Differene Body Parts

7/31/2019 Differene Body Parts

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7.1 Introduction

In the previous units, we have discussed the methods of sketching thehuman figures. In this unit, we would discuss the details of the garmentsthat need to be rendered on the figures to give a complete look. Theterm, fullness applies to the excess fabric in garment. To achieve the

desired look of an outfit, it is important to control the fullness, either byincreasing or imparting it, or either by reducing it. This process helps ingetting the fits and enhancing the beauty of the garment. Fullness in agarment can be treated in two ways:

i) Reducing effect is to bring reduction in fabric. This is achieved with thehelp of darts, style lines and yokes.

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ii) Increasing effect is adding extra volume which is brought throughpleats, tucks, gathers and shirring.

iii) In this unit, we would discuss the types of fullness with the help ofillustrations. The steps to be followed in drawing the fullness details

would be explained in the practical book of the same subject.

Objectives:

After studying this unit, you should be able to:

explain the types of fullness

utilise the fullness in designing garments

explain the other types of details used on the garments such as

cascades, cowls, cuffs, collars etc.

7.2 Techniques of Controlling Fullness

The details in the garment, which control the fullness are darts, stylelines and yokes. The different types of darts, style lines and yokes wouldbe explained in this unit with the suitable illustrations. The method ofdrawing these on the garment would be explained in the practical bookof the same subject.

7.2.1 Darts

Darts are stitched fold converging to a point on a garment. They arenecessary to create fit and shape for a three dimensional form from aflat two dimensional piece of fabric. When folded, the two sides of thedart legs converge to a point.

Darts are of two types:

Contour or fish darts

French darts

Contour or fish dart: is a long single dart that fits at the waist line andthen tapers off in two opposite directions to fit either both the bust andhip, or the fullest part of the back and hip. These are used to reduce theupper and lower excess of fullness of the waist.

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Fig. 7.1: Contour Dart

French darts: Extends diagonally from side seam to the bust. Thisdiagonal line is straight or slightly curved. French darts are always in thefront. These are used for skirts, blouses and pants.

Fig. 7.2: French Darts

7.2.2 Style Lines

The style lines not only control the fullness of the garment, but alsoprovide shape and fit to the outfit. Most commonly used style lines are

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princess line. It begins at the shoulder or armhole front or back and runslength wise over the garment. Other style lines can be straight, shapedor curved etc. These can be used in place of darts.

Fig. 7.3: Style Lines

7.2.3 Yokes

A Yoke is a segment of a garment usually placed at the shoulders, abovethe waist line or below the waist line for controlling and supportingfullness needed over the bust, chest, hips etc. Yokes help to keep theupper area or waist line of the garment trim and smooth. The differenttypes of yokes are round yoke, square yoke, asymmetrical yoke, U-shaped yoke, V-shaped yoke etc. Figure 7.4 shows different types ofyokes.

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Fig. 7.4: Yokes

7.3 Techniques of Imparting Fullness

There are different details, which could be used to increase fullness inthe garment such as pleats, tucks, gathers and shirring. The differenttypes of details, which could be used are as follows. These methods notonly increase the fullness, but also enhance the beauty of the garment.They give the garment a good fit and a tailored look.

7.3.1Pleats

Pleats are usually introduced at the waistline of skirts and dresses, toprovide fullness evenly all around. Preparation of pleats is similar to thatof tucks, the main difference being that pleats are seldom stitched allthe way down. The different methods of fullness and that of constructionare explained in the book Introduction to Pattern Making and Stitching Theory and the practical books of the same subject. This book

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essentially deals with illustration of these concepts. You can seedifferent types of pleats in the figure 7.5.

You can notice some new types of pleats illustrated.

Fig. 7.5: Pleats

7.3.2Tucks

A tuck is a fold of fabric stitched in place by running stitch or machinestitch on the right side of the garment as a means of:

Shaping the garment

Holding in fullness

A decorative finish

The different types of tucks are:

Pin tucks

Corded tucks

Shell tucks

Cross tucks

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Figure 7.6 shows different types of tucks.

Fig. 7.6: Tucks

7.3.3Gathers

Gathers are done by hand or by the longest stitch on the sewing

machine. Two rows of stitching are run through a piece of fabric; thethreads of which are drawn up to create gathers. Gathers enable thefreedom of movement. Gathers are used around waists in frocks, skirts,around cuffs in sleeve heads as well as necklines. Figure 7.7 showsgathers on the skirt.

Fig. 7.7: Gathers

7.3.4 Shirring

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In this technique the fabric is drawn up to create fullness using a fineelasticated thread known as shirring elastic. It can be used in series oflines depending on the effect required. It gives soft and rich effect to thegarment.

Fig. 7.8: Shirring

7.3.5 Frills

These add a decorative element to the garment and also add a femininetouch to the outfit. Apart from this, frills can also be used to increase thelength. For this, a narrow, straight piece of cloth is drawn up and fixedwithin a seam or at the hem of a garment. Frills are normally used forladies and kids garments. Figure 7.9 shows the frill attached to thehem.

Fig. 7.9: Frills Attached to the Hem

7.3.6 Ruffles

Ruffles are created when strips of fabric are cut from circles and thenopened out and applied inside a band or on a seam.

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Fig. 7.10: Ruffles on the Skirt

Self Assessment Questions

1. Frills are mainly used on mens garments. True/ False

2. Which among the following is used to control the fullness in agarment?

A. Darts B. Tucks C. Pleats D. Ruffles

3. Identify the figure given below:

7.4 Necklines

Neckline is an outline of the bodice around. There are different styles ofnecklines used depending upon the dress or on wearer.

Types of Basic Necklines

Basic Plain Jewel: A simple round neckline, which would be faced.

U Neckline: A deep neckline in the shape of U

Square Neckline: A square neckline, which would be faced with miteredcorners (in sewing, a diagonal join between the edges of two hems thatmeet at a corner of a piece of fabric)

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Scoop: A shallow, but wide neckline.

V Shaped: A faced, V Shaped neckline.

Halter: The bodice of a garment is extended around the neck to form

straps and a fastening. There is usually only a band of fabric across theback.

One Shoulder: An asymmetrical neckline where the garment issupported by strapping on one shoulder only. The other side of theshoulder is bared.

Off the Shoulder: A feminine neckline where the shoulders are baredrevealing the whole neck.

Key hole: A jewel neckline with a slit at the front or the back, which is

faced and fastened, edge to edge with a single button or loop.

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Fig. 7.11: Necklines I

Strapless (Princess Line): A princess line bodice with a band and notchedfront but no straps for support.

Envelope: A wide neckline where the back overlaps over the front and isusually made from a knitted fabric.

Polo Neck or raised: A high neckline that extends up the neck.

Inset: A Jewel neckline with a slit that has an elasticated insertion.

Cowl Neckline: A draped neckline usually cut on the bias to create moresoft fold of draping.

Sweet heart: A feminine angular shaped neckline that frames breast and

neck.

Scalloped: A decoratively edged neckline that would be faced.

Overlapping Neckline: In this neckline, one side of the bodice overlapsthe other.

Horse Shoe: A deep horse shoe shaped neckline, which would be faced.

Draw String: As the elasticized neckline but controlled with an adjustabledraw string.

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Fig. 7.12: Necklines II

7.5 Sleeves

Sleeves form an important part of garment and also add a style to it.There are several types of sleeves. Some of them are given below:

Set in Sleeve:The sleeve is shaped around the arm and has a seam onthe underarm. The top of the sleeve-the sleeve head, is curved toaccommodate the roundness of the shoulder.

Three quarter:This sleeve reaches halfway between the elbow and thewrist.

Raglan with Yoke: The raglan sleeve is derived from the set-in sleeve,but with the shoulder added to the sleeve head. It is made in somevariations like with yoke, with dart and saddle raglan.

Dropped Shoulder:The shoulder is extended and shaped around theshoulder, rather like a capped sleeve.

Capped Sleeve: This sleeve is an extension of the shoulder just coveringthe shoulder point.

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Bell Sleeves:The upper part of the sleeve fits the arm, the lower partflares out in full bell shape.

Wing Ruffle: Like the capped sleeve, but here the fabric extension hasfullness added, the fabric being gathered and set onto the bodice,

creating the ruffle effect.

Leg-O-Mutton: A full gathered sleeve head is set into the bodice andtapers to fit towards the wrist.

Bishop: The reverse of the leg O Mutton, the top part is fitted and thenflares out toward the wrist where the sleeve is gathered into cuff.

Pagoda: This sleeve is fitted on the upper arm and with tiered frill on thelower part of the arm to the wrist.

Fig. 7.13: Sleeves I

Juliet: A two part sleeve, similar in effect to the leg O mutton. The toppart is full and gathered, while the lower part of the sleeve is fitted tothe arm.

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Kimono: A long sleeve that is complete extension of the bodice to thewrist. The seam lines are along the top of the sleeve and at the underarm.

Melon/Balloon: A very full, short set-in sleeve padded out to give effect

of Balloon or Mellon.

Lantern: A long set-in sleeve constructed in two parts, the top part flaresslightly from the sleeve head towards the wrist. The bottom part flaresfrom fitting wrist to meet the flare of the top.

Mamaluke/Virago: A long full sleeve that is portioned into five fullsections.

Petal/Lapped: This sleeve is cut without an under arm seam and isshaped and folded on the upper arm.

Dolman/Megyar: The shoulder seam extends through the top of thesleeve and the underarm seam follows from the side of the bodicethrough to the wrist.

Shirt Sleeve: A set in sleeve with two pleats at the buttoned cuff and aplacket.

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Fig. 7.14: Sleeves II


4. _______ is a feminine neckline where the shoulders are bared revealingthe whole neck.

5. Identify the neckline as in the figure given below:

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6. __________ sleeve is an extension of the shoulder, just covering theshoulder point.

7.6 Collars

Collars are one of very essential features of a dress. The collars are notonly functional but are also decorative features. There are many typesof collars, some of which are given below:

Straight Band: A strip of fabric encircling the neck.

Bateau: A straight band placed on wide neckline.

Polo/Turtle: A wide piece of fabric usually knitted or fabric cut on thebais that folds back to form a roll neck collar.

Mandarin: An oriental collar that is a straight band, but that opens at thefront and has curved edges.

Peter Pan: A flat, curve shaped collar with no stand.

Bishop: A shirt type collar with points extending into tab shapes and nofastening down the front.

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Fig. 7.15: Collars I

Sailor: A U shaped neckline with a deep, cap like, square back, usuallytrimmed with contrasting braid.

Shawl Collar: A long, roll back collar that follows the line of a jacket orcoat that is cut as a U and then wraps over to fasten.

Tuxedo: Similar to the Shawl Collar, but is longer and usually made from

a contrast satin or silk. It is used for evening wear.

Bertha: A cape like collar that usually cover the shoulders.

Puritan : A simple but deep, fold over collar as worn by Puritans of theseventeenth century.

Ruff: A stiffened pleated collar popular in sixteenth century.

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Fig. 7.16: Collars II

7.7 Cuffs

Cuff is a sort of finish to the sleeve. It is a double band of fabric stitchedat the lower end of the sleeve. The various types of cuffs are givenbelow:

Faced hem

Shaped faced hem

Faced placket

Mens tailored shirt

Loose pleat cuff

Curved

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Turn up

French with cuff links

Long fitted

Button tab

Rouleau loop

Wedge inset

Elasticated with frill

Elasticated cuff

Ruched

Draw string

Ribbed knitted

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Fig. 7.17: Cuffs

7.8 Cascades

Cascades are the effects created by utilizing the fall of fabric diagonally

without using gathers or cluster of folds. There are no particular types incascades. These can be created in any form as requirement of dress,depending upon the creativity of the designer.

Fig. 7.18: Cascades

7.9 Cowls

Cowls are the falls formed in fabric while draping. These can be utilizedat various sections in the garment and provides classic look to it.

Fig. 7.19: Cowls

7.10 Quilting

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Quilting is a sewing technique in which thickness is provided to thegarment by interlining it with some thick material, and then stitching itin straight, diagonal or checker board pattern rows.

Fig. 7.20: Quilt

7.11 Smocking

Smocking is another technique of stitching for introducing decorativeelement into the garment by utilizing the fullness. Here, the fabric isstitched in thin folds with the help of elastic thread. These rows offabrics are further decorated. Smocking effects are used on yokes,sleeves and cuffs. This technique is very popular in Kids wear.


7. ________ is a stiffened pleated collar popular in sixteenth century.

8. Identify the details shown in the figure given below.

9. Which among the following is used as a finish to the sleeve?

A. Cascade B. Cuffs C. Cowl D. Collar

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7.12 Summary

This unit provides you the idea of drawing different necklines, yokes,cuffs, sleeves, collars and effect techniques like cascades, cowls,quilting, smocking and draping. These are the details, which need to be

introduced in your sketches depending on the type of garment and thedesign you intend to illustrate. The details explained in this unit helpsyou to draw a complete illustration combining patterns with creativity.

7.13 Terminal Questions

1. What are cascades?

2. List the different details that could be used on a garment design tointroduce fullness.

7.14 Answers


1. True

2. A

3. Shell Tucks

4. Off the shoulder

5. Envelope neckline

6. Capped sleeve

7. Ruff

8. Cowls

9. B

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Differene Body Parts