Post · UduakobongAsanga · Uduakobong Asanga, Business Development Officer at Tvet-Uk-Nigeria. Looks amazing. English version please. pattern wm-greece.info - Download as PDF File .pdf), Text File .txt) or read online. Pattern Magic 3 by Tomoko Nakamichi - Free download as PDF File ( .pdf), Text File .txt) or read online for free.
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Pattern Magic Volume 1 Sewing Pattern Ebook Instant PDF Download In Japanese. Pattern Magic 2 by Nakamichi Tomoko Japanese Craft Book (In English). Pattern Magic. likes · 27 talking about this. This is a showcase for designers works through pattern magic book! This page dont have any. Pattern Magic 2 FREE DOWNLOAD. Paperback: pages; Publisher: Laurence King Publishers (February 16, ); Language: English; ISBN
And what about the application of these ideas of three-dimensional shapes with holes, cones, cubes, balls, accordions… to other materials? Yes, think to the clay.
Some specification… Both Pattern Magic 1 and Pattern Magic 2 has illustrations each one, pages and are x mm. They come in a soft cover and are published by Laurence King , from which you can also download them online. Nakamichi currently delivers lectures and holds curses on design making, both in Japan and overseas. This book brings together the results of the research on garment patterns she has carried out to help instruct her students.
Be inspired! ItalianoPer la priam volta Pattern Magic 1 e 2 il libro cult dal Giappone sul taglio del cartamodello e stato pubblicato in Inglese! Devo essere onesta e dire che non conoscevo questa artista prima. Per esempio, ho realizzato che molti dei dettagli di questi lavori potrebbero anche finire in una bambola di stoffa, in una borsa super originale, un cuscino unico, un copriletto, in articoli di modisteria e cappelli.
Pattern Making Cut andioin flat piecesof fabric to assemble into a three-dimensional garment. Use your original designs to make new patterns. You can create a garment by cutting. The relationship between the flat pattern pieces and the three-dimensional structure of the garment never changes.
Take the pieces of a three-dimensional garment apart and flatten them. Using a halfscaledress form helps to understand the overall balance and look of a garment. Shownby a thin solidline N-7T. For this reason. I hope the pattern-making method I introduce here is of use to you in turning an image into a silhouette or design detail. The pattern drafting and manipulation for the design of garments in this book are based on the Bunka-style sloper block for adult women Japanese'M' size: A major objective when making garments for women is not only that they fit properly but that they also look attractive.
All the measurementson this dress form are half that of a full-sized dress form. To turn the image in your mind into a garment you'll need to know the techniques of pattern making.
It's not. I Sleevewith gatheredhole Lrater sleeve Seepage36 for instructions! The secret of Pattern Magic lies in the "close. Whenthe circleextendsbeyondthe bustpoints Evenif you cut out the circle.
Thecircleextendsbeyondthe bustpoints Evenif you cut out the circle. Theedgeof the circle passes throughthe bustpoints. Basicbodicepattern Bodicefront oattern basedon the Bunka-style sloper block seepagesgg Bodicepatternwith closeddarts. Flatten "Flatten"meansto pressdown on any fullnessthat refusesto lieflat In a similarway to a sugarcubewhere the cornershavebeenworn away.
Ease 3. Insertdarls Closetwo darLsto makeinto one 2. To makea patternfor the circle Shorteningthe daftsso that they end at the edgeof the circlewill makethe circlelie flat so that a patterncan be made However. Shoftenthe dartsto end at the edgeof the circle Closethe dartsand cut out the circle The patternis not fitted in the chestarea andthe silhouette is not the same Threemethodsfor makinga patternwith the samesilhouette Theyall involvemanipulating the dartsthat areIeftinsidethe circle.
I ns er t i ncgo m p l e xd e s i g nl i ne sin toa slo p e r b lo ck asa furtherapplication of thistechnique In the sameway as for the bodicewith the circulardesign line. Selecta methodconsidering the overallbalance of the garment. HereI havefoldedand createdthe seamallowance but you may change the designso that the designlinesend at the pointsup to whereyou cansew.
Cannot openeo The patternls flat but the beginningof the curvecannotbe openedout because thereis no seamallowance for the designlineseam Foldovera smallportionat the end of the curveto createsomeseamallowance Then.
The fabricalsostretchesa lot with patternsthat havecurveddesignlines. Depparishirt of the bust. The depparion the chestutilisesthe fullness The sharpaccentin the chestareao f th e c ri sphi ghqualitycotton shirt hasa coolnessth a t i s r emi ni scent shirt.
Dresswith gatheredhole A designwherea hole is openedand gathered in a fitted silhouette,without inserting dartsor des ignlines. Wherethe cuttingand openingout linesdo not makecontactwith the pointof the darts,adjustby makingthe dartslongeror shorter.
Manipulatethe cut and openedparts. Closeall the darls. Then redrawthe hemline with a neat. Fit the waist usingthe curveddiagonalseamsas designlines. To createthe frill strip. Then makethe frill. Make a part of the gatheringinto a frill for greateremphasis. The endsof the frill strip are not joined together.
Align the right side seams. O Measurethe armholeof the bodiceand makea drawingfor the sleeve Os.
Sleeve A designfor a close-fittingsleeve. Don't forgetthat the amountfor c ut t inga n d o p e n i n go u t v a ri e s greatlydependingon the fabric y ou hav ec h o s e n. Draw the eiderarm line. Sleeve cap tO nrstly. Draw cutting and opening out lines in a radialpattern from the centre of the hole. Because The amountfor cutting and openingout vaies accordingto the fabricused. It is up to you to decidehow much you want to open the sleevecap.
By inserting ease. Use a sturdy fabric that can be easedinto shape. Lil 'i. Q rseftthe designlinesfor the "crater"anddetermine '. Cratersleeve A sleevewith structural interestwherea dent hasbeenmadein the fabricon the sleevecao. An interesting designfor a simplejacketor coat. Cut and open out panel as shown in the drawing.
G Draw linesfor cuttingand openingout in a radialpatternin the areabetween and on panel Make the perimeterof the curvedline between and on panel inio x. The amountto be openedout variesaccordingto the fabric used. As the otoshiana is a complex design. The drop hole otoshiana The otoshiana technique was developed from the idea of connecting two holes to form a tunnel-like strucrure.
O Makea muslin toile for the skirtbase Thepatternfor the skirlin the pictureis shownbelowbut you canmaxe the skirlany shapeyou want In the sameway aswith paperon page I Cut alongthe designlinesto makethe fabricoattern Where the edgesof the hole do not lie flat.
Open out and iron the folded parts. Lur ' lcm t c19 -"n. Fromthe top. Anaching cubes onto a base is in itself interesting.
Think of the paperbaseas the garment Cut alongthe lines.
Drawthe designlinesin any way you want. Playing around with patterns enablesus ro produce many more designsfor couture garments. I remember how difficult it was learning pattern-making off the blackboard. It gave me a great feeling of satisfaction. I achieved the shapesI wanted by making miniatures out of paper. I try drafting the patterns myself. To discover how they were made.
Drapeddesign An elegant contrast creared by light and shade.. Make an easy-to-draft flar pattern for a draped design that is usually produced by pinning and three-dimensional cutting of fabric End of seam. The l argert he cir cle. I n te rs e cth t e l e ft a n d ri g h tb o d i c epanel sthroughthe hol eand createthe drapeddesi gn. Complex drapeddesign addingonetwistto thefabric The intersecting of the left and right bodicepanelsis the sameas on the simpledrapeddesignbodice. Reversepanel to add one twist.
The undersideof the fabricappearson the faceside. Armholeline Q The basicpattern is the sameas for the simpledrapeddesignbodice Dividethe pattern above and below into panels and respectively. To makethe hole. Rememberthat the undersideof the fabricwill appearat the front.
The drapeddesignaroundthe chestis created with a techniquethat doesnot involvetwisting and maximizes the soft. WL O On the bodicefront. Forthe bodiceback. Dividethe radiusof the circlefor the drapeon the bodice front into four equalsectionsand draw cuttingand openinglineson panel Forthe skirtpattern.
In a different way from a garment that has a furrowed drape produced by techniquessuch as changing the position of the left and right sleeves. T h e b a sicb o d ice As twistingmakesthe garmentshorter. Threeneiiripatterns As twisting the fabric changesthe shapeof the necklineand the armholein a complexway. Redrawthe sideseamlinesto connectthe cornerof the armholeand the waist and hip areain smoothcontinuouslines. Twistperpendicularly Q Manipulatethe centrefront and centre backon the pattem by a measurementequalto 'b' in this case 4cm in a verticaldirectionoppositeto that of the twist you want to createin the fabric.
O Adjustthe linesfor the necklineand the hem. Q Basicpattern The patternis the samefor the front and the back,and the simpledesign wherethe sleevesare part of the bodiceis createdin a knit fabric. No easehas beenaddedto makethe garmentfitted at the hip. Stretchthe necklineopen and checkthat your headfits through lf it doesnot, make the neck larger. Twist perpendicularly Manipulatethe pattern vertically in the directionoppositeto that of the twist you want to create in the fabric.
A collarwith two distinctexPresslons double when viewedfrom the front' a A shirtcollarfrom the backand' on a theme' collar,this offerstwo variations design' to makethisintriguing I combinedpatternsfor two collars. Stretchthe lldoes not. A basicjabot-style frill A gorgeousdecorativeeffectfor the front of a blouse.
Reverse or thebacksideof the beforeattaching garment willbeontop. The connectionbetweenthe sectionthat is visiblefrom the front and the sectionconcealedunderneathis important. Ffareconceafed in a curve Thisdesignmakesyou wonderhow the flarehas beenconcealed.