In part 1, I showed some of my process of draping onto the stand to create my toile. This part will cover transferring that into paper! Christmas paper specifically! Yay!
First i made sure to square up at the waist.
Then added the important infomation; grainlines, notches, what piece it is, as well as the date it’s made. The date is important, as if you re-do a pattern piece later, you’ll know what the original pattern piece is.
This front panel I struggled with. I just couldnt quite wrap my brain about how I made it on the stand. I pinned it up again and drew in the balance line, but I still couldn’t figure out how to put it onto paper
I decided to re-do the front pattern piece again, as I really was struggling with putting it onto paper in a way that made sense. For the second attempt, I made it as clearer pleats, rather than just rouching.
I drew in the center front and waist line, and then used that to help line up my pleats.
I then came in with an iron, and pressed them while it was on the stand, and then used a green highlighter to draw alone the edges of the pleats, so I could see exactly how deep, and the direction each pleat went.
After I traced it all to paper, I pinned the paper version to the stand to make sure everything still lined up nicely!
With all my pattern pieces lined up and looking good, it was time to go ahead and take a look at some fabric samples! Part 3 will cover my swatches and dye experiments!
In part 1, I showed some of my process of draping onto the stand to create my toile. This part will cover transferring that into paper! Christmas paper specifically! Yay! I decided to re-do the front pattern piece again, as I really was struggling with putting it onto paper in a way that made sense.…
One response to “Creating Lady Dimitrescu’s Dress: Part 2”
Quill Vulkin is a multidisplined artist & costume maker. They use a mix of methods and media to create thought-provoking pieces, as well as re-creations of work for clients.
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