For a beginner course in patternmaking for fashion design, Robert Youngerman has received rave reviews. A ten-day intensive workshop that includes study materials, projects and presentations, this text offers clear yet thorough explanations of the nature of patternmaking. Based on the seminal work of F.W. Eliot, The Waste Land is a tour de force of visual and verbal imagery that delves deeply into the creative process. Fashion designers from around the world take this as their reference manual for successful patternmaking.
Beautifully illustrated with more than 200 pages of richly illustrated photographs and graphs, the book covers every aspect of the pattern making process, from the fabric to the cutting and stitching to the finished product. Covering the entire spectrum of sewing-related activity, it presents a perspective that is rarely found in other texts. In addition, it includes a wealth of information about handwork and machinery. With detailed discussions of stitch types and techniques as well as suggestions on the use of various fabrics and thread, the volume is a treasure trove for all serious patternmakers.
Developed as a guide for students studying at the graduate level in patterns, this text is a valuable resource for those pursuing an advanced degree. It contains both an introduction to the subject and detailed, professional-style discussions of all aspects of the process. It also includes a valuable section on design practice. Though largely a study of the design process and theory, the authors have made available a number of useful techniques, such as working with leather, felt, wool, silk and even paper.
Developed over ten years, this second edition of Patternmaking for Fashion Design covers modern developments in patternmaking, with a focus on the commercial market. In addition to the previously published text, this new edition includes a wealth of helpful essays, a timeline of recent developments in the field, an introduction to digital technology, and a look at the history and philosophy of patternmaking, particularly in the area of fashion design. The editors maintain that the book can be used as a textbook on patternmaking and maintain its detailed, introductory nature. However, they admit that the book is “not a great resource for beginners,” and recommends that before using the text, certain concepts must be mastered first.
The third edition of Patternmaking for Fashion Design is practically a superset of its second and first editions, incorporating new material and a better understanding of pattern making processes. While the process has definitely advanced during the past twenty years or so, the authors do not feel that the book should become overly technical, especially for a beginner. The book contains over seventy new patterns, more than forty new color photographs, and revised explanations of some older topics.
Those with a basic working knowledge of patternmaking can gain many useful insights from this book, especially those who are just beginning their studies of patternmaking for fashion design. The process of developing a pattern from sketching to final product requires not only skilled patternmaking skills, but a thorough understanding of how the various processes actually work. Thorough technical instruction can be difficult for a novice, but the combination of clear illustrations and well-illustrated text makes this a very accessible text for even the most uninterested student.
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