Re publi c of the Phili ppines

Departm ent of Education

PUBLIC TECHNICAL­VOCATIONAL

COMPETENCY-BASED
LEARNING MATERIAL
THIRD YEAR

I GARMENTS NC II I
Unit of Competency: Draft and Cut Pattern for Ladies'
Casual Apparel
I
I
Module no.l Module Title: Drafting and Cutting Pattemfor Ladies' Casual Apparel
 MODULE 1

QUALIFICATION TITLE GARMENTS NC ll

UNIT OF COMPETENCY DRAFT AND CUT PATTERN
FOR LADIES CASUAL
APPAREL
MODULE TITLE DRAFTING AND CUTTING
PATTERN FOR LADIES
CASUAL APPAREL
NOMINAL DURATION 125 HRS.

GARMENTS NC II
WHAT IS THIS MODULE ABOUT?

This module covers the knowledge, skills and attitudes required in

drafting and cutting basic/block patterns for ladies casual apparel.

WHAT WILL YOU LEARN?

At the end of this module, youshould be able to:

a. plan garment design;
b. take client's body measurements;
c. draft basic/block pattern; and
d. manipulate and cut final pattern.

WHAT DO YOU ALREADY KNOW?

Pre-te st

Let us find out how much you already know. Read and understand
the items being described below. Choose the letter of the correct answer
and write it in your quiz notebook.

1. It refers to the company's standard operating procedure.

a. determining garment costs
b. measuring body parts
c. Performing sewing
d. all of the above
2. It is a design created in garment by adding interesting accessories.
a. decorative design
b. garment design
c. structural design
d. all of the above
3. This kind of pattern has all the allowances needed.
a. basic
b. block
c. commercial
d. style
4. This is another term for sports collar.
a. continuous collar
b. convertible collar
c. flat collar
d. Mandarin collar
5. This is the center of interest in a given garment.
a. balance
b. emphasis
c. harmony
d. proportion
6. This measurement is taken around the arm.
a. armgirth
b. armhole
c. armscye
 d. forearm
7. This line on a dress that adds height to the figure.
a. curve line
b. diagonal line
c. horizontal line
d. vertical line
8. This is called the main line of the garment.
a. design
b. fabric
c. pattern
d. silhouette
9. This is the seam allowance for the inseam of princess cut dress.
a. 1.5 cm
b. 2.0 cm
c. 2.5 cm
d. 2.7 cm
10. This is the proper stroke in cutting curve line.
a. long even
b. long uneven
c. short even
d. short uneven
11. This is the body measurement taken from the shoulder down to
the tip of the bust.
a. bust line
b. bust point height
c. bust point width
d. waistline
12. This is the first step in drafting basic pattern.
a. diagonal line
b. horizontal line
c. perpendicular line
d. straight line
13. This is the line that indicates where the pattern will be cut.
a. curve lines
b. cutting lines
c. seam allowance
d. straight lines
14. This is the style that instantly captures the attention of the
consumer.
a. design
b. fad
c. fashion
d. look
15. This is the length of the long arm of the L-square in inches.
a. 16 C. 24
b. 18 d. 36
16. This is the divisor for shoulder measurement.
a. as is
b. 2
C. 4
2
 d. 8
17. This is the first line of an inch.
a. 1/8
b. ¼
C. 3/8
d. 5/8
18. These are the kind of design wherein the parts of the garment are
cut and put together.
a. structural
b. formal
c. decorative
d. informal
19. This is NOT a circumferential measurement.
a. armgirth
b. bust
c. bust point width
d. waistline
20. This is the symbol for grain line.
a. - C. e
b. .... d. !
21. This refers to Flat-Pattern Designing.
a. Working out the pattern of a garment either in the material
itself or by cutting a pattern using the foundation pattern as
a basis.
b. Adding space between the cut edge and stitching line of the
fabric.
c. Originating fold from the waistline.
d. Folding of fabric wider at one end coming to a point of bust
at the end, which gives shape to garment.
22. This is where the foundation pattern of an individual is based on.
a. figure
b. personality
c. individuality
d. measurement
23. This rule is NOT needed in taking body measurements.
a. Wear undergarments or bodysuit when measuring
b. Pull the tape snug, but not too tight
c. Take length measurements, then girth measurements
d. Be sure to keep the tape parallel to the floor
24. This is saved when you take accurate body measurement before
you construct the garment.
a. time
b. cost
c. force
d. labor
25. This type of collar is also called menton collar.
a. shawl collar
b. sailor's collar
c. sports collar
d. Mandarin collar
 LESSON 1

PLANNING GARMENT DESIGN

WHAT IS THIS LESSON ABOUT?

The lesson deals with the client's job requirements in accordance with
standard operating procedure such as the preparation of garment design. It
also includes selection of designs and fabrics and incorporation of special
needs of clients in the design based on procedure.

WHAT WILL YOU LEARN?

At the end of the les son , you should be able to:

1. determine job requirements in accordance with the standard operating
procedure;
2. prepare garment design in accordance with the client's requirements;
3. discuss and select design and fabric in accordance with the client's
specifications; and
4. incorporate the special needs of client in the design based on the
procedure.

LET US STUDY
Words to study

•
Design - the arrangement of elements of art and principles of design.
Fabrics - material of which a garment is made.
Style - design created •for a product in an effort to appeal to long term criteria of what is beautiful or socially correct.
Fashion - a currently • accepted style of the moment. Style of dressing that is prevalent among a group of persons at a given tim
Fad - a style that has captured the attention of the consumers instantaneously and briefly.
Look - is the sum total• of the elements wltich helps in determining the styles.
Couture - signifies expensive, ltigh qualityoriginally designed and custom made dresses for private clientele.
Coutu rier - a male or female designer ofa couture house.
•
Silhouette - outline contour of a garment.
•

•
•

4
 The process of making a garment is an orderly profession. It starts from
the choice of design, pattern, and fabric up to the construction of the garment.
Professional dressmakers divide the process into logical s tep-cutting-basting,
constructing and finishing so they know exactly how Jong it will take to make a
given garment.

Standard Operating Procedure in Garment Designi ng

• Determine the Customer Job Requirements. This refers to the

specifications given by the customers as to how her wardrobe would look.

• Determ ine Garment Cost. Cost of materials and supplies for the
customer's wardrobe including the sewing service fee are estimated.

• Measure Body Part. This involves taking of customer's body

meas uremen t.

• Draft Various Pattern. Pre-construction will be done through pattern

drafting.

• Prepare Materials and Machines. Gathering materials and setting up of

sewing machines are done according to the job requirements.

• Perform Sewing .This is the procedure in constructing the garment.

• Perform Finishing Touches. It is the selection and application of

appropriate finishes in the pre-cons tructed garment where first fitting
is done.

• Check Quality of Finished Product. It is the stage in the garment

construction, which involves trimming of excess threads, pressing and
proper packaging. This is where final fitting is being done.

Garment Design for Different Ladies' Apparel

Many persons are particular about the clothes they wear. For instance,
most professionals strive to be well-dr es sed. They are conscious of what they
wear for they believe that the clothes they wear will spell out success in their
field of work. Every one should develop good taste in the choice of clothes. This
means that the person should be able to choose clothes that are becoming to
her and appropriate for different occasions.
 A designer should realize that not all styles that are in vogue or popular
in the fashion world are the best s tyles. Dress designing should consider the
individuality and personality of the person.

Kinds of Design in Clothing

There are two kinds of design in Garment Designing that sometimes

vary from season to season. Some seasons are heavy on decorative details
and trims, and other seasons are without adornment. The changes from one
season to another on decorative and structural details should be monitored
closely. These designs are:

1. Structural Concept of Design. It encompasses the over-all construction

of a dress, its shape and all the details involved in pattern -making
construction and the sewing construction of the dress, such as darts,
seams, pleats and tucks.
 • CUT

Ladies basic dress is composed of differen t des igns and these designs
have different elements and principles. The elements of color, lines, form or
shape, space and texture are all present in a casual dress.

The dress cut was composed of structural lines. Therefore, these

encompass the structural concept of design. Here are the examples of cut
which the dress mayvary:

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 2. Decorative Concept of Design. It involves the addition of decorative
trims that includes buttons, braids, embroideries, bias tapes, beads,
sequins, ribbons, etc. on a dress.

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LADIES' CASUAL DRESS

Casual dresses are flattering and comfortable. These clothes may be of

any combination of blouse, skirts, shorts and pants. Full dresses may also be
used as casual dress.

BLOUSE
Blouse is a woman's loose outer garment from the neck down to the
waist. It usually fits at the waistline or at times tucked into the skirts or pants.
There are several types of blouses as seen in the figures:
1. Blouse with opening in front and with or without collar.
2. Blouse with opening at the back with or without collar.
3. Blouses without sleeves.
4. Blouses with straps over the shoulder.
5. Blouses that are bare over the shoulders.
SKIRT

A skirt is another kind of free-hanging garment extending from the

waist down.

There are several types of skirts:

1. The fitt ed skirt and straight skirt
2. Thegored skirt
3. The balloon (circular) skirt
4. The pleated skirt
5. Gathered or shirred skirt
6. Layered skirt
7. Wrapped around skirt
8. Yoke skirt or Combination skirt
9. Culottes skirt (a combination of short and skirt)
10. A-lin e skirt

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 r.

PANTS

People of different gender and age usually use pants. They are usually
made of cotton, twill, gabardine and linen fabrics. It has different lengths and
styles. Lear n the terminology for the different pant lengths and styles.

High wtrist--
Low wai9f.'-- - - -
..---
,c:J==r:::t:::-\ - - - Nofuro/""list
f--1--.1---1----\-----------Hip hugger

Shorr shorts---------1_
/iMearsg/ shorts·- -.. _- -

JatTIOtCII S/;ort--._

&rmuo'a sl>ort-..
-r---./l

l<blf1ng or Cilg snorts ..

l,.L._J---Clam o',gger

straight pcrnls - - -Q,pripan(Y

10
 Walbng Styles of Pants
Slloru

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T,OUScu

II
ELEMENTS OF DESIGN

1. Line creates a visual dimension of length

and width. When lines meet, space is
enclosed and a shape is defined. Lines
direct the eyes to a certain path of vision,
or could draw the eyes away from an
undesirable area of the body.

There are two kinds of lines in garments:

a. The directional line such as vertical,

horizontal, diagonal, checkered,
broken and curved. These affect the
height and size of an individual. Lines
are serving as clothing designs like
the art of prin ting flowers, dots and
others on fabric.

b. Structural lines are found on

necklines, armholes, hemlines, darts,
side seams, sleeves, collars, tucks and
pleats of garments. 1

2 . Color is a radiant energy loosely termed light that produces sensation

in our eyes. The color of the dress easily attracts the client's attention
and becomes her basis in choosing her apparel.

12
 The personality of the wearer shows the kind of image she projects.
Personalities differ depending on the kind of clothing people wear. Most
introvert persons prefer clothes of simple yet classical cut with pastel or light
colors. Extroverts on the other hand are creative, artistic, expressive and
energetic. Hence, they prefer clothing that is comfortable, attractive
and fashionable. They can wear all kinds of clothing of varied style, colors and
design with confidence.

PRINCIPLES OF DESIGN

• Proportion is the relationship in size between various parts to the whole.

Because fashion designing is a creative expression, exact mathematical
proportions are not required as long as what you design is visually
pleasing.

• Balance is the arrangement of a design on a space which results on a

sense of equilibrium. There are two kinds of visual balance. They are the
formal balance, and the informal balance.

• Emphasis is achieved by the designer's ability to create a center of

in teres t by which the viewer's eyes are directed to a specific area of a
garment or body part.

• Rhythm is the repetition of an accent to create an interesting design.

Repea ting an accent to differen t parts of the dress or one part of the
dress will achieve a design that is harmonious and therefore visually
united.

22
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 SPECIAL PREFERENCES

• Colla r is designed and attached to any shape of neckline.

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WJ119cobr Peter Pcrn c ellar Pi/grim cd k1r

S ert /Ji:, or fbr /,0 1 f cob' r

24
• Sleeves is part of the garm ent th a t covers and is attached to the armhole
of the garment.

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• Cuff is a plain or decorative band attached to the cover edge of the
sleeve.

lhzu cuH ph,/d cuff

rvfflett c,;rr

Wt,o' cvti'

gorkr /1¢ cuff

• Pocket is one or

desired shape
□
two
layer of fabric cut in the
and
applied to the right side
of a garment or set into a
Aitch
u Prrlclt

garment opening or
seam.

Em w
5<,fori Bellows

0-

Envelope Slide

Welt rrench

• Yoke is a shaped part of garment that holds other part together.

LET US REMEMBER

• The principles of art together with the different elemen ts must be

utilized properly to come up with the pleasing dress design.
• The figure is one factor that influences choice of dress design.
Dra wing attention to your best features by using emphasis on
dress design will also camouflage your figure defec ts .
• The age , figure, complexion and profession of a person affect
one's choice of clothing materials, fabric durability, ease of
handling, main tena nce and cost should also be considered when
attending an occasion.
• The choice of clothing materials reflects one's personality.

HOW MUCH HAVE YOU LEARNED?

1. What should be considered in planning garment design?

2. Why are clie nt 's needs considered in designing a garment?

LET US APPLY WHAT YOU HAVE LEARNED

Ta sk 1

Color Schemes
• Collect fabrics with different color combinations and arrangements. In
your design you may use these color arrangements of com bin a tions .
• Cut the fabric into 3-inch by 3-inch squares.
• Paste in an album and refer to them for color sch emes.

RUBRICS

Collections of Fabric Criteria and Points

Primary Colors - Collected the primary colors in fabrics -
20 pts .
Secondary Colors - Collected the primary and secondary colors
in fabrics - 40 pts .
Intermediate Colors - Collected the primary, secondary
and intermediate colors in
fabrics - 60 pt s.
Tertiarv Colors - Collected the orimarv, secondarv,
 intermediate, tertiary colors in fabrics - 80 pts.
Neu tral Colors Collectedtheprimary,secondary,
intermediate, tertiary and neutral colors in fabrics - 100 11t s .

Task2
Garment Sketching

Select a partner from your class. Study her individuality. use the
form below to record the information. Recommend a dress design for her
specific needs.

Name of Client: Date: _

Shape of Face o Oval
o Rou nd
o Triangle
o Square
Heart
Figure Type shaped
o Tall and Slim
o Pear Shaped
o Full-busted
o Short-waisted

Color o Blue o Green

o Red o Violet
o Yellow o Orange
o Other Preferred Color (Please
indicate): _
Fabric o Small Prints
o Plain
o Stripes/Plaids
o Bold designs
Abstract
Fabric Texture o Soft o Lightweight
o Rough o Heavyweight
o Smooth o Medium weight
o Shiny
Sleeve o Short
o Long
o Plain

29
 o with Fullness
o with Cuff
Length of Dress o Above the knee
o Knee -Level
o Below the knee
o Mid-leg
o Ankle length
Recommended Design
Front Back

30
Note : Label each
specific garment
design.

31
LESSON 2

TAKING CLIENT'S BODY MEASUREMENT

WHAT IS THIS LESSON ABOUT?

The lesson deals with the preparation of measuring tools and taking body
measurement accurately and recording them based on job the requirements.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. prepare measuring tools in accordance with the job requirements;
2. take body measurements of client in sequence according to standard
procedure; and
3. record the body measurements in line with job requirements.

LET US STUDY

C
J: Words to Study

• Tllpe Mells11re - a flexible tape with different type of measurements esse ntial
for taking body measurements.
• Girth Mells11re me11ts - taken horizontally and most of them go around
the entire circumference of the body.
• l ength Mells11re me11ts - taken vertically and their primary purpose is
to measure the distance between referencepoints on the body.

Measurements are the foundation of pattern drafting. They establish

basic axes which are natural to the body. These axes are then used to
reconstruct the shape of the body onto the paper. They must take with
complete accuracy.

Measurements can be taken without assistance, but the task is easier

when you have someone to help you.
 RULES IN TAKING BODY MEASUREMENT

• Wear undergarments or bodysuit when measuring.

• Use tape measure that does not stretch.
• Tie a string around your natural waistline.
• Pull the tape snug, but not too tight.
• Be sure to keep the tape parallel to the floor.
• Take girth measurements, then length measurements.
• Ask the subject to stand in a relaxed, upright position in stockinged feet.
• Insert two fingers in taking girth measurements.
• Record all measurements on a chart accurately.

HOW TO MEASURE

Meas uring To ol s I]
• Tape measure
H e ni g auge
• Pencil
• Note boo k
• Hem gauge
• Hem Mar ker

Ta.pe nieasure

'"", J J C M.Ai!O &a i 'I

Pencil
o
<a .; 111,1 Jiithii?
,

Procedure in Taking Body Meas ure ments

There are s everal parts of the body to be meas ured. These are taken in:
• Horizontal measurement
• Vertical measurement
• Circumferential measurement
1. The horizontal measurement is taken from the left of the figure to the
righ t.

• Shou lde r. Measurement is taken from

the tip of the left shoulder to the tip of
the right shoulder, arching slightly to
cover the cervical prominence of the
neck bone.

• Bust point width. Measurement is

taken across from the tip of the left
bust point to the tip of the right bust
point.

2. The circumferential measurement is taken around the body.

_,
• Bust. Measurement is taken around
the bust with the tape measure running
on the same level in front, at the back
and on the sides.

• Waist. Measurement taken around the

smallest part of the torso.
 • First hip. Measurement is taken _ .,,.4lnchos(10.16cm)
around the hip level where the stomach _.,....,--8h:hes(20.32cm)
is fullest.

• Second hip. Measurement is taken

around the hip level where the buttocks
are fullest.

• Armhole. Meas u remen t is taken

around the armhole.

• Arm girth. Measurement is taken

around the arm.

3. The vertical measurement is taken from the top of the body figure to its
base.

• Figure back. Measurement is taken \

from the center of the back shoulder
over the shoulder blade down to the
waistline level.
• Figure front. Meas u remen t ta ken from
the neck point passing over the bust
down to the waistline level.

• Bust point height. Meas ure men t is

taken from the neck point down to the
highest point of the bu s t.

Copsloeve

• Length of s leeve. Measurement is

taken from the shoulder point down to st'iOtf:loeve

the desired length in the arms.

) 3/ 4 ,eeve

long eve

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• Length of skirt. Meas u remen t is ta ken
from the wais t down to the desired Mi ni

length. Short Knee M id i

.. MOxl
Anlcle
Gown

v
"

35
 In di vidual Measurement Chart

Name: _ Da te: _

BodParts Actual Body Measure Computed

Measure ment Measu re men t to be
Needed Needed
(di visor) Inch es Centimeters
Girth measurements
• Shoulder 15inches 38.1cm 2 7½ 19.05
• Bust point width 6½ 16.51 2 3¼ 8.225
34 86.36 4 8½ 21.59
• Bust
25 63.5 4 6¼ 15.875
• Waist 30 76.2 4 ¾ 19.05
• First hip 34 86.36 4 8½ 21.59
• Second hip 15 38.1 2 7½ 19.05
• Armhole 10 ½ 26.67 2 5¼ 13.335
• Arm girth
Length measurements 15 38.1 1 15 38.1
• Back figure 15 ½ 39.37 1 15 ½ 39.37
• Front figure 8½ 21.59 2 4¼ 10.795
• Bust point height 8 20.32 1 8 20.32
• Length of sleeve 22 55.88 1 22 55.88
22 55.88 1 22 55.58
• Length of skirt

Checked by: _

Wri te the body meas ur emen ts you will take in this chart and have it

checked.

LET US REMEMBER

• The body measurements were taken horizontally and vertically.

Meas u re men ts should be accurate and exact, not tight or
loose.
• Accurate body measurements help produce correct patterns and
well-fitted garments.
• Time in constructing a garment is saved if body meas u remen ts
are tak en accurately.
• Always insert twofingers when taking the girth measurement.
HOW MUCH HAVE YOULEARNED?

1. What tools are needed in taking body measurements?

2. What body measurements should be taken in drafting a bodice

and skirt pattern?

3. How are body meas u remen ts taken?

4. Why is accurate body measurement importan t?

LET US APPLY WHAT YOU HAVE LEARNED

Task 1
Identify the body measurements referred to in the statement below.
Write your answer in your quiz notebook.
1. Taken from the tip of the left and right shoulder.
2. Taken around the hip level where the stomach is fullest.
3. Taken from the center of the back shoulder down to the
waistline level.
4. Taken along the whole circumference of the body at the level of
the waistline.
5. Taken around the circumference of the armhole.

Task2

Getyour partner and prepare a measuring tools and let's find out if you
can follow the three (3) kinds of body measurement; horizontal, vertical and
circumferential. Remember that the accuracy of measurement is very
important.

To evaluate your task:

Exchange with your partner to evaluate your work based on the

following data and to convert your measurements to centimeters.

Horizontal measurement Inches Centimeters

Shoulder
Front chest
Bust distance
Back width
Circumferential measurement Inches Centimeters
Bus t
Waist
First hip
Second hip
Armhole
Ann lrirth

Vertical measurement Inches Centimeters

Figure back
Figure front
Bus t height
Blouse length
Length of
sleeve
Lenath of skirt

Checked by: _
Signature above Printed Name

Performance Rating _

RESOURCES:
• Measu ri ng Tools
• Writing Materials
• Model/Dress Form
• Body Measurement Chart
• Leaming Modules
LESSON 3

DRAFTING BASIC / BLOCK PATTERN

WHAT IS THIS LESSON ABOUT?

The lesson deals with the drafting tools, drafting basic/block pattern and
checking of pattern in accordance with the job requirements and customer's
specification.

WHAT WILL YOU LEARN?

At the end of the les son , you should be able to:

1. Prepare and select drafting tools in accordan ce with job requirements;
2. Draft basic/block pattern with appropriate tools; and
3. Check basic pattern based on customer's specifications.

LET US STUDY

Words to Study

Draft- a pattern s ketch made by following the body measure ments

Pattem - are devices used by dressmakers as guide when cutting an article or garment
IMC - stands for Individual Measurement Chart
Drafti11g - an engineering type method based on a set of body measurement
Meos11reme11t - foundation of pattern drafting
Perpemlic11/ar /i11e -c o mposed of two lines meeting in a right angle
Drafte,I pattem - made to order using individual's measurement
Commercil,/ pattem - made using standard measurement of average women

Bas ic pattern is the "starting point" for Fla t-Patte rn Designing. It is a

simple pattern that fits the body with just enough ease for freedom of
movement. The basic pattern has five pieces: bodice front, bodice back, skirt
front, skirt back and sleeve.
 The bas ic pattern is sometimes called a master or foundation pattern.
The drafted pattern is referred to as the block.

Salient Measures to Observe in Drafting Patterns

1. Be sure to have an accurate division of the measurement. Use L-squ ar e.

2. Use the aid of a hip curve if necessary.
3. Always use the L-square or ru ler in making lines.
4. French curve is necessary in shaping the neckline as well as that of the
arm hole to produce a perfect curve.
5. Use weights or dressmak er's pins so that the pattern will be moved.

Kinds of Pattern

1. Block Pattern - made by drafting from the measurements which have

been carefully taken from an individual or from a model.
2. Construction pattern - the intervening step between the block and the
final pattern. Designs are complicated, construction patterns are
sectioned.
3. Final pattern - provided with the necessary symbols that will guide the
cutter on how to Jay out the pattern on the cloth. Symbols for darts,
seam allowances, grainline, center fold, and notches and other markers
are used.

Drafting the Basic Pattern

A. Drafting Tools:
• Tape measure
• L-square
• Hip curve
• French curve
• Transparent ruler
• Pencil
• Eraser
• Scissor
• sharpener
 B. Body Meas ure me nt Needed

Individu al Measurement Chart

Name: _ Da te: _

Actu al Body Measure Computed

Body Parts Meas u rem en m en t Meas u rem en
t Needed t Needed
fd ivis orl In c h e s C e n tim ete rs
Inches Cen timeters

Girth measurements
(Horizon tal meas urements)
• Shoulder 15 38. l 2 7.5 19.05
• Bust point width 6½ 16.51 2 3.25 8.225
• Bust 34 86.36 4 8.5 21.59
• Wais t 25 63.5 4 6.25 15.875
30 76.2 4 7.5 19.05
• First hip 34 86.36 4 8.5 21.59
• Second hip 15 38.l 2 7.5 19.05
• Arm h ole 10 ½ 26 .67 2 5.25 13.335
• Arm gir th

Length measurements
(Ve rti ca l m ea s ure me n ts ) 15 38.l 1 15 38.l
• Back figure 15 ½ 39.37 1 15 ½ 39.37
• Front figure 8½ 21.59 2 4.25 10.795
• Bust point 8 20.32 1 8 20 .32
height 22 55.88 1 22 55.88
• Length of sleeve
• Length of skirt

C. Drafting the Back and Front Basic Pattern

Get one-half s hee t of pa tte rn

t i- ---
paper. Construct a back and front
bodice pattern.

Draw perpendicular line T R

I t- --
• 1-2 =3/4 inch (2cm) down
• 1-3 = 4 inches (10 cm)
• 1-4 = 5 ½ inches (14 cm)
'
. 't -._ 3,
 • 2 - 5 = bust point height measure
• 1-6 = back figure
• 2-7 = front figure
• 8 is the middle of 2 and 7
• Square out 2, 4, 8, 5 and 7 to the right
• Square out 4, 8, and 6 to the left.

'r
9B 8B I
.
-,
.
r 2
10B , _. i;t
21
'2 2 -
I 3
20
I -
4
11B •
•

8
12B
.
1 3B
18B ••
i 5

17B 16B 6
15-B ..

14B
7

Back Bodice
• l -8 B ½ back neck or 2 ½ inches (6.5 cm) to 2.9 inches (7.5 cm).
Connect 8B to 2 with a French curve
• l -9B = ½ s hou ld er + 5/8 inch (1.5 cm). Square down 9B
• 9B - lOB - 1 3/8 inches (3.5 cm). Connect 8B to lOB
• 4-11B = ½ shoulder minus 5/8 inch (1.5 cm)
• 8-12 B = ¼ bust + 5/8 inch (1.5 cm). Connect lOB, l lB and 12B
with a French curve

44
 • 8 -13 B = ½ bust point width
• 6-14B = ½ bust point width. Connect 13B to 14B
• 6-15B = ¼ wais t + 1 1 /8 inches (3 cm). connect 12B to 15B
• 14B - 16B = 5/8 inch (1.5 cm). Connect 16B-18B and 17B-18B.
• 14B - 17B = 5/8 inch (1.5 cm). Connect 16B-18B and 17B-18B.
• 13B - 18B = 5/8 inch (1.5 cm). Connect 16B-18B and 17B-18B.
• 19 = is the middle of 8B and 10B. Square down 19
• 20 = 3 inches (7.5 cm). 21-19, 22-19 = ¼ inch (0.5 cm). Conne ct
22 to 20 and 21 to 20.
• Fold 16B over 17B
• Connect 6 to 15B
• Fold 22 over 21
• Connect 8B to 10B
• Measure 12B and 15B (s ide len g th )
• Side length of back and front bodice should be equal.

Front Bodice

88
98 19

2 8F 9F
108

• I0F
203
I
I
118 4 I IIF
13B 8 12F
128
13F
188
5 .... 22F

18F 19F

21F

1 20F
178 16 8 6
158
16F I 1 7F
ISF
148 7
45 <15
14F
 • 2 -8 F = ½ back neck or 6.5 to 7.5 cm
• 2-9F = ½ s hou lder. Square down 9F
• 9F - lOF = 4.5 cm. connect 8F to lOF
• 4-11F = ½ shoulder minus ¾ inch (2 cm).
• 8 - 12F = ¼ bust + 1 inch (2.5 cm). Connect lOF, l l F, and 12F
with a French curve
• 5-13F = ½ bu s t point width
• 7-14F = ½ bu s t point width. Connect 13F to 14F
• 7-15F = ¼waist+ 4cm. Connect 12F to l 5F with dotted line.
• 14F - 16F = ¾ inch (2cm).
14F - l 7F = ¾ in ch (2cm).
• 13F - 18F =5/8 inch (1.5 cm). Connect 16F-18F, l 7F to 18F
• 12F - l 9F = 3 1/5 inches (8cm).
• 19 F - 20F = difference of 6 and 7
• 21 - middle of 19F and 20 F. Connect 21F and 13F
• 13F - 22F = 5/8 inch (1.5 cm). Connect l 9F to 20F to 22F (side
dart)
• Fold 20F over l 9F
• Connect 12F and 15F with a straight line
• Fold l 6F over l 7F
• Connect 7F to 15F
• 12F - l 5F with a dart closed = 12B - 15B of back bodice (side
length )

D. Drafting the Back and Front Shirt Basic

Pattern
Get one-half sheet of pattern paper.
Construct a back skirt basic pattern.
Draw perpendicular line T.
• 1-2 = 3/8 inch (1 cm).
• 1-3 = 5/8 inch (1.5 cm).
• 1-4 = 7 inches (18 cm) to 8 ¾ inches .,
(22 cm).
• 1-5 = skirt length
• 1-6 = middle of 1 and 4
• Square out 3, 6, 4, and 5 to the
right
• Square out 2, 6, 4, and 5 to the left

46
 13 10 12
. 78 8 88
. I

I
2
3
6
IJ

I
88 118 4
' .

98 5
.

Back Skirt
• l -7B = 'I• wai s t + 1.2 inches (3 cm)
• 4 -8 B = 'I• second hip+ 3/8 inch (1 cm)
• 5-9B = 'I• second hip+ 3/8 inch (1cm)
• 1-1OB = ½ bust point width. Square down 1OB
• l OB- 1 lB = 5 ½ inches (14 cm) to 6 inches (15 cm)
• 1OB- 1 2 B = 5/8inch (1.5 cm).
• 1OB- 13 B = 5/8 inch (1.5 cm). Connect 12B and 13B to l IB
• Fold 12B over 13B and connect 2 to 7B with a hip curve.
• Connect 7B to 8B with a hip curve
• Connect 8B to 9 B with a straight line
 7B 13 10 12 1210 13 7F

I 2
- "I • 3
.'• .

6
-
-·
.. 11

11B
IIF
8B . 4 8F

9B 5 9F
-
14

'
• Front Skirt Square down 10B
• l -7F = ¼waist+ 1 ½ inches (4 cm).
• 4-8F = ¼ second hip + 5/8 inch (1.5 cm).
• 5-9F = ¼ second hip + 5/8 inch (1.5 cm).
• 1- l OF = ½ bust point width. Square down l OF.
• l OF- ll F =5 ¼ in ch es (13 cm) to 5 ½ inches (14cm).
• 10 F-12 F= ¾ inch (2 cm).
• 11F - 13F = ¾ in ch (2 cm). Connect 12F and 13F to 11F
• Fold 12F over 13F and connect 3 to 7F with a hip curve
• Connect 7F to 8F with a hip curve
• Connect 8F to 9 F with a straight line
• 5 to 14 = 5/8 inch (1.5 cm). Connect 14 to 9F with a hip curve
 4

5
3

E. Drafting the sleeve basic pattern

Get one-fourth sheet of pattern paper. Construct a sleeve. Place the
centerline on a folded patte rn paper.
• 1-2 = sleeve length 7 ½ inches (19 cm) to 7 ¾ inches (20cm)
• 1-3 = 4 ½ inches (12 cm)
• Square points 3 and 2 to the right
• 1-4 = 3/8 inch (1 cm)
• 4-5 = ½ armhole measure
• 2-6 = ½ lower arm girth + 3/8 inch (1 cm)
• Connect 5 to 6 and 4 to 5
• Divide line 4-5 into 4 equal parts and mark 7, 8, 9
• 7-10 raise 5/8 inch (1.5 cm)
• 9-11 lower 5/8 inch (1.5 cm)
• Connect 4, 10, 8 with a French curve
• Connect 5, 12, 8 with a French curve (for front sleeve cap)
• 8-12 =1/4 inch (0.5 cm).
 • 13 - center of 11 and 9
• Connect 10, 12, 13, and 5 for back sleeve capline with a dotted line
• Cut off in the dotted line for back sleeve pattern
• Cut off 12 to 5 and 6 to 5
• Open the sleeve and cut 5, 11, 8 to 10 for front sleeve pattern

Back Front

Sleeve Sleeve

After drafting the basic pattern check it correctly and accura tely,
especially the: (1) Measurement and (2) Parts of pattern pieces; and then, cut
the basic pattern following the cutting lines smoothly.

LET US REMEMBER

• The foundation pattern is a perfectly plain one piece dress or waist

fitted to the figure as dictated by the current style. It is based in the
measurement of one individual.
• A foundation pattern is a guide or basis in the construction and
manipulation of flat pattern designing.
• Pattern drafting can be done well if you use the proper tools and follow
the step by step procedure.

50
HOW MUCH HAVE YOU LEARNED?

1. Wha t are the parts of the foundation pattern?

2. What parts of the body are meas u red before drafting a pattern of the
bas ic bodice skirt or sleeve?

3. Explain the factors that determine a good foundation pattern.

LET US APPLY WHAT YOU HAVE LEARNED

Task 1
Fill the blanks with the correct answer. Write your answer in your quiz
notebook.
1. A pattern is a device used by when making a garment.
2. An engineering type method based on set of body meas ur ement is

3. In drafting the front bodice pattern 15 F from 7 is _

4.A chart is a guide needed in drafting basic pattern.
5. French curve is used to get a very firm smooth line around the _
--- line such as armhole and neckline.
6. In drafting the sleeve, 4 to 5 is divided into
7. In drafting the skirt 4 to 8F is second hip + 1.5 cm.
8. In dra,ving a perpendicular line is the center of 2 and 7
or ½ front figure.
9. In drafting the back bodice pattern 14B is½ _
10M. ade of paper and drafted from the
measurement taken from the individual or model is called _

Tsk2
Thitime, show how much you've lear ned from pattern drafting. Be
ready with your IMC, measuring tools or drafting tools and your procedure.
Note : Each one of you will perform basic pattern drafting based on your
IMC. Your drafted patterns should be based on the 5 Parts of Basic Pattern
namely:
1. Back bodice
2. Front bodice
3. Back skirt
4. Front skirt
5. Sleeves
 To check your finished work approach the trainer/teacher for evaluation.
Explain the proper use of tools step bystep with accurate measurement.

The trainer/teacher give you suggestions, comments and her final

recorded evaluation.

Activity II. Basic Pattern Drafting

Name of Student:
Year & Section: _
Date Submitted:------
Teacher's Comment & Grade:

Trainer's Evaluation:

52
LESSON 4

MANIPULATING AND CUTTING FINAL PATTERNS

WHAT IS THIS LESSON ABOUT?

The lesson deals on how patterns are laid out in accordance with the
standard procedure how patterns are manipulated in accordance with the
customer's specifications. The latter includes labelling, filling and securing final
patterns as per standard operating procedure. It also deals with the cutting of
final pattern with seam allowance in accordance with customers' specifications.

WHAT WILL YOU LEARN?

At the end of the lesson, you should be able to:

1. Jay out pattern in accordance with the standard procedure;
2. manipulate basic/ block pattern in accordance with the customers'
specifications;
3. label, fill and secure the final patterns as per standard operating
procedure;
4. cut the final patterns with seam allowance in accordance with the
customers specifications; and
5. check the cut final pattern pieces.

LET US STUDY

Wortls to Slluly

811st poi11t - the focal point for dart manipulation in the bodice front
B11st-fitti11g dart - the fold that originates in the underarm seamline
Dart - a fold of fabric wider at one end coming to a point at an end which gives shape to garment
Fitti11g dart-are triangular folds in the cloth that fit the fabric to the curves of the body
Hem - the fold turned under the wrong side of the garment
Hemli11e - the line where the hem will be turned
Seam allowa11ce- space added between the cut edge and stitching line of the fabric
Seam li11e- line indicating when seam would be stitched.
Sloper - a cardboard copy of the basic pattern that dart areas and seam allowance cut away
Waist-fitti11g dart - the fold that originates in the waistline
Weights - heavy objects placed on top of patterns when tracing for the pattern not to
move.
C11tti11g li11e- the line where the pattern is to be cut.
IX. Comments and Recommendations:

FLAT - PATTERN DESIGNING

F la t -Pa t te rn Designing is working out the pattern of a garmen t either in

the material itself or by cu tting a pattern using the founda tion pattern as a
basis.

After drafting the basic/block pattern, you are now ready to manipu la te
the basic pattern into casual apparel in accordance to the style specification.

Princess Cut Dress

1. Prepare the necessary tools, supplies and materials

• Tape measure
• Transparent ruler (long)
• French curve
• Hip curve
• Pencil
• Pattern paper (2pcs)
• Pins
• Scissor
• Eraser
• Weight
• Sloper

2. Lay the basic pattern on the pattern paper with necessary allowances for
s tyle needed.

3. Trace the front and back basic bodice patterns and the front and back
basic skirt patterns.

4. Mani pu la te the basic pattern to the desired s tyle.

• From the front bodice, get the midpoint of the shoulder and mark.
• Raise the dart point 5/8 inch (1.5 cm) upward and draw a
connecting line towar ds the cen ter of the shou lder line. (use
broken line)
• For the back bodice, raise dart point by 1 inch (2.5 cm) upward
and draw a connecting line towards the shoulders dart point.

57
 • For the lower part which is the skirt, draw straight lines from the
dart point down to the hemline.

shoulder fitting
dart \ ·'
-
- I

'
I
I I
I I 1.5 cm.
I

2.5cm
bust-fitting

··
dart
asi t
& .

"·
. L ;
.
waist. fittingdart

8at I t,
••t

5. Cut the pattern following the broken lines (cut the waistline dart and shoulder
dart). Slash a little from the bust point height toward the side dart and close.

6. Pin all pattern pieces separately (allowing spaces for necessary flaring
and allowance) into another sheet of pattern paper.
I cm. 15cm.

2 cm. ,,
-? I
fi •
,i- 1.5cm. ' I
l '
,•
I 1.5 cm.
I. 'I
1,
II
I

I
I
• t

! r 1.5 cm.

I
25

I
I
 I II
II I,
1\
Center
Fro n t
I .s

'm JI I
I
2

1·1 r :I
I\
I \ ,
I I
cm. ----,;=: .I,
r,
I
I
, • LS

I'
I cm
•
I
• '
; 'I I

,'
I
•
.......-\ '•
I
2.5cm. 2.5cm.
I I
J I,
II ,
I .
cm.. 25cm.
,. I
,I I•
' I

I
.
'
Sideof
I,. 1. 5
I

'
I'
cm

, l t

, '/1I
'! Back

2.5cm.

2.5
'
Fi I
'
I
I
I

' I
cm. I

II~ ---- .-'.)-{·.--. ..,_

'I I
)

4cm.
cm.
. 4 4cm. 4cm. 4cm. 4 cm. 4 cm. 4
cm. 4 cm.
4 cm.

7. For flaring the inseam and side

• For the inseam, add 1.5 inches (4 cm) at the hemline and connect
it into the darts
• For the side, add also 1.5 inches (4 cm) at the hemline and
connect at the upper or firs t hip
8. For seam allowances:
• Neckline - 3/8 inch (1 cm)
• Shoulder - 3/ 4 inch (2 cm)
• Armhole - 5/8 inch (1.5 cm)
• Inseam - 5/8 inch (1.5 cm)
• Side seam- 1 inch (2.5 cm)
• Hemfold - 1.5 inches (4 cm)
• Cen ter fron t- ¾ inch (2 cm)
Cutting of Final Pattern

Tools needed:
1. scissors
2. pin
3. weight

To cut the Princess cut dress:

1. Fold in the seam allowance and pin temporarily around he
neckline area.
2. Cut the neckline curve.
3. Tum out the following allowance of the cut pattern of the front
bodice.
4. From the shoulder and neckline corner, mark this point A,
measure 1 ½ inches (3.8cm). Mark point B.
5. From the point on the pattern on the waist level, measure 2 ½
inches (6.4cm). Mark the point C.
6. From the fold of the pattern on the hemline level, 2 ½ inches
(6.4cm). Mark the point D.
7. Connect point B to C with the slightly concave part of the ruler.
8. Connect point C to D with a straight line.
9. Cut along points B to C to D.
10. Turn the pattern so that the right side is facing up.
11. Pin the folded facing allowance and the main bodice of the
pattern around the neck area and the shoulder together.
12. Cut the outline of the front bodice on seam allowance from the
comer of the neckline to the shoulder line to the inseam to the
armhole line to the side seam and the hemline.

To Cut the Collar

1. Pin the folded part so that it will not move when cut.
2. Cut along the seam allowance.

To Cut the Sleeves

1. Pin the folded part so that it will not move when cut.
2. Tum out and cut along the seam allowance.

60
 Shawl Collar. This collar is also called menton collar. It is
designed as a variation of the continuous collar. The curve portion of
the back neckline is straightened and squared to accentuate the
hugging effect the collar is supposed to give. This is commonly done
on the surplice bodice, one which has neckline extended on each side
from the shoulder and oftentimes to the opposite side seams with the
line crossing in the center.

R:tf/ern for/'l'Onf
.SMwl tb¼l'r.

Here is the procedure in making the shawl collar.

1. Prepare a full front bodice.

2. Design the V-s haped neckline after establishing the surplice
bodice.
3. Design the shawl collar.
4. Mark front bodice center and start the overlap or closing
from this.

63
 Sailor's Collar. A collar of this type is popular among school
girls. This is obviously derived from the sailor's uniform.

·;
' ..._
.
} ·'.,...,.. Fold

V
·. ·,• Ovef1op l Jnc-h Ce n ter
' ... (2 .54 c m ) at the bock
centef$houlder line.
D e sked d ep th ·- 1
of V- nec k
. :

Fron t stopc,r

Sailo,.s collar

The steps in making the sailor's collar are as follows:

1. Place the front and the back bodice as shown in the diagram.
2. Design the V-neckli ne on the front sloper.
3. Design a slanted line to the end shoulder portion. Square
down 6 inches (15 cm} long and square it out to the center.
4. Trace the neckline to the desired design on a piece of paper.
5. Lay center back collar design against the folded material.
 Con tin uous Co llar . This collar is part of the bodice. This
collar rests on a V-s haped neckline and gives a good sweeping effect
from the front to the back neck without distortions. It provides a
smooth soft roll and a hanging effect at the back of the neck.

,· ..
........, Cenlo,bock
Comect
' '' lobock neckrna
'
'
r .• /

Del;lht de•red lq?ootlhecoll:Ji. hntOC$ ltoe colcrde,tgn.

'
'
'
''
'
I 1°
' __ _• • •• : lfocoOllardo,lgn..
_,_ ..
C)pen'lopoo(I:

.'

Conrlnuou,C<llor

'·1
Ii,

. "b
0 ,.·,.

Here is the procedure in making continuous collar.

1. Formulate a V-s haped neckline on the front bodice.

2. Design the desired shape of the collar.
3. Trace collar design of front bodice.
4. Open the flopped paper under and trace printed collar
design.
5. Use the highest front neckline as the basis to continue
designing the back pattern.
6. Square a line from A to B. the line should equal to the
desired width of the collar.
7. Bind carefully the collar design of front bodice to the center
of back bodice.
 Mandarin Collar. This is popularly called Chinese collar,
standing collar, or oriental collar. It fits very snugly arou nd the neck
giving one a prim look.

- '
l Inch
1' c, t-- C
3cm D r...
8

--
J,
J/4 lnd1 up
Fold E'
"- r- ---4E

Manda1n collar

' ... .,
> ; ( ..1,'
,l! •.• •,

i:\,1. :'·
I'

T he following are the steps in making the mandarin collar.

1. Measure the base neck circumference. Then divide by 2.

2. Square out both ways from A.
3. Measure 1.18 inches (3cm) from A to B.
4. Measure one-half of base neck circumference online AE.
Mark D as ½ of line AE.
5. Move up¾ inch (1. 90cm ) from E to El.
6. Measure 1 inch (2.54cm) from C to Cl.
7. Bend AEl through point D with a soft curve. Do the same for
BCl.
8. Finish collar by shaping Cl El.

67
Sleeve is a part of a garment joined to the armhole by a seam.

Short Puffed Sleeve No. 1. The short puffed sleeve gives one
you th ful appearance. It also provides bulk in order to conform to the
shape of the arm of the wearer.

l 2 l•

fou'douon Constructton

'I
I
I I

,, , , ),
,
Shortpuffed eavero, l

WiarJpu!oHon
, .._fh:il
pattern
The procedure in making this type of sleeve is as follows:

1. Using the foundation sleeve as a model, design slas hes

starting from the bottom or girth going to the top part of the
sleeves (see arrows).
2. Open the slashes and spread them proportionately until
desired fullness is achieved.
3. Trace the sleeve giving it a flared effect. The flare will
account for the fullness necessary in making the puff.
 Short Puffed Sleeve no. 2. This type of sleeve produces a
feeling of width at the shoulder and on the level of the bust or just
above it.

foundatton Constructton
+ 1Inch(2.54 cm)

Short putted
1) i oove no. 2

Manipulation
1 Inch (2.54 cm)
Fino!pattern
Following are the steps in making this sleeve:

1. Prepare the foundation pattern.

2. Design the various slashes for fullness. Slashes are designed
equally on both the top and lower sections of the sleeve.
Preferably, lay this pattern against the center bias fold.

Puffed Sleeve No. 3 . This sleeves design invites the eye to focus
on the shoulder level only. The exposed arm will appear to take on a
slimmer look. This type is best suited for middle-aged women who
have plump upper arms.

The steps in making this kind of sleeves are as follows:

1. Prepare the foundation pattern of the sleeve.

 2. Design slashes for the upper cap.
3. Make sure that the slashes are geared toward the bottom.
4. Open the slas hes for additional fullness.
5. Trace the pattern.
6. Mark the area of fullness on the final pattern.

Foundation Construc on

1Inch up PuNed sleeve no. 3

...........

Monlpulotlon Final pattern

Cap Sle e ve . The cap of the shoulder becomes the basis of the
sleeve. When a little extension is desired in order to allow the arm to
pass freely through the armhole, this sleeve will best serve its
purpose.

Here is the procedure in making the cap sleeve.

1. Prepare the pattern for front and back bodice.
2. Extend the side line of the bodice up to the top to the level
with the end point of the shoulder.
3. Extend the shoulder and line up to the extended side line.
4. The length from the shoulder edge as illustrated will be the
length on the side armhole from where the side seams start.
This ensures ease in putting the arm through the armhole.

70
 - t/-6 C::/!),1!.
, ,:· - ,' t- Exrand shoulder end lino.
.. ., Extend side
.
of bodice to top.
·--Side armhole Side seam starts here

4 inch e.s

.
2 In c h e s '-,
down J]
l In ch down Jt"'

C apsro e ve

Two-darted Sleeve. In making this sleeve, four inches are

added to the foundation sleeve pattern. The extra measurement is for
the cap portion which is to be darted in order to produce a pad to the
cap region.

The steps in making the two-dar ted sleeves are as follows:

1. Draft the foundation sleeve.

2. Add 2 ½ inches (6.4 cm) to the cap portion.
3. Curve gracefully following the basic curve for the canon.
4. Design the two darts on the cap.
5. The length of the darts should not exceed the measurement
added to the cap. The width of the darts will ensure a
squared effect of the cap.
 -

Two-darted sleeve

Add 2 1/2Inches (6.35

cm) to cop portion. Then
design
d arts.
21/2Inches
.-

I
I
r --------J.,I
founcJo h: n ---.......
fi nal poll ern
'.
(Basic sleeve po ttem)
(vlithseam allowance)
Four-darted Sleeve. The four-dar ted sleeve is a variation of
the two-dar t ed sleeve. The darts are given out for design purposes
only. The length of the dart is limited to the added amount to the cap
region.

Here are the steps in making the four-dar ted sleeves :

1. Draft the sleeve pattern.

2. Add 2 ½ inches (6.4 cm) to the cap region.
3. Design the four darts on the cap region.
4. Limit the length of the darts on the cap region.
5. Ensure a squared effect on the cap.
LET US REMEMBER

• Knowledge of pattern drafting will help you sew garments correctly.

• Pattern drafting is easy if each step in the process is clearly related to
the final outcome and if the drafter visualizes what he/she is doing.
• Both foundation and style pattern are needed in garment
construction. Some dressmakers cut the fabrics withou t using any
patterns.
• Cut exactly on the cutting line
• Accuracy in cutting is necessary to construct a garment that
duplicates the design and size of the pattern.

HOW MUCH HAVE YOU LEARNED?

1. Differentiate the foundation pattern from a style pattern?

1. Dis tin gu is h the two patterns.

2. How is a s tyle pattern made?

3. Why is a style pattern important?

4. What is the difference between seam allowance and seam line?

5. How should you start the cutting of final pattern?

LET US APPLY WHAT YOU HAVE LEARNED

Task I. Evaluate Princess cut dress, sports collar and puff sleeves.

Standards Highse t Student Teacher

poss ible
s core
a. Mea s u re men ts
• Make use of correct measurement 8
• Measurements correctly taken 8
7
• Allowance correctly added
b. Tools
• Drafting tools: correctly and properly 8
used
7
• Drafting tools in good condition
 c. Procedure 15
• Step-by step procedure: correctly
followed

d. Patterns 10
• Princess cut dress: correctly and
properly interpreted and drafted 8
• Sports/Knotched collar: correctly and
properly interpreted and drafted 8
• Puff sleeve: correctly and properly
7
interpreted and drafted 7
• Comers properly shaped 7
• Curved areas prim and smooth
• Cutting lines neatly done 100

TOTAL

RE SOUR CE S:

Paper/ pencil Weights

Cutting tools Manual/Leaming modules
Drafting tools Sloper
Measuring tools magazines
Measurement chart Fashion catalogue
Model/Dress Form Fabrics
Pattern paper Model Project
Long table

REFERENCES:

Del Rosario, Constancia et. al. Practical Art s-Clo thin g and Textiles I
and II. Publisher Philippine Book Company, Printed by Regal,
Manila, Philippines
Francisco. Chic R. Simplified Pattern-Maki ng of Basic ladies. Wear,
Manila, Philippines
Francisco. Chic R. Complete Step-by-Step Guide in Fashion
Designing. Copyright 1992, Golden Ideas Publishing Home Inc.
Hilario, Carmelita B., Clothing Technology Made Easy Publisher
National Book Store Printed by 24k Printing Corp.• Valenzuela
City
Reader's Digest, Complete Guide to sewing. The Reader's Digest
Association, Inc., Pleasan tville, New York. Montreal
Rojo. Luz V. et. al. Practical THE. Home Economics III and IV.
Philippine, Adriana Publishing
THE III and IV. Home Technology. Clothing I and 11. DECS,
Philippines. Insular Printing Corp.
Knight. Loma . The Dressmaker's Technique Bible A Complete Guide
to Sewing. Page One Publishing. Published in Asia 2008
Post test

Directions: Read and understand the items being described below.

Choose the letter of the correct answer and write it in your quiz
notebook.

1. This is the line where the pattern is to be cut.

a. curve line
b. cutting line
c. seam allowance
d. straight line
2. It refers to the company's standards operating procedure.
a. determining garment costs
b. measuring body parts
c. performing sewing
d. all of the above
3. It is a design done in a garment by adding interesting
accessories.
a. decorative design
b. garment design
c. structural design
d. all of the above
4. This kind of design has the parts of the garments which are cut
and then sewn together.
a. structural
b. formal
c. decorative
d. informal
5. A kind of pattern where all the allowances needed is indicated.
a. basic
b. blocked
c. commercial
d. style
6. This is another term for sports collar.
a. continuous collar
b. convertible collar
c. flat collar
d. mandarin collar
7. This is the center of interest in a given garment.
a. balance
b. emphasis
c. harmony
d. proportion
8. This is the measurement taken around the arm.
a. armgirth
b. armhole
c. armscye
d. forearm
9. A kind of line on a dress that gives an illusion of height to the
figure.
a. curve line
b. diagonal line
c. horizontal line
d. vertical line
10. This is the main line of the garment.
a. design
b. fabric
c. pattern
d. silhouette
11. This is the seam allowance for the inseam of princess cut
dress.
a. 1.5 cm
b. 2.0 cm
c. 2.5 cm
d. 2.7 cm
12. This is the technique used in cutting curve lines.
a. long even stroke
b. long uneven stroke
c. short even stroke
d. short uneven stroke
13. This refers to the body measurement taken from the shoulder
down to the tip of the bust.
a. bustline
b. bust point height
c. bust point width
d. waistline
14. This is the first step in drafting basic pattern.
a. diagonal line
b. horizontal line
c. perpendicular line
d. straight line
15. This is the style that tends to capture the attention of the
consumer instantly and briefly.
a. design
b. fad
c. fashion
d. look
16. This is the exact measure of the long arm of the L-
square. a. 16"
b. 18"
C. 24"
d. 36"
17. This is the divisor for shoulder measurement.
a. as is
b. 2
C. 4
d. 8
 18. This is the first line of an
inch. a. 1/8
b. ¼
C. 3/8
d. 5/8
19. This rule is NOT needed in taking body measurements.
a. Wear undergarments or bodysuit when measuring
b. Pull the tape snug, but not too tight
c. Take length measurements, then girth measurements
d. Be sure to keep the tape parallel to the floor
20. This is NOT the circumferential measurement.
a. armgirth
b. bust
c. bust point width
d. waistline
21. This is the symbol for
grainline. a.
b.....
C. e
d.!
22. This refers to Flat-Pattern Designing.
a. Working out the pattern of a garment either in the
material itself or by cutting a pattern using the
foundation pattern as a basis.
b. Spaced added between the cut edge and stitching line of
the fabric.
c. The fold that originates in the waistline.
d. A fold of fabric wider at one end coming to a point of
bust at the end which gives shape to garment.
23. This is the basis of the foundation pattern.
a. figure
b. personality
c. individuality
d. measurement
24. This is saved when body measurement is taken before doing
garment construction.
a. time
b. cost
c. force
d. labor
25. This type of collar is also known as menton collar.
a. shawl collar
b. sailor's collar
c. sports collar
d. Mandarin collar

77
KEY TO CORRECTION - PRETEST

1) C 8) d 15) C 22) d
2) d 9) a 16) b 23) C
3) d 10) C 17) a 24) a
4) b 11) b 18) a 25) a
5) b 12) C 19) a-d
6) b 13) b 20) b
7) d 14) b 21) a

KEY TO CORRECTION - POST TEST

1) b 8) b 15) b 22) a
2) C 9) d 16) C 23) d
3) d 10) d 17) b 24) a
4) a 11) a 18) a 25) a
5) d 12) C 19) C
6) b 13) b 20) a-d
7) b 14) C 21) b

78
 TABLEOF CONTE NTS

Module 1 Draft and Cut Pattern for Ladies Casual Apparel

Pretest....................................................................................................................1

L earning O utcome 1 Planning Garment Design

Let Us Study.........................................................................................................6
• Standard Operating Procedures in Garment Designing..............................7
• Garment Design for Ladies Apparel .........................................................7.
• Kinds or Design in Clothing.......................................................... 8
• Ladies Casual Dress...........................................................................10
o Blouse....................................................................................11
o Skirt..............................................................................................12
o Pants .........................................................................................1. 2
• Elements of Design
• Line ................. ·························- ················.·.·..·.·.................14
····-· ················.·..·.·.·.................15
• Color............... ·························- ················.·..·.·.·.................16
····-·
• Space............... ·························-
····-·
• Form or Shape...................................................................................17
• Texture...............................................................................................22
• Pattern or Print of fabric ·············-··· - ·················..·.·.·...............23
• SelectingFabric for the Dress.............·- - ················.·.·.·..·..............23
• Principles of Design ..............................................................................24
• Special Preferences...................................................................................26
How Much Have You Learned?..........................................................................30
Let Us Apply What You Have Learned..............................................................30

Learning O utcome 2. Taking Client's Body Meas urement

Let Us Study........................................................................................................33
• Rules in Taking Body Measurement.......................................................34
• Procedure in Taking Body Measurements...............................................34
• How Much Have You Learned?.............................................................39
Let Us Apply What You Have Learned..............................................................39

Learning O utcome 3. Drafting Basic / Block Pattern

Let Us Study........................................................................................................41
• Salient Measures to Observe in Drafting Patterns...................................42
• Kinds of Pattern.......................................................................................42
• Drafting the Basic Pattern ...................·- - ················.·.·..·.·..............43
How Much Have You Learned?.........................................................................51
Let Us Apply What You Have Learned..............................................................51
Learning Outcome 4. Manipulating and Cutting Final Patterns

Let Us Study ......................................................................................................5. 3

• Plan for the Construction of a PrincessCut Dress with Collar
• Project Plan........................................................................................54
• Flat Pattern Designing
• PrincessCut Dress ...........................................................................5. 7
• Cutting of Final Pattern......................................................................60
• Final Pallern - PrincessCut Dress...........................................................61
• Sports Collar or Convertible Collar...................................................62
• Shawl Collar.................................................................................63
• Sailor's Collar...............................................................................64
• Continuo us Collar.......................................................................65
• Half-Rolled Collar ...........................................................................6. 6
• Mandarin Collar ................................................................................6. 7
• Sleeve
• Short Puffed SleeveNo.I.........................................................68
• Short Puffed SleeveNo.2........................................................69
• Puffed SleeveNo. 3 ·············-····- ················.·..·.·.·..............70
• Cap Sleeve...................................................................................71
• Two-darted Sleeve···············-····- ················.·.·.·..·..............71
• Four-darted Sleeve..................·- - ················.·.·..·.·..............72
How Muc h Have You Learned?.........................................................................73
Let Us Apply What You Have Learned..............................................................73

Post test ..............................................................................................................7. 5

Key to Correction.............. ·························-····-· ················.·..·.·.·.............78
 ACKNOWLEDGMENT

The Department of Education wishes to extend thanks and

appreciation to the representatives of the different Secondary Technical-
Vocational Sch ools who shared their expertise in developing the
Competency-Based Curriculum (CBC} and Comp e te nc y Learning
Matrix (CLM} on February 25-29, 2008 and Competency-Based
Learning Materials (CBLM} on April 14 -19, 2008, refinement and
packaging of CBLM on May 5 -10 , 2008 and final repackaging on May
23 -25, 2008 at the Development Aca d em y of the Philippines,
Tagaytay City and the final refinement of CBC-CLM-CBLM at the
Marikina Hotel, Marikina City on April 20-25, 2009.

This learning material was developed, enhanced and refined by

the following personnel:

Writeshop on the Development of CBC-CLM

Writers:

• ELORJEN VILLAMAYOR
M. S. Enverga Memorial College of Arts and Trades

• LORENA GENITO
Zamboanga Del Sur School of Arts and Trades

• PURIFICACION RAZON
Don Alejandro Sr. Science and Technology High School

• ROSSANA I. SAGUID
Tanza National High School

• LUZ AGBULUS
Zamboanga del Sur School of Arts and Trades

• JULIE ANNIE M. PESTANO

General Mariano Alvarez Technical High School

• ANNABELLE R. DE LEON
Tanza National Trade School

• MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

• PRESCILLA RAYOS
Community Vocational High School
 Encoder:

• MYRNA COVILLA

Consultan t:

• ROSITA CREDO
TVE Consultant

Writeshop on the Finalizati on, Packaging and Repackaging

of CBC-CLM-CBLM

• ALVA NALDOZA
General Santos City

• ESTRELINA PALALON
Gian School of Arts and Trades

• FRANCISCA BUMANGLAG
Jones Rural School

• JULIE ANNIE M. PESTANO

General Mariano Aluarez Technical High School

• MARIA M. DEL MUNDO

E. Rodriguez Vocational High School

• ANNABELLE R. DE LEON
Tanza National Trade School

Writeshop on the Refinement and Enrichment of CBC-CLM-CBLM

of Arts and Trades Specializations

TVE Writers:

• ANNABELLE R. DE LEON
Teacher III
Tanza National Trade School
Paradahan I, Tanza, Cauite
Region IV-A

• MARIA M. DEL MUNDO

Teacher III
E. Rodriguez Vocational High
School Nagta ha n, Sampaloc,
Manila
NCR
• MARIA VICTORIA M. FERNANDO
 Teacher III
Pangasina.n School of Arts and Trades
Lingayen, Pangasinan
Region!
• NIMFA0 . MARMOL
Teacher I
Muntinlupa Business High
School Muntinlupa City
NCR

• DR. MILAGROS M.
TORRES Mas te r Teacher I
Sanchez Mira School of Arts and Trades
Sanchez Mira, Cagayan
Region 02

Academic Writers:

English

• NOVELINE C. TACATA
Teacher III/ English Coordinator
Cabarroguis National School of Arts and
Trades Cabarroguis, Quirino
Region 02

• SCHUBERT ANTHONY C.
SIALONGO Mas te r Teacher I
General Leandro Fu.lion National High School
Hamti c, Antique
Region VI

Science

• DR. CECILIA B.
CASTILLO Head Teacher
VI
Siniloan National High School
Siniloan, Laguna
Region IV-A

• TEZA LORRAINE A.
MARCOS Teacher I
AFGBernardino Memorial Trade School
Marilao, Bulacan
Regionm

• EVELYN P. CHAVEZ
 Teacher I
Pedro E. Diaz High School
U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Encoders:

• MIA LORAINE MANUEL

Fai rvi ew , Quezon City

Editors:

• ANA LIZA C. CANILANG

Teacher I
Pedro E. Diaz High School
U.P. Side Subdivision, Alabang, Muntinlupa
NCR

Facilitator:

• AIDA T. GALURA
Vocational Secondary Administrator II
Angeles City National Trade School
Angeles City
Regionm