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07 DRAWING FOR MANUFACTUREIntroduction

This chapter deals with the working drawing. This is the standard method of communicating garment

designs in the industry. It is used in manufacturing to inform designers, pattern cutters, buyers,merchandisers, lay planners, machinists and anyone else involved in the production of garments (someof whom may even be in a different country) about specific designs. Working drawings need to be clear toinform this vast range of personnel.

There is some skill involved in producing working drawings and this chapter sets out to provide the toolsand knowledge necessary for successfully mastering the technique.

The basic equipment required for hand rendered working drawings varies from hard or propellingpencils, rapidograph/technical drawing pens in a variety of nib thicknesses (or fineliner pens if budgetis a problem), through erasers, ruling pens and a variety of inks. Black waterproof ink is useful as it isopaque when applied and reproduces well. Coloured inks are also available and can be used in technicalpens. Correction fluid is invaluable to correct any slight inaccuracies. All-purpose fluids are available thatcan be used on photocopies as well as original art work. French curves help to produce strict and accurate

line work, depending on the final uses of the illustration.

Software is being used much more extensively in the fashion industry now. It is possible to executeworking drawings and render them with tones, textures and colours. After the initial investment in thesoftware and hardware, this is ultimately a speedier way of producing working drawings. It is possible toscan in fabrics and then flood fill the drawing (as explained in Media Techniques - Adobe Photoshop - Pat-tern Stamp Tool) with the fabric to give a more realistic representation of the designs for presentation atbuying and board meetings - see the tutorial later in this chapter for producing drawings.

Drawings from the Dress Standare provided to be used as a basis for achieving good proportion havingguidelines for the centre front, back, bust, chest, waist and hips. A good, straightforward figure drawingcan be used in the same way.

Developing the Templateshows how to achieve good proportion and how to develop a variety of garment

blanks that can be used as a basis to design virtually any garment. A range of Blueprints for a five yearold child, a woman and a man are provided. Also shown is the use of computer software to achieve similarresults.

Designing using a Templateshows how the same garment shape may be utilised in a number of ways.

Developing a Stencilprovides another hand rendered method of production which may be helpful if alightbox and computer are not available.

Where to use Working Drawingsshows the subtleties between different uses of this type of drawing.

The examples at the end of this section show a variety of contemporary approaches and uses of this styleof drawing.

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07 DRAWING FOR MANUFACTUREDrawings from the Dress Stand

Figure 1 shows the womans trunk and legs stand, dress size 12 or 40, front, side andback views. Figure 2 shows a mans torso, size 38, front, side and back views.

Figure 2

Figure 1

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07 DRAWING FOR MANUFACTUREDeveloping the Template

Front view templates are developed from the new figure shapes; back or side views canbe developed also (not shown here).

208

waistwaist

waist

waist

waist

waist

waistwaist

bust

bust

bustbust hip

hip

hip

hip

knee

Blueprints - Womenswear


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waist

waist

waist

waist

waist

chest

chest chest

tailored

sleeve

casual

sleeve

Sleeve shapes are developed. Tailored jackets have sleeves lying parallel to the body; with morecasual sportswear, shirts and dresses allow the sleeves to spread at an angle from the body - thepurple outline. (This is also dependent on the type of sleeve to be constructed. For example, adolman sleeve is an extension of the bodice and the shoulder seam continues down the outside ofthe arm. Consequently the template chosen should be the nearest to that type of construction.)Where space on the page is at a premium one sleeve can be folded over, this allows detail at the backof the cuff to be seen.

Blueprints - Menswear

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chest

chest

chest chest

chest

waistwaistwaist

waist

waist

waist

waist

hip

hip

hip

waist

hip

Each template needs to retain information regarding the centre frontand backand thechest, bust, waistand hip lines, as this is helpful when plotting button wraps,double-breasted designs, wrap-overs, hipster styles, cropped tops etc. All of the Blueprints were created in Adobe Illustrator. To complete the exercise oppositea template could be scanned into Photoshop then opened and placed in lllustrator to act asa template - see Media Techniques, Vector Drawing, page 81.

Blueprints - Childrenswear

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1. The bodice template isopened in Adobe Illustrator(Figure 1).

2. A new layeris created andnamed blouse design. Thetemplate layer -Layer 1islocked (Figure 2).

3. Begin to draw the basic gar-ment shape, on one side only(Figure 3).

4. Select the drawing with theSelectiontool, copy and pasteit, then select the copy (Figure 4). Double click on the Reflecttool - it shares a tab with theRotatetool (Figure 5). Thepop-up dialogue box asks youto select a vertical or horizontalaxis, or an angle (Figure 6).Choose Vertical and the imagereflects itself; keep it selectedand move it in position over thetemplate, using the arrow keysfor precision (Figure 7).

5. Click on the Eyeicon on theLayers palette and de-select it,this makes the templateinvisible, showing only thedesign drawing (Figure 8).

6. Copyand Pastethis shapeand use it for design develop-ment, adding stitch lines andother detail - see next page.

waist

bust

Figure 1

Figure 2

Figure 3 Figure 4

Figure 5

Figure 6

Figure 7 Figure 8

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SelectionTool


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07 DRAWING FOR MANUFACTUREDesigning using a Template

Figure 1 shows the garment design flood-filled with colour in Photoshop using the PaintBuckettool,Figure 2 shows the garment filled with pattern using the Pattern Stamptool inPhotoshop, the inside of the garment has the opacity reduced to look more realistic.Figure 3has a Graphic Styleof Parchment(to give a more distressed look) added in Illustrator. Figure 4shows blocks of colour added in Photoshop, the Opacityis reduced on the Paint Buckettool menubar to achieve a feeling of Transparency.

Figure 1 Figure 2

Figure 3 Figure 4

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07 DRAWING FOR MANUFACTUREDeveloping a Stencil

A stencil shape is useful if a lightbox or a computer and software are not available.

It is important to use an H value pencil to keep the traced shape as accurate as possible.

1. Select the elongated dress standdrawing or a clear front view of the figure(Figure 1).

2. Trace over one half of the torso to pro-

duce a swimsuit shape. Mirror the otherside of the drawing and include the centrefront/back, chest/bust, waist and hip lines(Figure 1). Adjust the shape slightlyuntil it looks as required. Cut out the basicstencil in lightweight card for durability(Figure 2). Further stencils may be cre-ated by working one on top of another.

3. To design, draw lightly around thebasic stencil, marking the centre front/back, chest/bust, waist and hip lines asguides in pencil.

4. Design the garment over the tracingand render as required, here with prints;erase all pencil lines (Figure 3).

Figure 1

Figure 2

Figure 3

PRINTS

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07 DRAWING FOR MANUFACTUREWhere to use Working Drawings

The working drawing has a variety of uses and approaches. All of themrequire the drawing to communicate clearly, with no ambiguity, as thiscould cause problems in either the projection of key directions for futuretrends or in the garment manufacturing process.

KEY DETAILS:racing back

reversible tops

neon prints

Figure 1 The drawingis flat but could showmovement, dependentupon the fabrication.The fabric representa-tion is important. It isused here to illustrateitems for fashion predic-tion work - new ideasnot yet manufactured.Often important detailswill be highlighted in anexploded drawing.

Figure 2 This is aslightly stricter versionof the drawing, used byfashion prediction anddesign studios. Thegarment sample has tobe accurately observedand recorded. It couldbe derived from a tradefair, exhibition or couldbe from a retail outletanywhere in the world.There has to be addition-al information such as

the source or designer,country of manufacture,colour, fabric, priceand market level (SnowDwarf is fictional).

The prediction companyuses such information toadvise of directional gar-ments corresponding totheir previously predictedthemes.

The designer (dependenton market level) mayuse the same directionalinformation but is morelikely to use the draw-ing to record compara-tive information, thatis, finding out what thecompetition is producingand comparing products.

Figure 1

Figure 2

SOURCE: Snow Dwarf

COUNTRY: England

COLOUR: Pink print mix

with pink/peach contrast

print.

FABRIC: Viscose mixPRICE: 75-99

MARKET: High street

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07 DRAWING FOR MANUFACTUREWhere to use Working Drawings

Figure 3 The drawing hasthe addition of measure-ments. The garment/ac-cessory would have beenchosen for its directionalqualities and would havebeen analysed andmeasured as a sample.Further information isadded regarding the size,colour, price andmarket level.

Figure 4 The drawing

has to be clear with somekey measurements, to aidthe pattern cutter, on aspecification sheet. It willalso be used when costingout the produced garmentsample. If more accuratedrawing is necessaryfrench curves may be usedto construct lines. Alsothere are a number ofsoftware packages thatmay be used, such asAdobe Illustrator.

SIZE: NACOLOUR: White/Petrol

FABRIC: Canvas/plastic

PRICE: 30-00

MARKET: High Street

Figure 3

Figure 4 STYLE NO.

COLOUR

SIZE

TRIMS

THREAD

LINING

INTERL...COST:

FABRIC:

DESCRIPTION:

Updated Rugby shirt with overblo wndragonfly logo back and front, slightlypuffier sleeve than usual

BACK VIEW

FRONT VIEW

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