It’s been about a week since my last blog post, and here’s a quick update on my Tailoring class.
I’ve already had a reversal of fortune; the beautiful steel-blue windowpane wool I planned to use is out for the project.
Knowing plaid matching would be a challenge, I researched it further up front. The Threads magazine article I mentioned in the first post of this series (“Plaid Ambition”, Threads #177, February/March 2015), has a few deficiencies.
There’s so much to write about, I don’t know where to begin!
Based on my experience from the summer session at City College of San Francisco, I’ve gone all-in on classes for the upcoming fall semester.
I’m taking four classes, which pretty much makes me a full-time student. I’m hoping I can meet the workload for all four classes. I’m pretty certain I won’t be sewing any projects outside classwork. That’s not so bad, because some class assignments provide opportunities to make projects that have been lingering in my personal queue.
Fashion Illustration 2
This class continues where my summer class in Fashion Illustration leaves off. I have the same instructor, Paul Gallo, who is a wonderful instructor and coach.
The second semester of Fashion Illustration builds on the first. We learn additional rendering techniques, more menswear techniques, and the drawing proportions for children and teens. We also learn the details of producing technical flat drawings and spec sheets for production work.
One emphasis of the second semester is on developing everyone’s individual artistic style, and the midterm and final are capsule design projects that focus on original design work. My style so far is fairly photorealistic, and I’m curious to see how I develop as I work through the course.
Here’s some work-in-progress from the second assignment; we’re revisiting the basic figure and learning new coloring techniques.
Sometimes I come up with style ideas for new projects, or styling details that I’d like to follow up on later. The problem is that I have no way to record them – a textual description doesn’t capture the vision that’s in my head, and it means nothing to me weeks and months later.
Also, I look towards a potential future of creating garments for others – where it would be useful for both myself and the client to have a clear picture in our heads of what we’re working towards. So, I saw illustration skills of some sort as an important thing for me to effectively create original designs.
With those thoughts, I enrolled in the introductory class in Fashion Illustration at City College of San Francisco. The instructor is Paul Gallo, whose classes I have taken before, and is an excellent instructor. He has two classes in draping and bias design on Craftsy. I had a great deal of trepidation leading into this class – I don’t really think of myself as an artist or illustrator – but I am familiar with Paul’s teaching style and figured if anyone would make this topic comfortable, he would be it. Continue reading
My personal sewing projects have ground to a halt, because of two classes I am currently taking at City College of San Francisco. But I am not complaining; both of them have been exciting and enriching.
The Moulage is a class taught by Lynda Maynard. She is an expert in couture sewing and fitting techniques, and the author of two books: one on couture sewing techniques, and a self-published book on fit. She also has several Craftsy classes available, and I’ve just purchased her fitting class.
What is Moulage?
Moulage is a pattern-drafting system that aims to produce a skin-tight garment that fits your torso from neckline to hip, based on measurements. I am told the word “moulage” translates from the French as “mold”, a way of molding a garment to your body.
The finished moulage can be used as-is for certain types of garments, including those for knits. But typically you use it as the starting point for making patterns of other types of garments. More on this later. Continue reading
In this third and final installment of our fitting series, we’ll see how all the previous fittings converge into a wearable shirt.
At the end of Part 2, the body of the shirt was falling into place, with the sleeves and neckline becoming the major issues of focus. We’ll tackle those, and show actual fitting photos of the BF Oxford Shirt. (Here’s a link to Part 1 and a photo gallery of the finished shirt if you are new to this series).
Issues with the body
Everything is finally looking OK. That horizontal balance line in front appears tilted, but it’s really posture and camera angle and not the garment.