Don Mariano Marcos Memorial State University

South La Union Campus

La Union Philippines

Clothing Construction

Image: ClipArt Libarary

Joycelyn T. Damaso

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 Course Outline

in

CLOTHING CONSTRUCTION
STHE 121

COURSE DESCRIPTION

This is an application of aesthetic, technical economic, and

psychological factors in construction and care of clothes.

OBJECTIVES

At the end of the course, the students should have been able to have
1. Identify the different parts of clothing for construction.
2. Developed skills in taking body measurement, and lay outing pattern
3. Allowing the student to have technical know-how in clothing construction
4. Experience and explore the world of garment construction; element and
principles of design, body measurement and pattern making
5. Explain the impact of experiences -pattern making and garments
construction

COURSE REQUIREMENTS

1. Regularly attend the class

2. Have active class participation
3. Take the oral and written quizzes
4. Take and pass the required periodical examination; and
5. Submit the required reaction papers and reports before the end of the term

GRADING SYSTEM
Module Assignments - 40%

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 Reaction Papers, Reports, Term Paper

Midterm/Final Examination - 60%

Total 100%

COURSE CONTENT

Module I Introduction to Garments Construction

Lesson 1 : Principle of Design
Lesson 2 : Elements of Design
Lesson 3 : Color Wheel and Color Harmony

Module II History of Garments

Lesson 1 : Fashion and Trends in Garment
Lesson 2 : Clothing Style in Different Occasion
Lesson 3 : Types of Fabrics

Module III Tools and Materials

Lesson 1: Tools and Equipment
Lesson 2: Sewing Materials
Lesson 3: Sewing Kits
Lesson 4: The Sewing Machine

Module IV. Body Measurement and Pattern

Lesson 1 : Types of Measurement
Lesson 2 : Body Measurement
Lesson 3 : Front and Back bodice pattern
Lesson 4 : Skirt and Short Pattern
Lesson 5 : Sewing, Pressing and Fitting

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 MODULE I

Clothing Construction

INTRODUCTION
Sewing is the art of producing interesting and useful garments and
articles, through the use of needle and thread by hand or by machine. It involves
construction processes. This Module is an exploratory and introductory course on
Dressmaking and/or Tailoring which leads you to Dressmaking/Tailoring National
Certificate Level II (NC II). It covers 5 common competencies in Dressmaking/Tailoring
that Technology and Livelihood Education ( TLE) student like you ought to possess,
namely:
1) Use of sewing tools;
2) Carry out measurements and calculations;
3) Create design for simple project;
4) Perform basic maintenance, and
5) Practice occupational safety and health
These 5 common competencies are covered separately in different lessons. As shown
below, each Lesson is directed to the attainment of one or more learning outcomes:

OBJECTIVES
After studying the module, you should be able to:
Module 1 – Introduction to Garments Construction
Learning Outcomes (LO) 1 Identify element and principle of design
Learning Outcomes (LO) 2 The color wheel and the color harmony

Module 2 – Tools, Materials and Equipment

Learning Outcomes (LO) 1 Description and function of the tools,
Materials
and Equipment
Learning Outcomes (LO) 2 Prepare a functional sewing kit
Learning Outcomes (LO) 3 Describe Sewing machine part and use
Learning Outcomes (LO) 4 –Practice Occupational Safety and Health

Module 3 – Body Measurement and Pattern

Learning Outcomes (LO) 1 Identify the types of body measurement
Learning Outcomes (LO) 2 Take their own body measurement
Learning Outcomes (LO) 3 Develop foundation pattern for front and back
bodice
Learning Outcomes (LO) 4 Draft a skirt and short pattern

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 Module 4 – Sewing and Fitting
Learning Outcomes (LO) 1 Learn to lay-out the pattern into fabric
Learning Outcomes (LO) 2 Experience to transfer the pattern and cut the
fabric
Learning Outcomes (LO) 3 Sewn and attach the parts for garments
construction.
Learning Outcomes (LO) 4 Pressing and fitting the garments

DIRECTIONS/ MODULE ORGANIZER

There are four lessons in every modules. Read each lesson carefully then
answer the exercises/activities to find out how much you have benefited from it.
Work on these exercises carefully and submit your output to your
Instructor/Professor.

In case you encounter difficulty, discuss this with your Instructor/Professor

during the online meeting (FB, Messenger or Google Classroom) or other mode of
communication.

Good luck and happy reading!!!

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 Module I Introduction to Garments Construction

Lesson 1

 Principle of Design

Basic design is the simplest and most important feature used in planning a work
of art. The structure of any artwork is based on the organization of the elements
according to the principles of design. In every art form there are certain guidelines
that all professional designers use whether consciously or sub-consciously and these
are known as design elements and principles (Burke, 2011).

It is therefore important to state that any design pertaining to fashion can

never be complete without the elements and the principles of design. Fashion is the
ideal of beauty currently accepted by a given segment of the population while the
process of creating new styles in clothing, millinery and foot-wear is known as fashion
designing (Tate, 1989).

An effective designing can be recognized by the wide range of elements of

design considered with the skill and judgment used to select and combine the
elements in a style. Design principles are guides for using design elements (Amenuke
et al, 1999).

They are applied in situations where one wishes to create an attractive design,
for example, as used in fashion styles. To be a successful designer, a thorough
knowledge and understanding of the basic principles of design is essential when
designing (Cronje, 1996). There are several ideas or aspects of design that need to be
kept in mind.

These aspects of design can be categorized into two areas which are the
principles and elements of design.

The Elements Of Design

Elements of design are the basic parts or qualities that are used in the design process
(Amenuke et al, 1999). The four basic ingredients or elements of design used in
fashion are
A) shape or silhouette, B) line, C) color and D) texture.

A. Shape or Silhouette

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 A silhouette can be described as the outline of the entire garment. This is the
most obvious visual element of the garment. It creates the initial impact before any
other details are noticed. The shape formed by the outer lines of clothing is known as
silhouette. It is what others notice from a distance and it is responsible for the first
impressions.
Silhouettes tend to repeat themselves in cycles throughout history (Vanderhoff,
1973). Vanderhoff further explained that the silhouette encloses all other design lines
in an outfit. Throughout each decade as trends develop so different fashion
silhouettes evolve and these compliment the shape of the body or exaggerated to
accentuate a different part of the body (Burke, 2011).

B. Line
Line refers to edge or the outline of a garment and the style line that divide
the space within a garment. Line can create visual illusion if used skillfully (Tate,
1998). Line is the simplest and the most important of the design elements. All lines
have length and width (Manmeet, 2008). Basically, straight and curved lines are used
in designing styles for clothing.
A straight line can be vertical, horizontal or diagonal. According to Vanderhoff,
lines have direction, width, and length.
Direction can be vertical, horizontal, diagonal or curved, movement of the eye
of an observer around and through an image (Nateman, 1994).
It is important to understand that lines create illusions or images. The design
line of a garment, helps the viewer’s eyes to follow a certain direction. These lines
can be cleverly used to improve body shapes and proportions. The line of a garment
relates to its cut and style lines: its construction. These lines break up the space
within the outline of the garment and create shape, the seam lines, the darts, pleats,
tucks (Burke, 2011).
 Vertical lines tend to lengthen the body and make it appear slimmer.
 Diagonal line normally slants from one side to the other and it tends to
increase or decrease in width, height and the direction to the height of
the figure. If it is fairly short and fairly sharp, it decreases the width. If
it is fairly flat it adds width to the top of the figure. Examples of
diagonal lines used in fashion designing are: flared skirts, jacket, lapel
collar, neckline, bell-bottom trousers, yokes, cowl-neck, etc.
 Curved lines vary from gentle curves to full rounded and twisted lines.
Tate (2003) states that a gentle curve is feminine. Vanderhoff confirmed
the above by saying that curved lines tend to add softness and femininity
to a design. A curved line that is controlled is gentle, flowing and
graceful. Curved lines may be used decoratively such as scalloped edges.
In designing, high curves suggest greater height than lower curves.
Basically, curved lines are either rounded or somewhat flattened out.
The flattened out curves are often considered more flattering to the
human shape than rounded lines. A curved line also adds fullness and
roundness in a design sketch, when it is used in illustrating folds or
gathers (Vanderhoff).

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 The structural lines of a garment give it shape and help to form the silhonette.
Structural lines are made by sewing together the parts of a garment. Seams and darts
are structural lines because they shape the garment. A garment can sometimes be cut
in certain places to make a special seam. This seam is still considered a structured
line. Design or decorative lines on the other hand are those that are added simply to
create a decorative element. They are never structural lines even though some
structural lines are sometimes design lines which include such details as the
placement of several buttons in a line, top stitching or the placement of a pocket or
flap. Design and structural lines can be used to enhance the body shape. The more
elaborate the lines are, the more attention they draw to the body. Large bold lines
make the figure look larger than it actually is. E.g. a decorated rolled collar framing a
beautiful face might divert the eye from a heavy hip (Vanderhoff).

C. Texture
Texture is the characteristic structure as well as the surface quality of a
material (Manmeet, 2008). Texture describes the perceived quality of a surface
whether real or simulated (Nateman, 1994). The texture of a fabric appeals to the
eyes as well as the sense of touch. Texture refers to the surface appearance and feel
of a fabric. This results from the type of raw material and the type of weave used in
producing the fabric (Vanderhoff).

The texture of a fabric may be described as:

Soft, Rough, Shiny, Dull, Bulky, Filmy, Transparent, Thick and Smooth.

Design and texture are closely related in that, at times the design of the weave
determines the texture. The degree of stiffness or softness and the weight of the
fabric will influence the drape, which is the way it hangs on the figure.

Drape is an important factor which determines how well a particular fabric will
move with the body and maintain the shape of the style. The soft handle of a fabric is
suitable for a garment with draped or flowing features and a stiff fabric is suitable for
a tailored style. The sheen of fabrics such as sateen, make them more suitable for
evening wear than any daytime wear because such fabrics reflect more light during
the day than night due to their smoothness (Vanderhoff).

The quality or texture of a material can alter the tone of its color. A rough
surface may affect the apparent color of an object. Very smooth and shiny surfaces
attract attention because of the amount of light they reflect. On the other hand, very
rough textures have small projections that cast shadows in the light. These shadows
make the color seem darker.

An identical color in two fabrics with different textures may not look the same.
Example, boucle fabric will look darker than a piece of cotton-lawn fabric dyed
the same color.

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 Pile weave fabric gives richness and depth to the shade of color of the fabric
due to its structure and texture.
Texture can create illusions to the figure of the wearer, a shiny fabric such as
satin appears to increase size and thus, makes figures look larger than they are. It
also emphasizes figure faults or defects therefore; it is not suitable for heavy persons.

Glossy texture also makes a slender figure look smaller. On the other hand-
materials with matt surfaces such as crepes and woolen fabrics have the reverse
effect. Heavy, bulky textures such as tweed add bulk to the figure and therefore
make the short heavy person look fatter and shorter. Stiff materials which are rigid in
texture stand away from the figure, adding more width. Thus, they make a slim
figure look broader than the actual size (Manmeet, 2008).

D. Color

Color creates the most visual impact when seen from a distance, it is the most
influential element that contribute to the overall nature of the garment. (Burke,
2011). There are no fixed rules about flattering color. Color has personal values
therefore personal preferences for certain colors will affect an individual’s choice. It
is possible to wear all colors if one knows how to use them wisely.

Color can affect and reflect the way people feel.

 Warm colors such as bright red, oranges and purples are stimulating and
exciting colors which can make people feel happy (Faiola, et al, 1982).
 Soft colors such as blues, greens and white suggest coolness and calmness.
Black and greys have a depressing effect.

Properties of Color
1. Hue: Hue is the name of a pure color, such as red, blue, or yellow.
2. Value: Value is the lightness or darkness of a hue (color). The value of a hue
can be changed by adding black or white. Light values of colors are called tints.
Darker values of colors are called shades.
3. Intensity: Intensity is the brightness or dullness of a hue (color). Pure hues
are high-intensity colors. Dull hues are low-intensity colors. Intensity of color is
changed by adding varying amounts of its complimentary color. For example, to
make a bright green duller a little bit of red could be added to it.

What is color?
Color originates from a light source, that is either view directly or as reflected light.
Daylight or white light contains light waves for all colors. There is no color without
light! The absence of light is complete darkness or black. The mixture of all visible
light is white light. White light is made up of all the colors in the rainbow. Water
droplets in the air act like a prism does when light passes through. It organizes
random color light waves into the order of their wave length. We see that organized

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pattern as a rainbow. These colors are always in the same order and are called the
Color Spectrum. When organized in order around a circle; the color spectrum is
called a Color Wheel.

The Color Wheel

How do we see color?

In order to see color there must be light and there must also be color
receptors, such as eyes. We see colored light or light reflected off objects. So
why do we see some things as red and other things as blue. The answer is that
when light waves strike an object they are either absorbed or reflected by the
object. The reflected light waves mixed in varying proportions are what we see
as different colors.

Primary Colors
The three primary colors are Red, Yellow, and Blue

The primary colors are Red, Yellow and Blue in the art world. They are
considered primary colors because they cannot be made from mixing other
colors but they may be mixed to make most other colors. Black and white can
also be added to create additional colors.

Secondary Colors

Secondary colors are; Green, Orange and Violet (or Purple). they are the colors
that result in mixing two of the Primary colors together in equal amounts

Secondary colors are made by mixing two primary colors together

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 Intermediate Colors

Intermediate colors are made by mixing a primary color with one of its two
adjacent secondary colors. An adjacent color is one the is next to a color in the
color spectrum. Another way to remember this is to mix a primary with only
one of the secondary colors that it has in it. For example yellow is used to
make secondary colors green and orange, so only green and orange can be
mixed with yellow to get an intermediate color. Each primary color had two
secondary colors choices that may mixed to produce an intermediate color.

Color Harmony combination of colors

1. Monochromatic

2. Analogous

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 3. Diad

4. Complementary

5. Split Complementary

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 6. Triadic

7. Double Complementary

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 YOUR IDEA

A. Create a color with and stencil for color harmony.

B. How do color reflect to an objects?

LEARNING ACTIVITY

Elements of Design

1. Which among the elements is the most useful in garments design?

________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
2. Described each color combination and give at least 5 example
Color Harmony Description Give 5 Examples each
Analogous

Complementary

Diad

Split Complementary

Monochromatic

Triadic

Double
Complementary

Lesson 2

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  Principles of Design

The aim of fashion design is to choose the principles of design as a guide to the
application of the elements. This means that the principles help the designer to
understand how the elements of design should be used in creating suitable designs in
order to achieve the goals of clothing. Tate (1989) stated some of the goals of fashion
as: to achieve a clothing that is comfortable to wear; to achieve a pleasant
appearance of individual; to emphasize good points and minimize the bad points on
the figure known as figure faults. The principles of design are: unity, balance,
rhythm, repetition, emphasis, proportion and scale (Vanderhoff, Tate).

These are applied when one wants to create an aesthetically attractive design.
Aesthetic involves the three-dimensional rules of construction called the elements
and principles of design. The principles of design are the rules that govern how these
elements are combined (Tate).

A. Balance

Balance in a design may be either formal or informal. Formal balance is also known as
symmetrical balance or equal balance. In organization, designs which look the same
on both sides of a garment, have a formal balance or symmetrical balance. Symmetric
balance places style lines and details evenly on the garment (Burke).

Fig1. Formal Balance/symmetrical Fig.2 Informal Balance/Assymmetrical

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In a balanced design, the weight of different elements of the design is equally
distributed to create balance. This gives stability to the whole design. When the
various parts of the design for example color, texture, line and motif in the fabric
have been arranged so that the feeling of equilibrium results, it is a formal design.
This is so when the design is the same on either side of the centre (left) as shown in
Fig.1. A feeling of balance is also produced when large areas of tint are equalized by
small areas of either bright color or shades (right) as indicated in Fig.1 (Manmeet,
2008).

Informal or asymmetrical balance means unequal balance. This means that though
each side of the design is equally interesting or important it does not look exactly like
the other side of the design it involves placement of objects in a way that will allow
objects of varying visual weight to balance one another around a fulcrum point.
(Mazumder, 2011) To achieve a more exciting dramatic effect asymmetrical balance
can be used. An example is the one shouldered dress and the dress (left) with a
slanted hem (right) in Fig2.

B. Emphasis

Another principle of design is emphasis. Something that is singled out or made more
prominent has emphasis. An element of a design that dominates or becomes the
centre of interest has emphasis. A highlight in a design is an emphasis in that design.
It is the center of interest because it predominates over the rest of the design.

Emphasis can be created by contrasting texture, color, lines, dots, or by using an

unusual shape sewn onto the garment in the form of appliqué as shown in Fig3 or
fringes respectively.

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 Fig.3 Emphasis

C. Rhythm

A design has rhythm when the line, color and texture have been arranged in an
orderly way so that one’s eyes moves easily from one part of the design to another. A
pleasing rhythm holds a design together the curved edge of a repetition of color may
also be used to create rhythm in either a dress as in Fig 4. Repetition of color in the
three-tier flare at the hem of the garment in Fig4 creates rhythm. By the regular
repetition of design features such as curves, texture, lines and color, rhythm is
created. In Fig 4, the repetition of gathered strips of fabric sewn on the slit also
creates a rhythm.

Fig4 Rhythm

D. Unity

A design is said to have unity if all the design elements and principles work together
to produce a pleasing effect. For example, unity of line is important to a pleasing
appearance, as in Fig 5, where curved lines are used for the neckline, the pockets
tabs and the hem of the jacket. When lines are properly unified the design looks

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complete. Again, when color is repeated in a dress it unifies the design as in Fig.5.

Fig.5

D. Repetition

E.Radiation

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 F.Gradation

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 YOUR IDEA

A. Create a design for fabric using the element and principle?

B. Take a picture where you can show an element and principle of design?

LEARNING ACTIVITY

Read the statement and choose the letter of your answer on the space provided for.

1. The principles of good design are _______.

A. color, depth, form, line, shape, space, texture, and value
B. balance, contrast, emphasis, movement, proportion, repetition, simplicity,
space, and unity
C. all of the above
D. none of the above
2. The elements of design are _______.
A. color, depth, form, line, shape, space, texture, and value
B. balance, contrast, emphasis, movement, proportion, repetition, simplicity,
space, and unity
C. all of the above
D. none of the above
3. A type of balance in which both sides of a composition are balanced yet different is
called _______.
A. asymmetrical B. radial C. symmetrical D. geometric
4. Formal balance is another word for _______ balance.
A. asymmetrical B. radial C. symmetrical D. geometric
5. Another word for “center of interest” is _______.
A. focal point B. emphasis C. dominance D. all of the above
6. The choice of colors used in a design plan is called a _______.

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 A. color spectrum B. color wheel C. color scheme D. color mix
7. A circular chart used to show color relationships is called a _______.
A. color scheme B. color wheel C. color ray D. color circle
8. Colors that are different in lightness and darkness are said to be _______.
A. contrasting B. light in value C. dark in value D. bright and intense
9. Which of the following can be used to create contrast in a composition?
A. Smooth and rough textures C. Plain areas against areas of pattern
B. Large and small shapes D. All of the above
10. _______ is another word for the brightness of a color.
A. Value B. Intensity C. Hue D. Complementary

MODULE SUMMARY
Traditional way of looking at art specially in a fabric print and garment
structure and accessories usually used the prime elements namely; the line,
shape, color, texture and space not only in garments construction but even
visual arts, suggests that there are five basic elements of an art work.
Following some “Pattern” of combining the elements as a principle of design
may be defined as regular arrangement of repeated same elements. line,
shape, colors over and over again. Pattern usually increases the visual
excitement by supplementing surface interest.

SUMMATIVE TEST
I. Read the statement carefully and Encircle the letter that correspond to your
answer.
1. A type of balance in which both sides of a composition are balanced yet different.
A. Asymmetrical B. Radial C. Symmetrical D. Geometric
2. Formal balance is another word for which type of balance?
A. Asymmetrical B. Radial C. Symmetrical D. Geometric
3. Which of the following is another word for "center of interest"?
A. Focal Point B. Emphasis C. Dominance D. All of the above
4. A plan for selecting colors for a composition is also known as a ________.

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 A. Color spectrum B. Color Wheel C. Color Scheme D. Color Mix
5. The circular chart used to remember color relationships is a ________.
A. Color Scheme B. Color Wheel C. Color Ray D. Color Circle
6. Secondary colors are obtained by mixing two ___________ colors.
A. Neutral colors C. Primary colors
B. Complementary colors D. Intermediate or Tertiary colors
7. Colors are said to be contrasting if they are _____________.
A. different in lightness and darkness. C. dark in value.
B. light in value. D. bright and intense.
8. Contrast can be created by using ____________.
A. smooth and rough textures. C. Plain areas against areas of patterns.
B. large and small shapes. D. all of the above.
9. Cool colors are ______________.
A. Orange, green and purple (or violet). C. Yellow, blue and red.
B. Blue, green and violet (or purple). D. White, black and brown.
10. Warm colors are____________.
A. yellow, red, and orange. C. yellow, green and blue
B. yellow, red and blue. D. orange, purple and green
11. Yellow-orange, red-orange, and yellow-green are examples of_______.
A. Intermediate or Tertiary colors. C. Primary colors
B. Secondary colors D. Triadic colors.
12. Another word for brightness of a color is __________.
A. Value B. Intensity C. Hue D. Complementary
13. The art element that refers to the sense of touch is___________
A. Value B. Pattern C. Texture D. Shape

II. The next questions are True or False. Mark A for True and B for False Write your
answer on the space provided before the number.
____14. Monochromatic refers to a painting done in one color.
____15. You cannot see through an object or material that is transparent.
____16. Negative shape is the background or space around the subject of the artwork.
____17. Rhythm is created when visual elements are repeated. Rhythm may be
alternating, regular, flowing, progressive, or jazzy.
____18. Variation is important in a work of art. Variation is the use of the same lines,
shapes, textures, and colors.
____19. A related color scheme would be colors that are next to each other on the
color wheel.
____20. Analogous colors is another term for complementary colors
____21. Red and green are examples of complementary colors.
____22. The color plan of red, yellow and blue is an example of a triad color scheme.
____23. Unity is obtained by repeating colors and shapes -- all parts of a design are
working together as a team.
____24. Tints of colors may be created by adding white. Pink is a tint of red.
____25. Intensity is an art element that means darkness or lightness of a surface.

REFERENCES

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 Fashion Design Essentials: 100 Principle of Fashion Design , Jay Calderin
Fabric for Fashion: A Comprehensive Guide to Natural Fibers, The Swatch Book, 2010
Practical Sewing and Dress making, Brittlebooks. Library.illinois.edu

file:///C:/Users/User/Downloads/K-TO-12-DRESSMAKING-AND-TAILORING-LEARNING-
MODULES%20(3).pdf

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