Pitanja i odgovori / Q&A

Pre neki dan sam od jedne čitateljke dobila email sledeće sadržine:

Početnik sam u šivenju i trenutno pokušavam da nađem svoju veličinu za šnitove iz Burde. Nije mi jasna njihova tabela jer za svaku meru pojedinačno stoji drugi konfekciski broj....moj broj je inače 42 ali ne znam da li je to isto i po Burdi. Kako da se snađem?

A few days ago I got an email from a reader, with the following content:

I am a beginner at sewing and I'm trying to find my size for Burda Style patterns. I don't get their size chart, since each of my measurements corresponds to different size... I'm normally size 42 when buying RTW, but I'm not sure if I can use the same size when using Burda's patterns. What am I supposed to do?

Prvo da napomenem da smo svi različito građeni - neko ima široka ramena, neko velike grudi, neko uske kukove, neko kratak torzo, itd. Uklopimo sve moguće kombinacije telesnih osobina i dobićemo jako mnogo različitih mera/veličina. Dakle, nemoguće je očekivati da svaki kroj svima odgovara, jer su komercijalni krojevi pravljeni prema nekim uopšteno definisanim merama. Čak i u modnoj konfekciji, primetićete da vam modeli određene marke odlično stoje, dok vam modeli druge marke nikako ne pristaju, čak iako su iste veličine. Ovo je iz razloga što svaka modna kuća definiše svoju tabelu mera za svaku veličinu. To znači da uopštena veličina koju ste navikli da kupujete ne mora da odgovara veličini komercijalnog kroja. 

I have to point out every single one of us has a unique body shape - one has broad shoulder, some have big breast, some have narrow hips, some have short torso, etc. Try combining different body features and you'll get a lot of different measurements/sizes. Therefore, it's impossible to expect that every pattern fits every person, since commercial patterns are made according to some general measurements. Even in RTW you'll notice that models from different brands can fit you quite differently even though they're the same size.

U skladu sa tim, Burda ima svoju tabelu mera i odgovarajućih veličina, koja je najverovatnije jedinstvena za njihove modele (kliknite na sliku da je uvećate). Italijanski časopis La Mia Boutique i španski Patrones imaju potpuno drugačije sisteme mera. 

Therefore, Burda Style has its own size charts that's probably unique and corresponds only to their patterns (click on picture to enlarge it). The Italian La Mia Boutique and Spanish Patrones have completely different size charts.

Pošto već pričamo o merama, jako je bitno da se pravilno izmerite. Detaljne instrukcije za uzimanje mera možete naći na linku ispod, a možete se poslužiti i slikom ispod.

Since we're talking about measurements, I'd like to point out the importance of taking measurements properly. You can find detailed instructions for taking measurements following the link bellow, or you can use the picture displayed bellow.

http://www.burdastyle.com/techniques/how-to-measure-yourself

Postavlja se pitanje - kako odrediti koja vam veličina odgovara kada svakoj vašoj meri odgovara različita veličina? Burda je devedesetih godina počela da izdaje krojeve u više veličina, što rešenje ovog problema čini veoma jednostavnim. Mnogi drugi komercijalni krojevi su takođe dati u više veličina, pa je postupak koji opisujem primenjiv i na njih. 

Primera radi, uzimimo da vaše veličine variraju od 36 do 40, prema sledećem principu:

• Obim grudi - vel. 36 
• Obim struka - vel. 38 
• Obim kukova - vel. 40 
• Širina ramena - vel. 40 
• Dužina leđa - vel. 40
• Obim vrata - vel. 38 

Napomena: radi preglednosti, ja sam izvukla na papir kroj u sve tri pomenute veličine, ali izmena kroja se može vršiti prilikom vađenja istog, precrtavanjem odgivarajuće veličine i korekcije direktno sa krojnog lista na papir. Veličine 36, 38 i 40 označene su plavom, zelenom i crvenom bojom, respektivno. Korigovan kroj iscrtan je crnim flomasterom. Za potrebe ovog tutorijala, ja sam koristila kroj za haljinu iz Burde 11/2012, #122, ali postupak je isti za sve modele.

The question in - how to define a size, when each measurement corresponds to a different size? Burda Style started printing multisized patterns during the '90ies, which makes a solution to the problem quite simple. Many other commercial patterns are also given in several sizes, so the following procedure can be applied for them too.

As an example, let's say the body measurements correspond to sizes 36 - 40, as following:

• Bust circumference - size 36 
• Waist circumference - size 38 
• Hip circumference - size 40 
• Shoulder width - size 40 
• Back length - size 40
• Neck width - size 38 

In order to make this tutorial clear, I traced a pattern in all three sizes. However, the alteration can be done while tracing the pattern, drawing alterations directly on the tracing paper. Sizes 36, 38 and 40 are marked in blue, green and red, respectfully. The final pattern is marked with black pen. I used a dress pattern from Burda Style 11/2012, #122, but the procedure can me used for any model.

Krećemo od gornjeg dela haljine, gde nam mere variraju od veličine 36 do 40. Pošto obim grudi odgovara veličini 36, a obim struka vel. 38, korigujemo kroj od pazuha ka struku, praveći prelaz od manje ka većoj veličini u tom smeru. Kopiramo brusnu koja odgovara vel. 38. Širina ramena i dužina leđa odgovaraju vel. 40, pa taj deo kroja kopiramo u odgovarajućoj veličini, korigujući kroj duž otvora za ruku, tj. smanjujući ga prema vel. 36. Primetite da, ako je dužina manja ili veća, kopiraćemo onu veličinu na ramenu koja odgovara toj veličini. Širinu ramena možemo lako suziti ili proširiti po potrebi. Izrez oko vrata smanjujemo od vel. 40 do vel. 38. Ovde mi se podvukla greška - izraz oko vrata moramo podići kako bismo ga smanjili, tj. spustiti kako bismo ga povećali.

We're starting from the top pattern pieces, where measurements vary between sizes 36 and 40. Since bust circumference corresponds to size 36 and waist to size 38, we're altering the pattern from the underarm point towards the waist, making a smooth shift from the smaller to the larger size. We're copying a dart in size 38. Back length and shoulder width correspond to size 40, therefore we copy this part of the pattern in its size, and make an alteration on the armhole, by reducing the size from 40 to 36. Note that in case when back length is smaller or greater we well copy the corresponding shoulder size. Shoulder width can be adjusted as needed.  Alter the neckline by reducing the size from 40 to 38. I had a mistake in the previous sentence - the neckline needs to be pulled up in order to reduce it, or pulled down in order to enlarge it.

Isti postupak ponavljamo za zadnji deo kroja.

Repeat the process on the back top panel.

Mere za donji deo tela variraju od vel. 38 do vel. 40, od struka prema kukovima. Dakle, krećemo od vel. 38 na struku i glatkom krivom linijom širimo kroj ka vel. 40. Koristimo brusnu za vel. 38, kao i na gornjem delu kroja. Isti postupak ponavljamo i za zadnji deo suknje.

Bottom body measurements vary from 38 to 40, going from waist to hips. Therefore, we're starting from the size 38 at the waistline, and flare the pattern with a smooth curve towards the size 40. Use the size 38 dart, as you did on the top pattern pieces. Repeat the process for the back skirt pattern.

Na ovaj način dobijamo kroj koji odgovara našim merama. Jednostavno, zar ne? Ipak, napominjem da ćete najverovatnije morati ponegde da dodatno korigujete kroj prilikom samog šivenja. Takođe, želim da naglasim da su ovo najelementarnije korekcije kroja. Budući da je čitateljka početnik u šivenju, mislim da je ova lekcija dovoljna za sada. Kada malo savlada osnove šivenja, može početi da se bavi detaljnijim korekcijama kroja za savršen izgled garderobe.

This way we've gotten us a pattern that suits our measurements. It's quite easy, isn't it? However, I have to point out you'll probably have to make some additional tweaks to the pattern during the sewing process. Also, I'd like to point out these are the basic pattern alterations. Since the reader is a beginner in sewing, I think this lesson is enough for her skill level. Once she gets the basics, she'll be able to make some detailed pattern alterations in order to get a perfect fit.

Pitanja i odgovori / Q&A

Olga mi je u komentaru postavila pitanje vezano za pantalone koje sam nosila 11. dana MMM '11 izazova (Burda 8/2009 #106):

I ja sam prošlog proleća sašila iste pantalone, ali od tankog materijala, i jako ih volim. Produbila sam pantalone za 5cm (moja standardna izmena na krojevima iz Burde), tako što sam panele horizontalno presekla na dva dela i dodala pomenutu dužinu između njih. Time sam postigla da mi pantalone stoje na struku. Da li si na to mislila kada si napisala "Zadnje panele sam malo izmenila kako bi pantalone bile dublje"?

Moja izmena kroja je bila malo drugačija od njene. Nacrtala sam horizontalnu liniju (uslovno rečeno - horizontalnu) na zadnjem panelu, otprilike 3cm ispod gornje ivice panela, i presekla sam kroj duž nje. Zatim sam raširila delove samo duž centralnog šava, ne dirajući bočni šav pri tom. Izmenjeni kroj je izgledao kao da ima horizontalnu brusnu (naravno, ovu brusnu sam ignorisala tokom šivenja). Ovavkom izmenom su pantalone dobile više mesta za zadnjicu, dok je prednji deo ostao neizmenjen.

Koliko ću produbiti zadnji panel zavisi od samog kroja koji koristim. Svaki put kada šijem po novom kroju, moram da premerim krivulju koja stoji između nogu, i tu dužinu uporedim sa sopstvenim merama. Razlika između mojih mera i mere kroja predstavlja veličinu izmene kroja.

Olga left a comment on the pants I wore on day 11 of the MMM '11 (BWOF 8/2009 #106). Here's her comment.

I made these pants also, but in lightweight denim, last spring, and I really like them. I ended up adding about 2" to the rise of the pants too (my usual alteration with Burda), by splitting the panels in half horizontally and adding length to them, to make the pants actually sit at my waist. Is that what you mean by "deepened the top back panels"?

My alteration on the pants was a bit different than yours. I made a horizontal slash on the back panel, around 3cm bellow the top line. Then I spread only the medial side of the panel, leaving the lateral side intact. The altered pattern looked as if there was a horizontal dart on it (of course, I ignored the "dart" when sewing the pants). This made enough space for my bottom to fit in, while the front panel remained the same. 

The amount of spread depends on pattern. Every time I use a new pattern, I measure the crotch length on the pattern and compare it with my measurements. The difference between the two equals the spread.

RTW Tailoring Sew Along: Priprema kroja / Pattern preparation

Počela sam da radim na kroju za jaknu koju planiram da šijem u okviru RTW Tailoring Sewalong-a koji je zakazan za april. Da podsetim, jakna bi trebalo da izgleda kao na slici ispod. 

Da budem iskrena, još se uvek dvoumim da li da šijem jaknu ili mantil. U svom skladištu materijala imam divan materijal kome ne znam ni sastav ni ime, koji jako liči na antilop kožu, i oduševio me čim sam ga videla. Problem je u tome što imam dovoljno materijala za mantil, i ne bih da ostanem sa restlovima od kojih ne mogu ništa da sašijem. S druge strane, pitam se da li mi je zaista potreban još jedan mantil... 

I started working on a pattern for the jacket I'm planning to sew during the RTW Tailoring Sewalong, that's scheduled for April. To remind you, the jacket should look as on the picture below. 

To be honest, I'm still thinking whether I should make the jacket or a coat. The thing is, I have a gorgeous fabric in my stash - I don't know what't it made of, nor its name, but it really looks like velour leather, and I liked it the minute I saw it. The issue here is that I have enough fabric to make a coat, and I hate cutting the fabric and having leftovers that I can't use anymore. On the other hand, I wonder whether I really need another coat...

Rešila sam da kao osnov koristim isti kroj kao i za S kaput, koji ima princes šavove koji idu do ramena. Ovaj kroj je već isproban, podešen prema mojim merama, tako da mogu sebi da skratim bar taj deo posla. Ipak, ono na čemu treba da poradim je kragna. 

Moram da priznam da nikada ranije nisam modelovala sličnu kragnu, ali koristim se zdravom logikom i iskustvom koje imam, pa se nadam da ću, uz test kroj, uspeti da materijalizujem svoju ideju.

I decided to use the same pattern I used for the S coat as a basis for this jacket/coat. The pattern is already tried and trued, fitted to my measurements, so I can reduce at least some part of the job. However, I still have to draft a collar.

I have to confess that I never drafted a similar collar, but I'm using logic and the experience I have, so I hope that I'll manage to materialize my idea with a little help from a muslin.

Da bih dobila kragnu kakvu želim, izmenla sam centralni prednji panel kroja. Pokazaću vam šta sam uradila sa krojem. 

Najpre sam odredila dubinu izreza dekoltea. Na slici 1 to je horizontalna linijica. Zatim sam kosom linijom spojila rameni šav sa prednjim dodatkom za kopčanje, u visini oznake dekoltea (plava linija na slici 2). U visini oznake dekoltea sam povukla horizontalnu liniju, paralelnu sa linijom poruba (plava linija na slici 3). Proizvoljno sam odredila dužinu horizontalne linije, ali na slici možete videti da linija prelazi preko bočnog šava kroja (isprekidana crvena linija). Malo sam zakrivila hotizontalnu liniju, i spojila levu tačku krive sa ramenom. Šrafirana površina na slici 3 predstavlja oblik kragne.  

In order to draft the collar I want to, I had to alter the center front panel. I'll show you what I did with the original pattern.

First I defined the depth of the neckline- the horizontal line on the image 1. Then I drew a bias line that joined the top of the neckline with the button closure line (blue bias line on the image 2). I drew a horizontal line, parallel to the hemline, that was in the line with the marked notch (blue line on the image 3). I arbitrarily defined the length of the horizontal line; as you can see on the image, it crosses over the side seam of the panel  (dashed red line). I curved the horizontal line a bit, and joined the end point of the curve with the shoulder line. The graphed area on the image 3 represents the shape of the collar.

Šrafiranu površinu sam prekopirala na novi list papira, i isekla ga duž iscrtanih ivica.

I copied the graphed area on a new piece of paper and cut it along the drawn lines.

Zatim sam nalepila panel kragne na centralni prednji panel. 

Then I glued the collar panel to the center front panel, as shown on the picture.

Sledećih par koraka sam radila prema osećaju, i nisam 100% sigurna da sam sve odradila baš kako treba, tako da ću svoj eksperiment proveriti na test kroju. Kroj za jaknu koji pravim mora imati prednji i zadnji deo kragne urađen iz jednog dela. Kroj za kragnu koju sam maločas izmodelovala je, očigledno, samo za prednji deo okovratnika, i potrebno je dodati još deo koji će se našivati na zadnji panel.

Na slici ispod je prikazan kroj za rusku kragnu, koji sam koristila za S kaput. Primetite vertikalnu liniju na donjoj ivici kragne - ta linija predstavlja oznaku gde kragna naleže na rameni šav kaputa. Dakle, deo kragne od oznake nalevo je zadnji deo okovratnika. Prekopirala sam zadnji deo okovratnika na novi list papira. Zbog orijentacije u prostoru, označila sam liniju pregiba, gornju i donju ivicu kragne.

The next few steps were done by hunch, and I'm not 100% sure I did everything right, so I'll test this experiment with a muslin. The collar pattern I'm making should have both front and back pieces merged into one panel. The pattern I drafted in previous steps, obviously represents just the front part of the collar, and it needs the back part.

The picture bellow displays the pattern for a mandarin collar, that I used for the S coat. Note the vertical notch on the bottom line of the collar - that's the notch where the collar is attached to the shoulder seam. Hence, the part of the collar that's left from the notch represents its back. I copied the back of the collar to a new piece of paper. In order to keep space orientation, I marked the fold line, as well as top and bottom collar lines on the new panel.

Nalepila sam prače papira na rameni deo centralnog prednjeg panela. Zatim sam isečak kragne postavila kao na slici. Kragna koju pravim je šira od ruske kragne, ali jasna vam je ideja. Dno ruske kragne je iste dužine kao dno nove kragne. Ipak, primetite da je gornja ivica nove kragne duža od ivice ruske kragne. Dodatnu dužinu sam dodala za svaki slučaj, nisam bila potpuno sigurna da je zaista neophodna.

I added a piece of paper on the shoulder seam of the center front panel. Then I laid the collar cut off as shown on the picture. The collar I'm making is a bit wider than the collar cut off, but you get the idea. The bottom of the collar cut off is the same length as the bottom of the new collar. Note that the top line of the collars don't match. I added an extra length just in case, though I wasn't quite sure it was necessary.

"S" kaput, deo 4 / The "S" coat, part 4

Nastavljam sa izmenama kroja, treba da iskrojim džep. Na donjem prednjem delu korja sam iscrtala oblik džepa, 15cm dubok, i oko 13cm širok. Malo sam zakrivila ćošak džepa. Zatim sam iscrtani oblik precrtala na novi list papira i iskrojila ga. Ovaj deo će biti gornji džep.

I'm continuing with pattern alterations, I should draft a pocket pattern. I drew a pocket shape on the front bottom piece. The pocket is 15cm deep, and around 13cm wide. Also, I curved a bit the corner of the pocket. Then I copied the pocket shape on a new piece of paper. This piece will be a top of the pocket.

Isti oblik sam precrtala još jednom na novi list papira i vrh džepa sam zalepila za dno gornjeg prednjeg panela kaputa. Dodati deo će biti donji džep.

I copied the same shape on another piece of paper and I glued the top of the pocket piece to the bottom of the front top pattern piece. The added piece will serve as a lower pocket.

Ideja je da rukavi kaputa imaju manžetne, koje će biti paspulirane keder trakom. Međutim, neću praviti prave manžetne, već ću samo preseći rukave na dva dela, umetnuti keder traku, i prišiti delove zajedno. Na gornjem i donjem delu rukava sam iscrtala linije paralelne sa linijom poruba, udaljene 15cm od nje.

Ove krojne delove ću koristiti i za kroj kaputa i za kroj postave. Kada budem sekla materijal za kaput, rukave ću seći iz dva dela, dok cu postavu seći iz jednog dela.

Za postavu i opšivke ću koristiti početni, princes, kroj kaputa. Kada sam šila Šanel kaput, napravila sam kroj za rusku kragnu, koji i sada planiram da upotrebim.

Večeras idem na put, na kome ću biti narendih nedelju dana. Nastaviću da pišem o kaputu kada se vratim.

I want to have sleeve cuffs on the coat, that would be accentuated with piping. However, I will not make actual sleeve cuffs; instead I'll cut the sleeves in two pieces, apply the piping cord and join the sleeve pieces back together. I drew horizontal lines on the top and bottom sleeve patterns, distanced 15cm from the sleeve hemline and parallel to the hemline.

I'll use the same sleeve pattern pieces for both the shell fabric and the lining. When cutting the fashion fabric, I'll cut the sleeves in two pieces, and keep the sleeves as one piece when cutting the lining.

I'll use the basic shoulder princess seamed pattern for the coat lining and for the facings. I have already drafted the collar pattern when I made the Faux Chanel coat, and I intend to use the same collar pattern this time.

I'm going on a trip tonight, and I'll be back in a week. I'll continue writing about the coat when I come back.

"S" kaput, deo 3 / The "S" coat, part 3

Zadnji delovi se menjaju na potpuno isti način kao i prednji. Stoga, neću opisivati detaljno sve korake, ali evo par slika koje ilustruju proces.
Prvo sam uporedila zadnji bočni deo sa bočnim prednjim delom, i obeležila na bočnoj ivici zadnjeg dela tačku kroz koju mora da prođe "S" kriva.

The back pattern pieces are altered in a same way as the front pieces. Therefore, I will not describe each step in detail, but I'll illustrate the process with few photos.
First, I compared the back side panel to the front side panel, and marked a point on the back panel where the "S" curve should go through. 

Zatim sam ponovila poznat postupak: iscrtala horizontalnu liniju na bočnom delu i zakrivila je prema unutrašnjoj ivici kroja.

Then I repeated the described alteration process: I drew a horizontal line on the side panel and curved it towards the medial side of the panel.

Spojila sam donje delove duž unutrašnjih ivica, tako da su linije poruba poravnate.

I fixed the back pieces together along their medial sides, making the hemline one continuous line.

I presekla bočni deo duž iscrtane krive. Ovaj put sam imala sreće - bočni i zadnji deo ne formiraju vertikalnu brusnu, tako da nema potrebe da dodatnim izmenama bočnog panela.
Spojila sam gornje delove tako da je ramena linija poravnata.

I cut the side panel along the drawn curve. I was lucky this time - the side and the center panels didn't form a vertical dart, so there was no need for additional pattern corrections.
I joined the top pieces of the pattern, forming a continuous shoulder line.

Iscrtala sam horizontalnu liniju na centralnom delu i zakrivila je prema unutrašnjoj ivici kroja.

I drew a horizontal line on the central panel and curved it towards the medial side of the panel.

Presekla sam centralni deo duž iscrtane linije. Pošto su krojni delovi formirali prilično široku brusnu, morala sam da korigujem centralni panel na dva mesta, koristeći ranije opisan postupak. Dakle, imala sam dve horizontalne korekcione brusne na gornjem zadnjem delu. Liniju krive sam pomerila uvis za oko 2.5cm, koliko je iznosio zbir širina dve pomenute horizontalne brusne.

I cut the central panel along the drawn curve. Since the pattern pieces formed a rather wide vertical dart, I had to alter the central panel on two places, using the previously described process. Hence I ended up with two horizontal correctional darts on the top back piece. I altered the curve by shifting up one side by approximately 2.5cm - a cumulative width of the two horizontal darts.

Evo kako zadnji krojni delovi izgledaju nakon mojih intervencija.

Here's how the back pieces look after my alterations.

U sledećem postu ću opisati kako sam napravila kroj za džepove i kako sam izmenila rukave.

In the next post I'll describe how I drafted pockets and the alterations I made on sleeves.

"S" kaput, deo 2 / The "S" coat, part 2

Dakle, osnova za kaput je kroj sa princes šavovima koji idu do ramena. Krojni delovi nemaju dodatke za šavove.

As I wrote before, the basis for this coat is a pattern with shoulder princess seams. The pattern pieces do not have seam allowances included.

Počinjem sa prednjim delom. Postavila sam srednji i bočni prednji panel kao što je prikazano na slici: linije poruba su poravnate, a sami paneli se oslanjaju jedan na drugi koliko god je moguće. Panele sam spojila selotejpom duž vertikalnih ivica koje dele. Na bočnom panelu sam iscrtala horizontalnu liniju, u visini gde sam želela da mi stoji džep. Zatim sam, koristeći okrugli podmetač za čaše, iscrtala kružnu liniju na uglu horizontalne linije džepa i vertikalne linije centralnog šava.

I'm starting with front pieces. I laid out the central and the side panels as displayed on the picture: the hem lines are aligned and the panels are positioned as close to each other as possible. I fixed the panels together  along the vertical lines using a cello tape. I drew a horizontal line on the side panel, positioning it where I wanted to draft a pocket. Then I curved one side of the line, using a round coaster.

Zatim sam bočni panel isekla duž iscrtane linije.

Primetićete da bočni panel ne stoji tik uz centralni panel pri vrhu džepa. Zato sam morala da napravim još jednu manju izmenu. Iscrtala sam horizontalnu liniju na bočnom panelu, u visini gde paneli počinju da se razdvajaju.

After that, I cut the side panel along the drawn curve.

You can note that the central and side panels aren't aligned well at the top of the pocket - there is a small vertical dart separating the pieces. So I had to make a minor alteration. I drew a horizontal line on the side panel, positioning it at the apex of the vertical dart.

Presekla sam bočni panel duž te linije i zarotirala gornji deo ka centralnom panelu, kako bih zatvorila formiranu brusnu. To je napravilo novu, horiyontalnu brusnu na bočnom panelu. Brusnu sam zatvorila, umetnuvši komad papira ispod nje. Zatim sam malo korigovala liniju džepa - spustila sam bočni kraj džepa za 1cm, koliko je bila širina novonastale horizontalne brusne. Na slici vidite originalnu liniju džepa, kao i liniju korekcije, pre nego što sam odsekla višak.

I cut the side panel along the horizontal line and I rotated the top of the pocket towards the central panel, thus closing the vertical dart. This caused forming another, horizontal dart on the side panel. I closed the horizontal dart with a piece of paper. Then I altered a bit the pocket line - I lowered the lateral side of the pocket by 1cm (by the width of the previously closed horizontal dart). You can see on the picture both the original and altered pocket line. Then I cut off the extra height of the pocket.

Prelazim na gornji deo. Postavila sam centralni i bočni panel u položaj prikazan na slici: rameni delovi formiraju kontinuiranu liniju, a krojni paneli su priljibljeni jedan uz drugi što je moguće više. Opet, spojila sam krojne delove selotejpom. Zatim sam ponovila postupak: iscrtala sam na centralnom delu horizontalnu liniju u visini grudi, zakrivila sam liniju pomoću podmetača za čaše, i presekla centralni panel duž iscrtane krive.

Now it's time to alter the top parts of the pattern. I laid out the central and the side panels as displayed on the picture: shoulder lines are aligned and panels are positioned as close to each other as possible. Again, I fixed the pieces together using the cello tape. I repeated the previously described steps: I drew a horizontal line over the bust, curved one side of the line and cut the central panel along the curve.

Centralni i bočni panel se razdvajaju na jednom delu, pa sam napravila još jednu korekciju da bih zatvorila ovu brusnu. Iscrtala sam horizontalnu liniju na centralnom panelu, u visini gde počinje razdvajanje centralnog i bočnog krojnog dela. Presekla sam centralni panel duž te linije i zarotirala donji odsečak prema bočnom panelu, zatvarajući brusnu koja ih je razdvajala. Novonastalu horizontalnu brusnu sam zatvorila komadom papira.

The central and the side panels form a dart at some point, so I made another alteration to close the dart. I drew a horizontal line on the central panel, where the dart apex is positioned. I sliced the central piece along the horizontal line and I rotated the lower cutout towards the side panel thus closing the dart. I closed the horizontal dart using a piece of paper.

Zatim sam korigovala zakrivljenu liniju: pomerila sam jedan kraj uvis, za 2.5cm, koliko je bila široka horizontalna brusna. Na slici ispod vidite originalnu i korigovanu liniju.

Then I altered the curve: I shifted up the point by 2.5cm (by the width of the horizontal dart). You can see the original curve and the altered one. Later I cut the extra length from the central piece.

Nakon svih ovih izmena, evo kako izgledaju prednji krojni delovi. Na gornjem krojnom delu, linija tkanja se poklapa sa linijom tkanja bočnog panela, dok se na donjem krojnom delu linija tkanja poklapa sa linijom tkanja centralnog panela.

This is how the pattern pieces look like after all these alterations. The straight grain line matches with the side panel on the top piece, while the straight grain line matches with the central panel on the bottom piece.

U sledećem postu opisaću kako sam izmenila zadnje delove kroja, mada je postupak gotovo isti kao i za prednje delove, sa par manjih razlika.

I'll explain in the next post how I altered the back pieces, though the process is almost identical to the one described above, with few minor differences.

Prugaste pantalone, deo 1 / Striped pants, part 1

Dok čekam svog fotografa da uslika TR suknju, pisaću o onome na čemu trenutno radim.

While I'm waiting for my photographer to take pictures of the TR skirt, I'll write about my current project.

============================================================================

Trenutno šijem drugarici široke prugaste pantalone od trevire. Koristim kroj sa BurdaStyle sajta, Bella pantalone. Kroj sam već isprobala na sebi, praveći varijaciju za sajt, a drugarici su se jako dopale, pa sam joj obećala da ću joj napraviti slične za rođendan.

Ponoviću instrukcije za izmenu kroja, ovaj put i na srpskom.

Da podsetim, izmenjeni kroj izgleda kao na slici ispod. 

I'm currently making a pair of wide pants using a striped fabric. I'm using a pattern from the BurdaStyle site, the Bella pants. I have already tried the pattern, while making the variation for the website and my friend liked them, so I promised her a pair of similar pants for her birthday.

I'll repeat the alteration steps here, this time in Serbian as well.

To remind you, the altered pattern looks as the one displayed on the picture below.

Prekopirajte krojne delove.
Produžite liniju struka i bočnu liniju do tačke gde se one ukrštaju. U daljim koracima ću pravougaoni panel zvati bočni panel.

Trace the pattern pieces.

Extend the waist line and the lateral leg line to the point where they cross. I’ll call the rectangular-shaped panel the Hip panel in further steps.

Odsecite dodatke za opšivke sa dna prednjeg centralnog dela pojasa (5). Zalepite selotejpom pojas za prednji deo nogavice, kao što je prikazano na slici. Namestite delove tako da se markeri na šlicu savršeno poklapaju.

Ispravite bočnu stranu dela pojasa, tako što ćete produžiti liniju džepa na delu nogavice. Izmerite širinu korekcije - rastojanje između originalne bočne linije pojasa i nove linije.

Cut off the seam allowance from the bottom of the waist central front pattern piece (5). Attach the waist pattern piece to the front leg piece, as shown on the picture. Make sure the fly notches on the joined pieces match perfectly.

Straighten the medial side of the waist pattern piece by extending the pocket line of the front leg pattern.  Measure the width of the correction – the length between the original line and a new line. I’ll call this length the Correction width in further text.

Pomerite horizontalnu liniju džepa za 5cm.

Shift the horizontal pocket line up by 5cm.

Nacrtajte džep, trebalo bi da bude 10cm dubok.

Draw the pocket shape. It is 10cm deep.

Precrtajte džep i bočni panel na novi list papira.

Copy the pocket and the hip panel to a new sheet of paper.

Odsecite dodatak za opšivak sa dna prednjeg bočnog dela pojasa (6). Zalepite selotejpom pojas za bočni panel, kao što je prikazano na slici. Nacrtajte liniju paralelnu sa linijom džepa, udaljenu 3cm od nje. Zvaću ovu liniju Linija opšivka džepa u daljem tekstu.

Cut off the seam allowance from the bottom of the waist side front pattern piece (6). Attach the waist pattern piece to the hip panel as displayed on the picture. Draw a line parallel to the pocket line, but 3cm bellow it. I’ll call this line the Facing pocket line.

Popravite unutrašnju stranu bočnog panela - suzite panel za čirinu korekcije.

Adjust the medial side of the hip panel – reduce its width by the Correction width.

Isecite džep duž iscrtane linije opšivka džepa. Dodajte dodatke za opšivke na dnu bočnog panela, kao i na vrhu džepa. Takođe, nacrtajte liniju paralelnu sa unutrašnjom stranom bočnog panela, udaljenu 3cm od nje. Dodajte dodatke za opšivke.

Cut the pocket piece along the Facing pocket line. Add seam allowances to both bottom of the hip panel and to top of the pocket pattern pieces. Additionally, draw a curve parallel to the medial side of the hip panel  distanced 3cm from it. This will be a button closure flap.  Add seam allowance to the flap.

Nacrtajte opšivak bočnog panela, kao što je prikazano na slici.

Draft the hip panel’s facing pattern as shown on the picture. 

Nacrtajte centralni prednji opšivak kao što je prikazano na slici. Obratite pažnju na to da će ovaj deo biti isečen sa pregibom tkanine. Zato, ovaj deo ne bi trebalo da ima dodatak za opšivak duž centralne linije. Ja sam greškom ostavila dodatak za opšivak.

Draft the central front facing as shown on the picture. Note that this piece will be cut on fold. Hence, there should be no SA on the central front seam. I left the SA along the central line by mistake.

TR suknja, deo 1 / TR skirt, part 1

Nedavno sam na youtube-u našla serijal video tutorijala Shingo Sato-a, japanskog dizajnera koji koristi veoma zanimljivu tehniku pravljenja krojeva, zvanu Transformacija i rekonstrukcija (TR). Kao što naziv kaže, ideja je da se osnovni kroj transformiše prema željenom obliku, a zatim rekonstruiše novi šnit, prateći nove linije kroja. Za više informacija o tehnici i njenom kreatoru, pogledajte ovde.

Inspiracija za moju suknju potiče od ovog filma - dopala mi se ideja da umetnem krivudave oblike, kontrastnih boja ili materijala, u kroj klasične suknje.

Počela sam sa osnovnim krojem za suknju, koji sam prethodno isprobala i za koji znam da mi dobro stoji. Jer, jednom kada se kroj transformiše i iseče, više neće biti mesta za popravku!

I came across a series of video tutorials by Shingo Sato, a Japanese designer who uses a very interesting pattern making technique Transformation and Reconstruction (TR). As the name of the technique suggests, the idea is to transform a basic pattern following the desired shape, and reconstruct it later following new pattern lines. For more information about this technique and its creator, take a look here. 

An inspiration for my skirt came from this video - I liked the idea to insert curved shapes in contrasting colors or fabrics into a classic skirt pattern.

I started with basic pencil skirt pattern, the one that I had previously tried and trued. Once the pattern is transformed, there will be no room for fit adjustments!

Htela sam da se suknja širi od bokova naniže. Koristila sam ideju za suknju koju sam videla u ranijem izdanju Burda časopisa - isekla sam na prednjim i zadnjim delovima, sa sredine i sa bočnih strana, isecče lucčog oblika, kao što je prikazano na slikama.

I wanted a skirt that flares from hips down. I used a skirt idea I had seen in an earlier Burda World Of Fashion (BWOF) magazine - I cut out arc-shaped panels from center front and back pieces and from the sides.

Isečak sam zatim presekla po sredini i raširila ga, napravivši time umetak za suknju, koji će joj dati volumen i valovitost.

Then I sliced the cutout vertically and spread the pieces to sides, forming a skirt gusset that will give the skirt volume and waviness.

Zatim je usledilo pravljenje 3D modela suknje - od papira. Shingo Sato je u svojim filmovima ovaj korak demonstrirao sa suknjom od tkanine, ali nisam imala strpljenja za šivenje suknje koju cu kasnije iseći, tako da sam se odlučila za papirnu varijantu.

Najpre sam selotejpom zatvorila brusne na prednjem i zadnjem panelu. 

After that, I constructed a 3D skirt model - made of paper. Shingo Sato demonstrated this step on a skirt muslin, but I had no patience for sewing a muslin that I'd cut later, so I opted for paper model.

First I closed the darts using a cello tape.

 Zatim sam nalepila umetke i spojila sve delove, dobivši 3D model suknje.

Then I applied gussets and glued all the pieces together, making a 3D model of the skirt.

 

Kada je 3D model napravljen, počela sam da crtam krivudave oblike po suknji. Kada rekonstruišete kroj ovom tehnikom, morate obratiti pažnju na položaj brusni i postojećih šavova koji daju vašem kroju trodimenzionalnu formu. Početni kroj će potpuno biti transformisan, i oblici koji su kroju davali treću dimenziju moraju biti svedeni na ravnu površinu. Ipak, kada se radi rekonstrukcija novog kroja, morate isplanirati položaj i raspored šavova koji će vratiti novonastali kroj u prvobitan oblik.

Samo planiranje nije mnogo komplikovano, niti teško. Evo par zapažanja iz mog primera:

1. Ukoliko originalni kroj ima brusnu, novi kroj mora imati šav tik pored vrha te brusne (par mm ipod ili iznad vrha, ili, u idealnom slučaju - kroz sam vrh brusne);
2. Ukoliko originalan kroj ima zaobljen šav (poput šava na boku suknje), novi kroj mora imati šav koji prolazi tik pored početka zaobljenja šava - ova rečenica ce imati više smisla ukoliko zaobljene šavove posmatrate kao brusne.
3. Ukoliko originalan kroj ima umetke koji daju treću dimenziju konačnom kroju, novi kroj mora imati šav koji se delimično ili u potpunosti poklapa sapostojećim šavom, kako bi rezultujući kroj imao isti oblik kao i originalni.
4. Na ravnim površinama možete formirati bilo kakve oblike, bez ikakvih ograničenja.
5. Nemojte zaboraviti na rajfešlus, planirajte šav gde će isti biti umetnut. U mom primeru, iskoristila sam položaj postojećeg šava.

Once the 3D model was made, I started drawing curves on it. When reconstructing a pattern using this technique, one has to pay attention to position of darts and seams that give the original pattern a three-dimensional  form. The original pattern will be completely transformed, and the shapes that gave it the third dimension have to be brought down to a flat surface. However, when reconstructing a new pattern, one has to plan position and layout of the seams - the seams that would give the garment the previous shape.

The planning  isn't difficult at all. Here are observations and conclusions I made from my example:

1. If the original pattern includes a dart, the new pattern has gotta have a seam that is positioned next to the dart's apex (few mm below or beneath the apex, or, ideally, it should go through the apex itself).
2. If the original pattern includes a curved seam (like the seam on the side), the new pattern has gotta have a seam that is positioned next to the point where the original seam starts to curve up. This sentence will have more sense if you look at curved seams as darts, too.
3. If the original pattern has insets, or gussets that give it volume or waviness, the new pattern should have a seam that completely or partially overlaps the original seam. This way, the resulting pattern will give the garment the same shape as the original pattern did.
4. You can form any sort of shape on flat surfaces.
5. Don't forget to plan a position of a zipper. In my case, I used the seam of the original pattern.

Na slici ispod možete videti par primera iz prethodne liste: novi kroj prolazi tik ispod vertikalne brusne, dotičući njen vrh; takođe, kroj se delimično poklapa sa šavom lučnog umetka. 

A picture bellow depicts few examples from my list: new pattern has seam that's positioned just bellow the dart's apex;  the new pattern includes a seam that partially overlaps the gusset seam.

Kada sam iscrtala nove šavove, kojima sam bila zadovoljna, nacrtala sam markere koji će mi služiti prilikom šivenja. Napravila sam dosta markera, mada mislim da nisu svi bili neophodni. Posebno sam obratila pažnju na konveksne i konkavne krive, kojima sam naznačila vrhove krivih. Na priloženoj slici se to ne vidi, ali naknadno sam i numerisala sve markere, kako bih bila potpuno sigurna da ću suknju sašiti kako treba.

Once I drew new seams that I was pleased with, I marked notches that will be useful while sewing the skirt. I made a lot of notches, though I think not all of them were necessary. I specifically paid attention to convex and concave curves, where I marked notches on the curves' apexes. You can't see it on the picture bellow, but I numbered all the notches, to insure that the skirt will be sewn correctly.

Zatim sam isekla suknju. Na slikama ispod možete videti kako izgledaju krojni delovi. Zbog velicine krojnih delova, iste sam isekla na više parčića, i naznačila redosled kojim se isečci međusobno spajaju. Takođe, ukoliko se desi da, na nekom mestu, jedan deo kroja preklapa drugi deo, kroj treba podeliti na dva ili više parčića, kako bi se dobila dvodimenzionalna forma.

Then I cut the skirt. You can see the new pattern pieces on the pictures bellow. Due to size of the pattern pieces, I cut them in few parts, marking the connecting notches. Also, have on mind that, if your pattern piece overlaps itself at some part, it should be cut in several pieces so that there are no overlapping points.

 

Zatim je usledilo sečenje materijala i šivenje, ali o tome u nastavku...

After this I cut the fabric and sewed the skirt. More on this in the following post...