CLASS GeometricConstructionOfTunic.pdf

(497 KB) Pobierz
Martha Rice
C aitlin nic Raighne
Dun A rd, C alontir
Geometric Construction of a Tunic
GENERAL COMMENTS
The geometric tunic was the garment in general use for everyday wear up to about
1250. It is loose, unshaped and simple to make. Men's and women's garments differ
only in the length and the amount of fullness in the hem: tunics are about knee-length,
often slit at the front and back or sides. Dresses are always ground length. Sometimes
they can be pouched over the girdle for working.
In the early Middle Ages, the width of fabric was limited to how far one could reach for
the spool since there was no cradle for the shuttle. Today we can purchase a variety of
widths of fabric. Optimally, you will purchase 100% wool or linen. If that is a little
undaunting, or beyond your finances right now, try a linen-cotton blend. (This was
called "fustian" in period.) There are some fabrics to avoid. They are polyester, rayon,
microfiber, vicose, tencel, fleece, upholstery or drapery fabric, and anything knit. These
fabrics may look medieval, but they aren't. In most cases they will be terribly
uncomfortable to wear and will wear out quickly. Below is a chart to help you tell real
wool, cotton, linen, or silk from the fakes. Burn a small amount of the fabric and
observe how it burns and what it smells like.
FIBER
Linen
SMELL
IGNITES
Paper/
Takes awhile to ignite. The fabric closest
Burning leaves to the ash is very brittle. Easily
extinguished by blowing on it.
Paper/
Steady flame. Easily extinguished by
Burning leaves blowing on it .
Paper/
Burns readily with a flickering flame that
Burning leaves cannot be easily extinguished.
Burning hair
Burning hair
Burns readily, not necessarily with a steady
flame. Not easily extinguished.
Harder to ignite than silk. Flame is steady
but more difficult to keep burning.
Catches fire fast, but sometimes puts itself
out. It bubbles, sizzles, and melts
RESIDUE
Powdery ash
Cotton
Rayon
Tencel
Vicose
Silk
Wool
Powdery ash
Powdery ash
Polyester Burning plastic
Acrylic
acrid
Nylon
Ash easily
crumbled
Ash easily
crumbled
Ash is hard
www.caitlinsclothing.com
Geometric C onstruction of a Tunic
© Martha Rice 2009
Martha Rice
C aitlin nic Raighne
Dun A rd, C alontir
A blend will show the properties of both fibers which make it up. That means, if it
melts – DON'T BUY IT! You will notice that with the burn test cotton, linen and rayon
all react similarly. To tell the difference you must look at the fabric. Feel it. Try to
crimple it up and see if it wrinkles easily. If you can, take a swatch out into the
sunlight. Pull off a loose thread and "unspin" in with your fingers. Compare the fabric
to the chart below.
LOOK OF FABRIC
Random s lubs
LINEN
COTTON
Smooth, even
weave
FEEL OF FABRIC
Stiff, wrinkles easily
Soft
RAYON
Smooth, even or
slubs at regular
intervals
Smooth, “cold”
LOOK OF
THREAD
Crisp
Cottony, like the
edge of torn
jeans
Fuzzy
LOOK OF UNSPUN THREA D
crisp
fuzzy
Shiny the more you play with
it.
www.caitlinsclothing.com
Geometric C onstruction of a Tunic
© Martha Rice 2009
Martha Rice
C aitlin nic Raighne
Dun A rd, C alontir
LAYOUT AND CUTTING DETAILS
MATERIALS
•
•
•
•
3 yards of 60" fabric or 4 yards of 45" fabric
sewing thread
bias tape if not using a neck facing
trim as desired
MEASUREMENTS
_____A = nape of neck to end of tunic + 5"
_____B = bent arm length +1"
_____C = chest + 4"
_____D = shoulder width +1"
_____E = sleeve width + 2"
_____F = waist to floor + 5"
_____G = A - 1/2E
_____W= width of material
1-2
= main body
3-4
= front and back inset
5-8
= side gores
9-10 = sleeves
11
= neck facing
12-13 = underarm gusset
The side gore length is determined by A- 1/2 E.
There needs to be at least 4" of ease in the chest area. For each additional layer, add at
least 2" per layer. This is created by making sleeve gores to attach to the sleeves.
Gores can be anywhere from 2” to 4” or more square. The bottom of side gores can
be as wide or as narrow as you like, but if they are too wide they will hang in deep
folds rather than draping gracefully.
www.caitlinsclothing.com
Geometric C onstruction of a Tunic
© Martha Rice 2009
Martha Rice
C aitlin nic Raighne
Dun A rd, C alontir
LAYOUT FOR 60" FABRIC
LAYOUT FOR 45" FABRIC
www.caitlinsclothing.com
Geometric C onstruction of a Tunic
© Martha Rice 2009
Martha Rice
C aitlin nic Raighne
Dun A rd, C alontir
CONSTRUCTION NOTES
General Sewing Tips
1. It is very important to pre-shrink all fabrics. Treat the fabric as you would after
the garment is complete.
2. All seams are to have 1/2" seam allowances.
3. Zigzag all edges to prevent raveling.
4. Backstitch 1/4" at the beginning and end of each seam to keep seam from
coming out.
5. Pin pieces of fabric being sewn together before sewing to keep fabric from
slipping and edges together while sewing.
6. Always put "right" sides of fabric together when sewing.
7. Mark "wrong" sides of material if necessary with a chalk pencil or soap as pieces
are cut out.
SEWING DIRECTIONS
Step 1
Cut out all pieces and label for ease of identification
Step 2
It is important when sewing to finish all the seams. The weight of the skirt may put a
strain on the seams. Either French the seams (folding in both raw edges to face each
other and stitching down) or, to be more period, fold under the raw edges to the
outside and hand stitch a running stitch down eit her side of the seam. Use a
contrasting color so that the stitches show decoratively on the outside of the dress!
Step 3
If there are two separate pieces for the front and back, stitch the shoulder seams first.
www.caitlinsclothing.com
Geometric C onstruction of a Tunic
© Martha Rice 2009

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika:

Zgłoś jeśli naruszono regulamin