Closet Case Patterns Kelly Anorak

Closet Case Kelly Anorak

Ok, buckle up. This is the big one. The big sew of the season. A full-on 100% jacket. Or Anorak to be more specific.

This one tested me in many ways and in the end, I’m not sure if I came out on top. In any case, it’s finished and I love it, flaws and all, and it’s only spurred me on to make another.

Let’s dig in:

This is the Closet Case Kelly Anorak which was released last year to much fanfare. I liked the design, classic yet sporty. But it wasn’t until I started planning my trip to Utah that I decided that by golly, I NEEDED a new jacket!

Closet Case Kelly Anorak

I definitely have a preferred “style” when it comes to dressing for the outdoors. Now you might say, “it doesn’t matter what you look like while you’re in the wilderness, so long as it’s functional.” To that, I say, “go rain on someone else’s 7-mile hike!”

For me, my ideal look for traipsing across in the desert/mountains/forest involves a cross between Lara Croft (circa the 2013 reboot) and a 1911 Egyptologist. Basically, I want to look like someone who regularly carries a torch.

So when I saw a jacket at REI that was almost identical to the Kelly but had a shearling hood lining, visions of torch-lit ancient tombs glittered in my eyes.

I immediately ordered some shearling and a couple yards of ripstop cotton from fabric.com (appropriately named “coyote”).

Closet Case Kelly Anorak

I had about a month to finish the jacket but first I needed to address some fit issues.

1. The sleeve was too small. Luckily the sleeve is in two pieces which made it easier to alter.

Not only did I made it wider in the bicep but I lowered the height of the sleeve cap to give me some more rotation in the arm. Before I could only lift the arm in front of me to neck-height. Now I can reasonably scale a rock wall while wearing it. Not that I did, but still.

2. In several versions of this pattern, I see a recurring fit issue. It’s not a huge problem but I kept seeing it enough that it bugged me. Right above the bust, near where the chest yoke seam met the armscye – a fold. A lumpy, slightly angled fold. Always appearing when the wearer had the jacket zipped up. Like the jacket was crying out for a dart.

Luckily I had a friend who loves fitting more than I love complaining. She helped me tackle that dreaded fold in a muslin.

Unfortunately, that fold proved hard to fight. You’d think you could take the fold out at the yoke seam but the yoke doesn’t come anywhere near the fullest part of the bust. And while the yoke piece of the jacket is curved toward the armscye, the body of the jacket is not curved along that seam.

My options were to make a whole new side dart, or try to squeeze the excess fabric into that yoke seam. Neither option was a perfect fix. I ended up forgoing the new dart and trying to curve the yoke seam more. It helped – but didn’t fix it completely.

Closet Case Kelly Anorak(That fold(s) is still visible – though not all the time – with the jacket zipped. And now that you see it on me, I dare you not to see it on other people’s Anoraks as well…)

To adapt the hood I simply cut out the same hood pieces again from the shearling. Then I adapted the lower front piece that gets snapped together to be sewn from the cotton. I didn’t want to try to apply snaps through the fur.

Closet Case Kelly Anorak

Now, I have to admit, fiddling with all those front zipper-area flaps was confusing and frustrating. Following the tutorial online helped.

One thing I found annoying in the instructions, however, was the part where it suggests finishing the hem before adding the zipper and the flaps. So I did. Then when I went to add the flaps and zip I had to unpick some stitches to get it to fit (maybe I stitched too far over??? I don’t know). But after those steps, the instructions essentially said, “if you didn’t hem before, go ahead and hem now.” It likely would have been easier had I hemmed after the zipper section.

Another change I made was to the drawstring. This idea I stole from my REI inspiration piece. Rather than risking my drawstring getting caught on a tree branch or other obstacle while hiking, I turned it into an interior drawstring.

Inside of the jacket, I stitched the drawstring end to the center front zipper area, then I left the casing open at each side seam. The string extends out from the casing at the side seams so it can be tied. You could go fancy and buy one of those spring-press stoppers but I was short on time.

Closet Case Kelly Anorak(on the right you can see the holes made from attaching the snaps which I talk about below. Also, I bound the side seam allowances in bias binding, although I realize I should have just flat-felled them instead. Oh well, they look pretty at least.)

Removing the exterior drawstring meant I needed to adjust the position of the snaps. And here’s where things got messy.

Since I wasn’t going to use the drawstring hardware, I chose not to buy the Kelly’s hardware kit and instead bought snaps from WAWAK.

When the snaps arrived I realized I did not have the correct tool to set them. I have multiple tools for snaps, grommets, eyelets, etc – but not the kind made for this specific type of snap. I immediately ordered a new tool but when it hadn’t arrived by the day before my trip (even though I paid extra for faster shipping, ugh) I got desperate.

I went to the Tandy Leather store in my city and bought a new tool.

I returned home and the new tool doesn’t fit the spring snaps either. Luckily, I had the right frame of mind to buy extra snaps at Tandy. But upon closer inspection, I realized these were ring snaps. Ring snaps are different than spring snaps in that they have a tiny, loose metal ring inside them on one side. This makes them noisy, it also makes them hard to snap on and off. But it was my only choice.

Oh, and did I mention this package of ring snaps only had 10? And I needed 12?

Closet Case Kelly Anorak

Yeah, so my jacket has fewer snaps than it’s supposed to. ANNND when I was out of snaps I tried my darndest to get one of my many tools to work on my original snaps for the left cuff. I got one half of the snap on before I gave up. Instead, I hand stitched the cuff closed. On the outside, it looks like a normal snap but it’s completely nonfunctional.

At this point, I didn’t care anymore.

Oh, and I didn’t think to fold the under facing of out of the way while attaching the snaps, and banging on the metal tools formed tiny holes in the fabric in that facing layer. Ugh. Welp, lesson learned.

I wore this jacket at some point on every day of my trip and I noticed a problem… My pocket stitching started to come undone along the top edge. I realize now I should have stitched these pockets like one stitches back pockets on jeans, with a little triangle of stitching at the opening to prevent this exact sort of thing from happening. I fixed it when I got home.

Closet Case Kelly Anorak(the moment I realized my pocket stitching snapped. I was not happy.)

Ok plans for my next Kelly *rubs hands together like a scheming villain*

  1. Lining – gonna buy the lining pack and make a warmer jacket. This add-on includes a new sleeve that is larger around which I hope will preclude my need for width adjustments. Does anyone know a good source for high-quality flannel? None of that cheap stuff from Joann.
  2. Breast pockets – the pattern has that yoke seam over the chest and is just begging for pockets. A pocket deep enough to hold my phone/keys would do well. I’m thinking interior pockets with an exterior flap as opposed to patch pockets on the outside.
  3. Do the snaps the right way! ‘Nuff said.
  4. Better, more secure stitching around those pockets.
  5. Shearling lined hood again – because I bought a yard of that stuff so I gotta use it up somehow.
  6. I think I’ll do the ripstop cotton again but in a different color. It looks cool up close, was easy to sew with, is a good width, and best of all, it’s cheap!
  7. Carry an actual torch while wearing it.

Closet Case Kelly Anorak

An affordable guide for pattern grading…?

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I mentioned that I bought this book on Twitter a few days ago (yeah, I’m back on Twitter, go follow me and I’ll follow you back!).

I don’t exactly remember how I stumbled upon this little booklet, maybe it was through a review of this authors pattern design books. Anyhow I was intrigued when I found the “Grading Workbook” on FashionPatterns.com.

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The author, Connie Amaden-Crawford has some legit pattern and sewing related books published but this “workbook” is nothing more than than printer paper photocopied and spiral bound… kinda sketch… but at less than $20 it was worth a shot especially since I’ve had no luck finding so much as a textbook on pattern grading online, and if any existed they were out of print and very expensive.

I was hoping this would be a good reference book for the kind of at home grading I want to do – luckily it seems to fill that need just fine!

I know there are a lot of you out there interested in this sort of thing be it for releasing your own patterns or just sizing up vintage patterns for your own use.

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This book teaches you the shift method of grading while showing you pictures of slash and spread for reference (to show where space needs to be added in a particular pattern piece).

It covers the basic bodice, skirt, pant, sleeve, yoke, collar, waistband, facing and cuff pieces. If you understand the concepts of pattern drafting you can apply all these grading methods to more advanced pattern pieces (because in essence, every pattern piece is just a variation on a basic design).

Learning on these basic pieces are important because they show you where the pattern pieces “grow” and where they don’t (like how darts can often grow longer but not wider when grading).

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The shifting concept is relatively easy but what you have to figure out about your grade are the “breakdowns,” the length and width increase between each grade. In the worksheet examples they give you precise measurements to shift each portion of the pattern piece up, down, out, or in. However when working on your own you need to figure out how much width and length to add and where based on your own measurement charts.

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The book gives you some blank pattern pieces to practice with and a little ‘fill in the blank’ quiz in each section.

What’s nice about the shift method is that it’s easy to use in Adobe Illustrator but the pictures for the slash and spread method are helpful if you have a hard time visualizing the grade (like me). The book offers decimal conversions in addition to fractions for each shift point, nice when the computer only takes decimals.

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Unfortunately this book is only printed in imperial, not metric measurements.

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The book mostly covers women’s wear patterns but it discusses some of the changes you’ll need to apply to men’s and children’s patterns.

Overall the workbook is brief – less than 90 pages and it’s pretty uncomplicated. If you’re just starting with grading and want a good guide without paying an arm and a leg I’d definitely recommend it. For the price you can’t go wrong. There’s lots of space to add in your own notes and it’s spiral bound so it lays flat. I think this book’s going to get a lot of use in my sewing room…

Starting an Indie Pattern Company Pt. 3

Whoa, Part 2 of this series was a little wild, right? Lots of heavy hitting stuff on grading. Now, I think this part is more fun. We’ll be talking about the “packaging” and selling of the patterns.

If you’re just joining us be sure to check out Part 1 and Part 2.

If you are planning on making printed patterns rather than PDFs some of this info won’t apply to you, but that’s ok, other stuff will.

Since giving away my first patterns I’ve learned a lot about what needs to be included in a pattern you intend to share or sell. Some of these points seem obvious but in the beginning I didn’t always think to do all of these things (maybe I though “hey, it’s a free pattern, don’t complain!” not the best approach…).


What You Need to Include with you Pattern Pieces:

 
(gainlines, size designation, pattern piece labels, page match lines)
  • Grainlines, center front and back markings if needed.
  • All necessary darts, notches, gather points, pleat lines, buttonholes, zipper markings, arrows, etc.
  • Label every pattern piece with the company name, pattern name or number, pattern piece designation, and how many pieces to cut of what fabric. If you don’t include seam allowance elsewhere in your packaging or if a certain piece has a special seam allowance list it on the pattern piece. (I used to not include all of this in my very early patterns until I realized how easy it is for pattern pieces to get lost in my sewing room and it’s hard to match up pieces if I don’t know what pattern or company it belongs to!)
  • Clear size markings. I like to make each size cutting line be a different dash pattern. Makes it easy to find your size on every piece.
  • Extras, if needed, like lengthen/shorten lines or even finished measurements for pattern pieces.

What you need to include with your pattern packaging:

 
(line drawings, description, seam allowance, materials and fabric recommendation)
  • A Size Chart for all your sizes, finished garment measurements are great, too
  • Yardage needed in standard fabric widths
  • Materials needed and recommended fabrics
  • Seam and hem allowance
  • A description of the design
  • Line drawing of front and back
  • Cutting layout
  • Pattern piece inventory (I like to combine this with cutting/printing layout to save space)
  • If you need to you can include a glossary of terms or symbols. I usually like to explain terms in the instructions to avoid needing a separate glossary.
  • If you don’t have sample photographs in the pattern itself at least have them available to view where a customer buys the pattern like your blog or the site you use to sell patterns.
  • Copyright and licensing info


Tips on how to write instructions:

  • Go in a logical order. You can even divide instructions into sections like bodice, skirt, collar, etc.
  • Be thorough, it’s good to remind users to finish their seams if you don’t tell them to do it from the beginning. It’s also nice to suggest techniques like understitching or how exactly to sew that baby hem. Try to think like a beginner, don’t assume a user knows what you’re talking about. It doesn’t hurt to tell people how to put in a zipper…
(example illustration of a gathered tulip sleeve)
  • Include clear illustrations or photos. Sometimes good pictures are better than any text instruction. I don’t think you need pictures for every step but it always helps!
    • With illustration be sure to designate right and wrong side of fabric/pattern. 
    • If it helps you can have arrows pointing out specific parts of the illustrations. 
(can you guess what the above illustration is?)
    • If you don’t know how to make good illustrations it helps reference other patterns, most companies have similar pictures for common techniques. Better yet, ask a friend who sews (don’t ask your boyfriend, he won’t know what a gathered sleeve cap looks like) to view at the image without the text and ask if she can figure out what the picture is.
    • I make my instruction illustrations in Illustrator and just scale my pattern pieces down way smaller and use them to make graphics where I can.
  • Your writing “voice” is up to you. You can be formal or casual so long as your instructions are clear.

Design and Layout:

Since I design for downloadable, print at home PDFs efficiency is important to me because I want to have the fewest number of pages as possible for the instructions and the pattern pieces. If you make pre-printed patterns this isn’t as much of an issue.

I lay all my pieces out on a template that is then divided into individual printer paper sizes. A 7″ by 9.5″ page template will fit on both A4 and letter size paper. Many home printers cannot print all the way to the edge. Some can’t even get close to the edge. Your pages must work with a variety of printers and standard paper sizes.

You also have to remind users to print with “no scaling” or 100% scaling. Some PDF readers like to “fill out” the whole page and blow the image up bigger. Bad!

Each of my template pages has a solid border and numbered and lettered notches so the whole grid can be matched up once it is printed out. Every pattern company is different, some have gridded pages, some have numbers in each corner. Just so long as each page connects logically in an order of assembly and the pages can be easily lined up on each side then you’re good to go. It’s a puzzle but you don’t want it to be a difficult puzzle.

I always include a 2″ or 4″ test square completely contained on one sheet of paper. If the test square spans multiple pages it defeats the purpose of being a good size reference! Sometimes home printers will want to print your PDF out in all different sizes. The test square allows users to make sure their pages are printing at 100% scale..

I also include a printing layout so users can make sure they’ve got all their pieces together and in the right order.

This is just a personal preference but I don’t like to have slivers or edges of pattern pieces printed on one page if I can avoid it. When you tape the skinny edge to the other pages it’s floppy and I think those tiny pieces can easily be lost or accidentally discarded when cutting.

I also like to have all my pattern piece labels contained on one sheet rather than spanning sheets. This isn’t always possible, though, but I try. Again, it’s just me being finicky about details.

I don’t like to have a lot of different colors in my PDFs. People like to save ink and I know I always print patterns in B&W. You should at least make sure it looks legible in black and white if you have many colors in your pattern or instructions.

Distribution:

Here’s a good question: one PDF document or two? Some companies have the instructions and pattern pieces in separate documents. I do it all in one because of how I sell my patterns. On Craftsy, last I checked, they can only support one PDF for patterns. Maybe you can do a zip file with two documents but I’m not sure. Burdastyle‘s free patterns only have one document upload and they ask you to add instructions directly to their website. I find that users get confused by that system so I include the instruction with the pieces.

The website I use for instant downloads through Big Cartel is called Pulley and they only accept one document per product.

I also sell on Etsy which now supports instant downloads.

Craftsy offers a free service for selling (or giving away for free) your patterns and Burdastyle is a good place to post free patterns. PatternReview.com has a few companies listed for download patterns for sale. I also sell on IndieSew.com. You could email them to see if you could be included.

Does anyone else know of a good place to buy or sell PDF patterns?

***Ok, well that’s about it. There’s obviously more details you can include in your pattern if you do choose but I think what I covered is the most important.

If I work my bum off I can make an average level pattern in about a month. But of course, I’m kind of lazy so it takes me a lot longer. The longest part is grading and creating all the packaging and instructions.

If you’ve got any questions or want more explanation on any part of this process leave me a comment or email me and I’ll try to get you an answer ASAP! Thanks for reading!

Starting an Indie Pattern Company Pt. 2

(my finished hot cocoa sweater pattern as it looks in Adobe Illustrator)


Ok ladies and gents, get ready to roll up your sleeves and dig in. We’re getting deep into the seething underbelly of this pattern drafting thing. First we’re gonna get that sucker on the computer then we’re gonna draw up some charts and graphs and after that we’ll gonna slice ‘er open and check out all those crazy mathematical insides. It’s gonna get messy up in here!

Vague references to hog butchery aside, this is the tricky bit in the pattern company process and requires some attention. If you need to catch up be sure to read Pt 1 on the How I Started and Indie Pattern Company!

I’m assuming most of you know some basics about pattern making and terminology. You may or may not know about the software I’m using and there’s a chance you’ll need to remember your high school geometry class. However, if there’s anything you don’t fully understand, leave a comment and I’ll try my best to clarify.

The software I am using is Adobe Illustrator CS6 on a Mac.

Getting the base paper pattern on to the computer

There are two ways (maybe there’s more but I’m only writing about two) to digitize a pattern. The first method is one I don’t use because I think it takes too long – it’s the scanner method. Basically, you cut up all your pieces to fit on individual printer sheets of paper then scan each page in to Photoshop or Illustrator. This method works best with single size pattern or if you make multi-size patterns you will be better off doing all your grading by hand and scanning all the sizes nested together. Otherwise you’d need to reassemble all your pattern pieces, re-trace the lines and then grade from there in your image editing program.

Here’s an explanation of how to do the scanner method.

The method I use is this:

(a bodice piece that I’m going to digitize)

I tape each piece on to my big grid cutting mat. I use another ruler and protractor and I measure all my lines and points and recreate the pattern outline on a gridded Illustrator document. I do this for each piece. Rectangular pieces like collars or cuffs or some waistbands are easy, you just need two measurements. Since I grade digitally this takes me much less time than scanning.

(on the left, all my reference line measurements help to make the final pattern piece, on the right, in Illustrator)

From there I remove seam allowances if the paper pieces had them. If my paper pieces didn’t have SA then I’m good to go. Your pieces need to be SA-free in order to properly grade them.

Here is a helpful video of how I add/remove seam allowances in Illustrator.


Creating a standard size chart and how grading works

In order to grade a pattern up or down multiple sizes you’ll need to create your own size chart. The key here is proportional consistency between sizes.

Above are size charts from several pattern companies: Grainline Studio, By Hand London, Victory and Colette. You’ll notice that their sizing differs from each company but in each chart their sizes change proportionally. Colette’s size 6 is 36″/28″/38″ which has an 8″ difference between bust and waist and a 10″ difference between waist and hip. Colette’s size 8 is 37″/29″/39″, a 1″ increase overall from size 6 but the bust-waist-hip ratio is the same. It is proportional.

If the size 6 was 36/28/38 and size 8 was 38/29/40 that would not be a proportional grade. If you wanted to do a disproportional size grade you’d have to draft two completely different master patterns.

This proportion idea is why cup sizes in pattern pieces always stay the same throughout sizes rather than a size 4 having and A cup and a size 14 having a DD. It just doesn’t work like that. That’s why those “pick your own cup-size” style patterns from the big 4 companies have separate pattern pieces for each size and cup size.

You can go though any pattern company’s size chart and do the math. If ever the bust-waist-hip ratios change from one size to another then you know the makers drafted a whole new pattern for that other set of sizes.

Typically you draft a middle size and then grade up and down from there. The trick is that you can only safely grade up or down two or three sizes before you start to warp the edges of the pattern and lines get wonky and skewed. That’s why companies often draft two sizes like a 6 which can be graded up to an 8 and 10 and down to a 4 and 2, and also draft a 14 and grade up to a 16 and 18 and down to a size 12, or something like that. If you fit one of your own “middle sizes” in your size chart then great! If not, find a buddy to do test fittings and pattern tweaking.

If you are making children’s patterns you’ll probably have to draft an infant size, toddler size, child and tween size (or something like that) because children’s’ body proportions change so much between development stages. In fact, this post from Sew Mama Sew has a lot of good info on kid pattern drafting and also general pattern selling info. Definitely worth reading!

Grading methods for a program that’s not meant to grade

CAD (Computer Aided Drafting or Computer Aided Design) programs like Adobe Illustrator or Corel Draw are not designed to be pattern drafting software. Real pattern drafting and grading software that isn’t for personal use only is extremely costly and you’d still have to convert the pattern pieces from the specialty software into something like Illustrator for home sewing use. Maybe one day I’ll buy software for drafting but I in no way have the budget right now.

Obviously you could hire someone to do this for you but if you did that you wouldn’t need to read this post so I’ll just show you what I do.

The two manual methods of pattern grading are the slash and spread (where you cut up a pattern into sections and spread each section apart from the other) and the shift method (where you shift the whole piece outward at specific points). Here’s a tutorial on shifting and Elegant Musings has a great tutorial for slash and spread.

With these methods you determine how much to increase your pieces horizontally based on your overall garment measurement (say, a 2″ increase) and divide by how many sections your pattern is (one half piece for the back and one half piece for the front makes four “fourths” so you divide your overall increase by four, or 1/2″ on the front and the back piece). You do the same vertically as well.

In Illustrator you’d use the shift because the program makes it simple to select lines and move them vertically and horizontally by specific measurements. After all your points are shifted you still have to go back and reconnect all your lines. It’s a little time consuming but pretty accurate.

Here’s a very simple video to show you what I mean with the shift method in Illustrator.

Another non-kosher method, and I’ll explain why, is what I like to call the “percentage” method. This is something I totally made up so don’t take this as gospel.

Essentially, you find the percentage increased vertically and horizontally between each size based on the most important pattern measurement (hips for pants, bust for a top or dress, etc).

(scaling in Illustrator)

Take this bodice piece above for example. My size 4 has a bust size of 34″ and my size 6 is 35″. The bust measurement is the most important measurement of this pattern I’m designing. The increase from 34″ to 35″ is ~2.941%. That’s my horizontal increase. Let’s just say my vertical increase is 2.2%. I copy my entire pattern piece and scale it up by these percentages.

I like this method for a couple reasons. In many cases it works very well. I think it even creates nicer armhole curves than the manual shift method. Unlike the other grading methods I don’t have to divide some overall measurement by half or fourths depending on my number of pattern sections. The same percentage works for everything.

In the image above you can see lines from a bodice piece (side seam is on the bottom left) that I graded up one size. The black lines were manually graded by shifting points and then adjusting all the points back together. The pink lines were “percentage” graded. In this case I think the percentage grade is nicer than my (sloppy, in this case) hand grading.

Both of these methods have the problem that if you grade up or down more than two or three times you run the risk of lines getting skewed.

The percentage method has more problems, however. It works best when the pieces run the full length and width of a body section, meaning a bodice piece should go from shoulder tip to waist and side seam to center front. If you’re grading a bustier type bodice piece that doesn’t extend to the shoulder and you try to increase it by a vertical percent that piece won’t lengthen as much as a full shoulder to waist piece because you don’t have as much length to lengthen to begin with. Make sense? Ok, maybe not, I’ll give some more examples.

A shirt piece like this won’t take too kindly to the percentage method either. When grading horizontally you are increasing around the body from side seam to center front (if you are using a 1/4th section bodice piece). In a kimono/batwing sleeve like this the computer wants to increase from the far end point, which in this case is the wrist of the sleeve, not the side seam. You’re better off grading manually or breaking the pattern piece down into two sections (basically, cutting off the sleeve part) and percentage grading separately.

Here’s another example – set in sleeves. The percentage method works well with set in sleeves (that are positioned upright, like the pic above). You increase using the same amounts that you used for the other pieces (based on the most important measurement, like the bust, be consistent!).

But for a gathered tulip sleeve like the pic above the standard percentage method won’t work because this pattern piece is oddly wide.

What I did instead was overlap the pattern piece like a regular set in sleeve would look like with side seams on the left and right and graded from there then reassembled the pieces back like a tulip pattern piece.

What about a front bodice piece that isn’t on on the fold but rather has an extension past the center front for a button placket? You need to grade based on the side seam to center front so you’d have to chop off that extension and add it back after you’ve graded. Odds are that the placket would probably be the same dimensions no matter what the size so you wouldn’t have wanted to grade that bit anyway. Gotta think about these things!

The percentage method works ok with pants and skirts (use the hip measurements) sometimes. I don’t always use this method because it doesn’t work in every situation but even if I do use this method I always need to double check my work. I’ll usually check by shifting specific points on my pieces up two sizes at a time to make sure everything matches up.

Yeah, grading sucks. It’s time consuming, is uses a boat load of math and it makes me wish I had 10 grand to drop on some sub-par poorly designed software made specifically for grading but I don’t so I’m just going to complain about it instead.

The more you practice the quicker it gets. I make up plenty of charts denoting increase percentages for every size to reference.

After you finish grading you can add back your seam allowances. The reason why you have to grade sans-SA is because your SA always have to be consistent. You can’t be slowly increasing your 5/8″ SA by 2-4% each time you grade up or by the time you get 6 sizes larger you’ll have 1″ SA rather than 5/8″. No bueno!

To add seam allowances in Illustrator I use this method. Top tip: make sure your paths are closed (meaning all your separate lines are joined together) otherwise you’ll get extra lines all around your pattern piece that you don’t want.

***Phew, that was a lot to take in at once! But you made it out alive and now we forge onward deeper into the abyss (wow, I started out with some weird surgery metaphor and now I think I’m referencing Heart of Darkness, see what a mess pattern drafting makes of me!!?!?).

Next time we’ll talk about easier, but still important topics like pattern piece labeling, printing layouts, instructions, line drawings, graphics, and selling. So go grab a snack and we’ll meet back here later. Remember to stay hydrated!