the button to the crown instead so it does not move.
|
||||
|
||||
<Note>
|
||||
|
||||
Whilst certainly optional, you may find that a button is what is missing from the hat to finish the look. So if you are uncertain of the look at this point, make up a quick button and place it on temporarily to see if this is what missing. If it is attach it permanently.
|
||||
Whilst a covered button is recommeneded you can use whatever button you desire, feel free to experiment!
|
||||
|
||||
</Note>
|
||||
|
||||
### Step 8: Enjoy your new hat!
|
||||
|
||||
That's it! You're all done. Now enjoy the world in your wonderful new hat whilst maybe solving a crime or two!
|
||||
|
||||
<Note>
|
||||
|
||||
Remember these instructions are just guidelines so don't worry if you want to construct the hat differently.
|
||||
The Diagrams are yet to be made for this pattern so in the mean time if you need a visual aid, watch the YouTube tutorial that inspired this pattern:
|
||||
|
||||
</Note>
|
||||
|
||||
|
|
|
|||
|
|
@ -1,11 +1,247 @@
|
|||
---
|
||||
title: Construction
|
||||
title: Holmes Construction
|
||||
---
|
||||
|
||||
### Glossary
|
||||
- ***Edgestitch*** : Stitch 1/8" (3mm) away or closer from the seam
|
||||
|
||||
- ***Topstitch*** : On outside stitch 1/4" (6mm) away from the seam.
|
||||
|
||||
- ***Slipstitch*** : A concealed stitch to join folded edges to body or another folded edge.
|
||||
|
||||
- ***Whipstitch*** : A close overcast stitch. Also known as a Fell Stitch.
|
||||
|
||||
- ***Understitch*** : Press lining seam and seam allowance away from main fabric. Stitch close to seam on lining catching the seam allowance underneath.
|
||||
|
||||
- ***Baste*** : Long temporary stitches to join pieces together. Can be machined or hand-sewn.
|
||||
|
||||
- ***Pad Stitch*** : A perpendicular running stitch to secure two layers together.
|
||||
|
||||
- ***Tack*** : A running sitch in one spot to secure pieces together.
|
||||
|
||||
Glossary Terms will be formatted in ***bold and italics*** below.
|
||||
|
||||
### Step 1: Prepping the Pieces
|
||||
|
||||
__1.__ If needed, Interface the crown and half the ear flap pieces.
|
||||
__2.__ If not already done so, it is recommended to mark the seam lines on your fabric pieces by either a temporary marker or by thread marking. This is for a more precise sew which is key for hat construction.
|
||||
<Tip>
|
||||
|
||||
Thread marking allows for the seam line to be seen on both the right and wrong sides.
|
||||
|
||||
</Tip>
|
||||
<Note>
|
||||
|
||||
Even if you face the crown you may not want to face the ear flaps if you want them to be less rigid when tieing down.
|
||||
|
||||
</Note>
|
||||
<Warning>
|
||||
|
||||
These instructions assume you have marked your seam lines. They may be harder to follower if you skip this step.
|
||||
|
||||
</Warning>
|
||||
|
||||
### Step 2: The Crown
|
||||
|
||||
__1.__ With right sides together, matching seam lines and peaks, sew two crown pieces together.
|
||||
__2.__ Press seams open. You made need to use a tailors ham for this, if you do not have one you can use flannels or towels instead.
|
||||
__3.__ (Optional) ***Edgestitch*** both sides of the seam, making sure to catch the seam allowances.
|
||||
__4.__ Repeat steps 1 and 2 until you have two halves. If half the number of crown pieces is an odd number you will have to sew a single piece to each half. e.g. If you have 6 crown pieces, you make two halves of 3 sewing one piece to two sewn together pieces.
|
||||
__5.__ With right sides together, matchinig seam lines and peaks, sew the two halves together. You may find it easier to handstitch the peak together due to bulk or for precision. This seam will be refered to as the "centre crown seam" going forward.
|
||||
__6.__ (Optional) ***Edgestitch*** both sides of the centre crown seam, making sure to catch the seam allowances.
|
||||
<Note>
|
||||
|
||||
Depending on your seam allowance you may want to trim seams as you go to reduce bulk.
|
||||
|
||||
</Note>
|
||||
|
||||
### Step 3: The Ear Flaps
|
||||
|
||||
#### Ear Flaps with Ties
|
||||
|
||||
__1.__ Cut two 12" (30cm) - 16" (40cm) length of ribbon. These will be refered to as ties going forward.
|
||||
__2.__ ***Baste*** a tie to the right side of an ear flap (the interfaced one if using). Repeat for other tie.
|
||||
__3.__ With right sides together, matching seam lines, sew a tie ear flap to a non-tie ear flap.
|
||||
__4.__ Clip and trim seam allowance.
|
||||
__5.__ Turn inside out and press.
|
||||
__6.__ (Optional) ***Topstitch*** or ***Edgestitch*** the folded edge.
|
||||
__7.__ ***Baste*** the raw edges together.
|
||||
__8.__ Repeat steps 3 to 7 for the remaining ear flap.
|
||||
<Tip>
|
||||
|
||||
If you are uncertain about the length you want for your ties take 1 metre (39") of ribbon and cut it in half. Use these halves as the ties in the instructions above. The ties are finished at the end so you can adjust the lengths then.
|
||||
|
||||
</Tip>
|
||||
<Note>
|
||||
|
||||
The lengths above are recommendations so feel free to go as long or as short as you like with the ties.
|
||||
If you prefer you can make your custom ties with fabric, you can find how to [here](https://freesewing.org/docs/patterns/holmes/cutting/).
|
||||
|
||||
</Note>
|
||||
|
||||
#### Ear Flaps with Buttonholes
|
||||
|
||||
__1.__ Face the backs of two of the buttonholes. (This is not needed if two flaps have already been interfaced)
|
||||
__2.__ With right sides together, matching seam lines, sew two ear flap pieces together (one interfaced, one not).
|
||||
__3.__ Clip and trim seam allowance.
|
||||
__4.__ Turn inside out and press.
|
||||
__5.__ (Optional) ***Topstitch*** or ***Edgestitch*** the folded edge.
|
||||
__6.__ ***Baste*** the raw edges together.
|
||||
__7.__ Sew the buttonhole in your prefered method.
|
||||
__8.__ Repeat steps 2 to 7 for the remaining ear flap.
|
||||
<Warning>
|
||||
|
||||
The ear flaps will need to be long enough to go over the top of the peak so they can be done up by a button on the peak. Do not use this method if you are not using a button on the top.
|
||||
|
||||
</Warning>
|
||||
<Note>
|
||||
|
||||
**For both Ear Flaps with Ties and Button Holes**
|
||||
It is recommended to at least ***Topstitch*** the ear flaps but this may not be desirable with certain patterns so has been marked as optional.
|
||||
|
||||
</Note>
|
||||
|
||||
### Step 4: The Visors
|
||||
|
||||
There are two methods for constructing the visors. This is due to the different types of materials the visor inserts can be made of. Method 1 is for materials that will not be damaged by a needle or iron. Method 2 is for materials that will be damaged by a needle or iron. Read both methods to determine which is best for you to use.
|
||||
|
||||
#### The Visors Method 1
|
||||
|
||||
__1.__ Place visor insert on one visor piece inside seam lines.
|
||||
__2.__ Temporarily secure visor insert to visor with temporary ***Pad Stitches***. This will be refered to as "faced visor" going forward.
|
||||
__3.__ ***Baste*** along the seam line of the inner curve of the visor, making sure not to catch the visor insert.
|
||||
__4.__ With right sides together, matching seam lines and centre fronts, sew the faced visor to another visor piece along the outer curve close to the visor insert, making sure not to catch the visor Insert.
|
||||
__5.__ Notch and trim the outer curve making sure not to clip the stitching. (You may wish to turn and check the shape before this step)
|
||||
__6.__ Turn inside out and press. Making sure that the seam allowances are on top of not under the visor insert.
|
||||
__7.__ Using the previous basting line as a guide, ***Baste*** the opening closed.
|
||||
__8.__ Repeat steps 1 to 7 for remaining visor pieces.
|
||||
|
||||
<Warning>
|
||||
|
||||
Be careful with the heat of an iron when using certain insert materials. You do not want to melt the Visor Insert and damage both it and the fabric.
|
||||
|
||||
</Warning>
|
||||
<Note>
|
||||
|
||||
If preferred you can temporarily attach the visor insert another way that does not require hand sewing and putting a needle through the material. Just make sure it does not damage your hat fabric when removing or applying.
|
||||
|
||||
</Note>
|
||||
|
||||
#### The Visors Method 2
|
||||
|
||||
__1.__ With rights sides together, matching seam lines and centre fronts, sew the outer curver of two visor pieces together.
|
||||
__2.__ Notch and trim (if needed) the outer curve making sure not to clip the stitching. (You may wish to turn and check the shape before this step)
|
||||
__3.__ Turn inside out and press.
|
||||
__4.__ Insert visor insert in to sewn visor tightly so there is no gap on the outer curver and the seam allowances are all one on side of the visor insert. This will be the upper side of the visor.
|
||||
__5.__ Pin the inner curve together making sure that the outer edge is pulled tightly over the visor insert.
|
||||
__6.__ ***Baste*** as close as you can to the inner curve of the visor insert, making sure you pull the fabric tightly over the outer edge as you sew.
|
||||
__7.__ Repeat steps 1 to 6 for the remaining visor pieces.
|
||||
|
||||
### Step 5: Assembly and Lining
|
||||
|
||||
Once again there are two methods for final assembly and lining. Read both methods carefully to determine which is best for you.
|
||||
|
||||
#### Assembly and Lining Method 1
|
||||
|
||||
__1.__ Matchings centres and seam lines align the ear flap with the right side of one of the panels that is not part of the centre crown seam. Making sure the faced side is placed against the crown (if faced).
|
||||
__2.__ Sew ear flap to the crown along seam lines.
|
||||
__3.__ Repeat steps 1 and 2 for the remaining ear flap on the opposite side of the crown.
|
||||
__4.__ Align centre front of visor with the right side of the centre crown seam making sure the visor insert is on the bottom.
|
||||
__5.__ Hand-***Baste*** the visor to the crown matching the visor basting lines to the crown seam lines. It easier to ***Baste*** the centre down first and then work from the centre out.
|
||||
__6.__ Sew the visor to the crown along seam lines. You may find it easier to permanently hand-sew the visor on rather than using a machine.
|
||||
__7.__ Repeat steps 4 to 6 for the remaining visor on the opposite side of the centre crown seam.
|
||||
__8.__ Remove all pad and basting stitches.
|
||||
__9.__ Press the seam allowances inwards, making sure the stitching is not visible on the outside.
|
||||
__10.__ (Optional) Loosely ***Whipstitch*** the seams to the inside of the crown making sure the stitching does not show on the outside.
|
||||
__11.__ Construct lining the same way as the crown ommitting ***Edgestitching***.
|
||||
__12.__ Fold and Press under the bottom seam allowance of the lining. You may find you need to press under more to prevent the lining from showing. You may also find you need to ***Baste*** the seam allowance down.
|
||||
__13.__ Matching centre crown seams and panel seams, pin the lining into the hat wrong sides together. Placing the folded edge along the stitching lines.
|
||||
__14.__ ***Slipstitch*** or ***Whipstitch*** the lining to the seam allowance of the hat.
|
||||
__15.__ Remove lining basting if used.
|
||||
__16.__ (Optional) ***Tack*** the peak of the lining to the peak of the crown. This is to help prevent the lining from falling out.
|
||||
|
||||
#### Assembly and Lining Method 2
|
||||
|
||||
__1.__ Matchings centres and seam lines align the ear flap with the right side of one of the panels that is not part of the centre crown seam. Making sure the faced side is placed against the crown (if faced).
|
||||
__2.__ ***Baste*** the ear flap to the crown along seam lines
|
||||
__3.__ Repeat steps 1 and 2 for the remaining ear flap on the opposite side of the crown.
|
||||
__4.__ Align centre front of visor with the right side of the centre crown seam making sure the visor insert is on the bottom.
|
||||
__5.__ Hand-***Baste*** the visor to the crown matching the visor basting lines to the crown seam lines. It easier to ***Baste*** the centre down first and then work from the centre out.
|
||||
__6.__ (Optional) Machine-***Baste*** the visor to the crown along seam lines.
|
||||
__7.__ Repeat steps 4 to 6 for the remaining visor on the opposite side of the centre crown seam.
|
||||
__8.__ Construct lining the same way as the crown ommitting ***Edgestitching*** and leaving a gap in the centre lining seam large enough to turn the hat.
|
||||
__9.__ With right sides together, matching centre crown seams, panel seams and seam lines. Sew the lining to the the crown along seam lines. If bulky you may want to trim either the lining seams or both seams.
|
||||
__10.__ Turn hat inside out, pressing lining to inside.
|
||||
__11.__ ***Slipstitch*** lining opening closed.
|
||||
__12.__ ***Understitch*** lining.
|
||||
__13.__ Alternatively ***Topstitch*** or ***Edgestitch*** along the outside of the hat, catching the lining on the inside making sure it is not peaking whilst you sew.
|
||||
__14.__ (Optional) ***Tack*** the peak of the lining to the peak of the crown. This is to help prevent the lining from falling out.
|
||||
|
||||
<Note>
|
||||
|
||||
Instructions are yet to be written for this pattern.
|
||||
Meanwhile, watch the YouTube tutorial that ispired this pattern:
|
||||
**For both Assembly and Lining Methods**
|
||||
You can attach the visors on first, just make sure the visors are under the ear flaps if there is any overlap. It is simply whether you prefer the visors to be underneath or prefer the ear flaps to be underneath like in the instructions.
|
||||
|
||||
</Note>
|
||||
<Tip>
|
||||
|
||||
**For both Assembly and Lining Methods**
|
||||
If you are having trouble dealing with the curves of the visors, sew a stitching line an 1/8" (3mm) from the basting line in the seam allowance of the visor and clip to it. This should make it easier to bend the visor to shape. Just make sure to hide this stitching and the clips when attaching the lining.
|
||||
|
||||
</Tip>
|
||||
<Warning>
|
||||
|
||||
**For both Assembly and Lining Methods**
|
||||
Assembly and Lining instructions are written with a 6 panelled Holmes in mind. You may find the placement of visors and ear flap pieces are different for other numbered panelled Holmes. As a rule generally the centre front of the visor is always on the centre crown seam so go from there if struggling.
|
||||
|
||||
</Warning>
|
||||
|
||||
### Step 6: Finishing Ties
|
||||
|
||||
If you did not cut your ties down when constructing the ear flaps, now is the time to do so. If you made custom ties with fabric then you do not need to do these steps. Again read through both methods carefully and pick which is the best for you.
|
||||
|
||||
#### Finishing Ties Method 1
|
||||
|
||||
__1.__ Fold the ends of a tie in half and cut a triangle out from the corner to the fold.
|
||||
__2.__ Unfold.
|
||||
__3.__ If you are worried about the ties fraying you can use fray check or equivalent.
|
||||
__4.__ Repeat steps 1 to 3 for the remaining tie.
|
||||
|
||||
#### Finishing Ties Method 2
|
||||
|
||||
__1.__ Fold under 1/8" (3mm) and another 1/8" (3mm) on one of the ties. Pin if needed.
|
||||
__2.__ ***Whipstitch*** the folded edge down to the tie
|
||||
__3.__ Repeat steps 1 to 2 for the remaining tie.
|
||||
|
||||
<Note>
|
||||
|
||||
To determine which way you want to fold the ties, you may find it easier to tie the ear flaps up first. Generally you want the fold to be on the underside of the ties but as always it is personal preference.
|
||||
|
||||
</Note>
|
||||
|
||||
### Step 7: Button
|
||||
|
||||
Unless you are doing the Buttonhole Ear Flaps you do not have to sew a button on but it may be useful if you want to hide any misaligned seams at the crown peak.
|
||||
|
||||
__1.__ Construct a covered button.
|
||||
__2.__ Attach the button via the shank to the peak of the crown doing your best to keep it in the middle of the seams.
|
||||
__3.__ Alternatively if you are not using the button with the ear flaps you can bend the shank down and ***Whipstitch*** the edge of the button to the crown instead so it does not move.
|
||||
|
||||
<Note>
|
||||
|
||||
Whilst certainly optional, you may find that a button is what is missing from the hat to finish the look. So if you are uncertain of the look at this point, make up a quick button and place it on temporarily to see if this is what missing. If it is, attach it permanently.
|
||||
Whilst a covered button is recommeneded you can use whatever button you desire, feel free to experiment!
|
||||
|
||||
</Note>
|
||||
|
||||
### Step 8: Enjoy your new hat!
|
||||
|
||||
That's it! You're all done. Now enjoy the world in your wonderful new hat whilst maybe solving a crime or two!
|
||||
|
||||
<Note>
|
||||
|
||||
Remember these instructions are just guidelines so don't worry if you want to construct the hat differently.
|
||||
The Diagrams are yet to be made for this pattern so in the mean time if you need a visual aid, watch the YouTube tutorial that inspired this pattern:
|
||||
|
||||
</Note>
|
||||
|
||||
|
|
|
|||
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Reference in a new issue