DIGITAL PATTERN

CUTTING FOR
FASHION WITH
®
LECTRA MODARIS

i
ii
 DIGITAL PATTERN
CUTTING FOR
FASHION WITH
®
LECTRA MODARIS
From 2D Pattern Modification
to 3D Prototyping

PATRICIA GRICE

iii
 BLOOMSBURY VISUAL ARTS
Bloomsbury Publishing Plc
50 Bedford Square, London, WC 1B 3DP, UK
1385 Broadway, New York, NY 10018, USA

BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of
Bloomsbury Publishing Plc

First published in Great Britain 2019

Copyright © Patricia Grice, 2019

Patricia Grice has asserted her right under the Copyright, Designs and Patents Act, 1988,
to be identified as Author of this work.

For legal purposes the Acknowledgements on p. xi constitute an extension of this copyright page.

LECTRA ® trademark is the property of Lectra.

Cover design: Adriana Brioso

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in writing from the publishers.

Bloomsbury Publishing Plc does not have any control over, or responsibility for, any
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any inconvenience caused if addresses have changed or sites have ceased to exist,
but can accept no responsibility for any such changes.

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iv
A special dedication to Phil Grice for a lifetime of encouragement,
and to Sam, Ben, Victoria and Kurt for cheering me on.

v
Contents
Acknowledgements xi 3 Getting Started 20
About This Book xii
Learning Objectives 20
A Bit About Lectra xiii
Points and Lines and their Modification 22
What Is Digital Pattern Cutting? xiv
Types of Points – F1 22
Introduction To Modaris Classic And 3D xv
Adding Points 22
How To Use This Book xvii
Print 23
Information For Blocks And Patterns xviii
Modifying Points 23
Changing a Point Type 24
1 How It Works 1 Further F3 Functions 24
Learning Objectives 1 Exercise 3 - Adding and Modifying
Help 2 Points 25
Mouse 3 Adding and Modifying Lines 26
Screen Layout 3 Exercise 4 - Adding and Modifying Lines 31
Keyboard 4 Sheet Menu 32
Function Tools 5 Piece Modification 33
Saving 6 Mirror a Piece 33
Access Paths 6 To Split the Pattern 35
Navigation/Opening a Model 7 To Join Pieces Together 35
Screen Layout with Pattern 7 Adding Fullness 36
Exercise 1 - Navigation 8 Extracting a Shape 37
Learning Outcomes 9 Geometric Shapes 40
To Create a Rounded Edge 40
Circles 40
2 What Is Digitizing? 10
To Extract an Internal Shape 42
Learning Objectives 10 Exercise 5 - Piece Modification 44
The Digitizing Board and Mouse 11 Assembly/Checking Pieces 45
Digitizing Functions 12 Exercise 6 - Checking Assembly 48
Pattern Preparation 12 Orientation 48
Curve Point Positioning 14 Learning Outcomes 49
Digitizing Preparation 14
Digitizing Process 16
Digitizing Tips 17
4 Moving On – Industrialization 50

Exercise 2 - Digitizing a T-Shirt Block 18 Learning Objectives 50

Learning Outcomes 19 Notches 51

vi
Grain Lines 51 Define Points Facing Each Other 85
Seam Allowance 51 Slip On Points 85
Corners 52 Layers 87
Step in Seam 54 Exercise 10 - Stitch a T-Shirt in Desk of
Naming Pieces 54 Stitches 88
Exercise 7 - Industrialization of the Learning Outcomes 90
T-Shirt 55
Adding Text 56 6 3D Virtual Prototype 91
What is a Variant? 57
Learning Objectives 91
To Create a Variant 58
The 3D Environment 92
Exercise 8 - Create a Variant for a
Preparing for Simulation 95
T-Shirt 61
Mannequins 95
Measuring 62
Customizing a Mannequin 96
To Measure a Line 62
Hair 98
To Create a Measurement Chart 63
Posture 98
To Customize a Chart Layout 64
Simulation in the 3D Environment 99
To Calculate Measurements 65
Moving around the Screen 100
Size Representation in a Chart 66
Assembly/Simulation in the 3D
Exercise 9 - Create a Measurement
Environment 101
Chart for a T-Shirt 66
Assembly/Assemble + 101
Sizes 67
Pre-Positioning 102
Size Ranges 68
Curvature 106
To Change Size Ranges 68
Simulation 107
Learning Outcomes 69
Relaxation 108
Pull Fabric 108
5 Introduction And Preparation Fall 109
For 3D 71 Mesh 109
Learning Objectives 71 Checking Assembly 112
A Focus on 3D 72 Lock 112
The Principles of 3D Virtual Mechanical Properties 112
Prototyping 72 Fabrics 113
Pattern Preparation for 3D 73 To Change Fabric in 3D View 114
3D Substitute Piece 74 To Create Ribbing Effect 115
Lines to Set as 3D 75 Adding Elastic 116
Variant for 3D 77 Stiffening 116
Assembly/Desk of Stitches 78 To Add Own Print to Garment 117
Create Piece to Stitch 78 To Edit Print on Mannequin 117
Desk of Stitches 80 To Change Plain Colours on
To Stitch Seams 81 Mannequin 118
Seam Types 84 Saving and Opening from 3D 118

EXTEN DED CONTENTS vii

Exercise 11 - Assemble and Simulate
a T-Shirt 120
Learning Outcomes 121
7 Confidence Building
Workshops 122
Learning Objectives 122
Blocks and Inserting Patterns 123
Workshop 1 - A Basic T-Shirt 125
Set Access Paths 126
2D Pattern 126
Variant 129
3D Pattern Preparation 130
Assembly – Desk of Stitches 131
3D Simulation 132
Workshop 2 - Dart Modification 135
To Pivot a Dart 136
Dart Cap 137
Variant 140
3D Pattern Preparation 140
3D Substitute Piece 140
Assembly – Desk of Stitches 140
3D Simulation 141
Exercises to Try 142
Both Darts into CF Position 142
Darts into Parallel Position 143
Workshop 3 - Darts into Seams 145
Panel Seam 145
Set Access Paths 146
Variant 147
Assembly – Desk of Stitches 147
3D Simulation 148
Curved Seam 149
Variant 153
Assembly – Desk of Stitches 153
3D Simulation 154
Other Exercises to Try Using the
Bodice Block 154
Armhole Dart and French Dart into a
Seam 154
viii EXTEN DED CONTENTS
Workshop 4 - Darts into Flare 156
A-Line Skirt 156
Set Access Paths 157
Variant 160
Assembly – Desk of Stitches 160
3D Simulation 160
Wide-Leg Trouser 161
Set Access Paths 162
Variant 164
Assembly – Desk of Stitches 164
3D Simulation 165
Flared Top/Dress 166
Workshop 5 - Button Wrap and Facing 168
Button Wrap with Grown on or
Separate Facing 168
Set Access Paths 169
Adding Button Positions 170
To Add a Separate Facing 171
To Add a Grown on Facing 171
Back Neck Facing 173
Variant 175
3D Pattern Preparation 175
3D Substitute Piece 175
Assembly – Desk of Stitches 176
3D Simulation 177
Learning Outcomes 179
8 3D Advanced 180
Learning Objectives 180
To Add Two Garments 181
Visual Effects 184
Material Visual Effects 184
More Fabric Effects 186
Diffusion/Opacity/Brightness 186
To Show a Lining 189
Notion Visual Effects 191
To Add Buttons 191
To Add Other Effects 193
Seam Visual Effects 193
To Add Top Stitching Detail 193
To Change Colour of Stitch 195 Belt Loop 231
Fitting 197 Set as 3D 231
To Check the Ease 197 Belt Loop Positions 231
To View the Ease 198 Body Pieces 231
To Check the Balance 200 Assembly – Desk of Stitches 232
To Transfer Lines to Pattern 201 Belt Loops 234
Drawing Lines 202 3D Simulation 235
Drawing on Mannequin 202 Waistband 237
Other Tools in Lines/Measurements 203 Finalizing the Prototype 238
To Measure Lines 204 Workshop 7 - Pleats – Skirt and
Alterations 205 Trouser 242
To Cut a Line 205 Skirt with Pleats at Waist 242
Pinch 207 Front 243
Unstitch/Re-Stitch 209 Pleats 243
To Unstitch a Seam 209 Back 244
To Make Modifications to Pattern 3D Pattern Preparation 245
View 210 Variant 248
Exercise 12 - Apply Fitting/Alterations Assembly – Desk of Stitches 248
and Visual Effects 213 3D Simulation 250
Learning Outcomes 215 Pleated Front Trouser 253
Set Access Paths 254
9 Advanced Workshops 216 Front Pleats 254
Waistband 255
Learning Objectives 216
Variant 256
Workshop 6 - Basic Jean 218
3D Substitute Piece 256
Set Access Paths 219
Assembly – Desk of Stitches 256
Structured Pocket 219
3D Simulation 258
Fly Fastening – Facing 221
Workshop 8 - Basic Shirt 260
Fly Zip Guard 222
Set Access Paths 261
Back Yoke 224
Button Wrap/Grown on Facing/
Back Patch Pocket 225
Placket 261
Waistband 226
Button Positions 263
Belt Loops 227
Yoke 263
Ticket Pocket 227
Collar Creation 264
A Note On Seam Allowance 228
Sleeve, Placket and Cuff 266
Stepped Seam 228
Sleeve 266
Variant 229
Sleeve Placket 267
3D Pattern Preparation 229
Cuff 267
Pocket Bearer 229
Variant 269
Ticket Pocket 230
3D Pattern Preparation 269
Waistband 230
Assembly – Desk of Stitches 270

EXTEN DED CONTENTS ix

 3D Simulation 272 10 Quick Reference Guide 288
Workshop 9 - Drape 275
An Alphabetical Guide 288
Set Access Paths 275
Assembly – Desk of Stitches 276
3D Simulation 276
Drape/Scale 281
To Apply Scale 282
Learning Outcomes 287

x EXTEN DED CONTENTS

Acknowledgements
I would like to thank the following:
Jody Harris and Penny Norman – my ‘Lectra
team mates’ – for advice and support
throughout this project.
Alexa Hedges – for advice, validation and
encouragement.
Caitlin Martin – for all your hard work on the
illustrations.
Alex Greatwich – for support with images.
Kristian Osvik – for support and contribution
of graduate work.
Charlotte Treadwell and Kerryanne Cervan –
for contribution of graduate work.
Colleagues at AUB , especially the Fashion
team – for advice and support.
Lectra Colleagues both past and present – for
advice, support and endorsement.
All the students I have taught over the years
who always challenge and inspire me.
xi
About This Book
The importance of CAD for Fashion cannot
be ignored. For the Fashion student, a good
knowledge of a digital system is essential and
highly desirable in the job market.
Digital Pattern Cutting for Fashion with Lectra
Modaris® has been designed and developed as
a user-friendly guide providing easy to follow
instructions on: getting started, realistic
exercises, creative workshops and exciting 3D
realization using Modaris Classic and 3D –
Lectra’s leading software solution for pattern
cutting.
For the beginner, manual pattern cutting
exercises are re-created on screen, e.g. How
to move a dart, How to add a facing, etc. For
the more advanced student, 3D Prototyping
opens up exciting challenges, not only as a
tool to aid Fit and Alteration, but as an integ-
ral part of the progression from pattern to
toile. By viewing the garment in the Virtual
environment, the student can make design,
colour, print and fabric decisions prior to toile
making.
This easy to follow handbook leads the
reader through the journey from 2D pattern
modification to a 3D virtual Prototype. Clear
xii
notes, diagrams and images, tips and advice
are included together with a Quick Reference
chapter. This book can be used both as a step
by step guide for the beginner or a reference
manual for the more advanced student wishing
to explore 3D innovation further.
A set of basic Ladies Blocks are available to
download so the reader is equipped to begin
the pattern exercises and follow the instruc-
tion from 2D Pattern making to assembly and
simulation in 3D.
For the more accomplished Modaris user,
who would like to concentrate more on 3D
virtual Prototyping, completed patterns for
the advanced workshops are also available –
ready to prepare and assemble in the 3D
environment.
Digital pattern making software continues
to grow and dominate technical roles in the
Fashion industry. The addition of 3D tech-
nology innovation makes this an exciting time
for students, offering the opportunity to
support creative and original pattern cutting.
Digital Pattern Cutting for Fashion with Lectra
Modaris® provides the first creative and prac-
tical guide to include workshops for 3D Virtual
Prototyping.
A Bit About Lectra
The French company Lectra, a world leader are readily encouraged, reinforcing support
in software solutions for Fashion, has always for tomorrow’s professionals.
been committed to the training of future
To increase interaction between the
professionals in design and product develop-
industry and the world of education,
ment. More than 850 schools and universities
Lectra has created an international
in 60 countries benefit from its expertise.
community around fashion: Lectra
Universities can become Education part-
Fashion Network. Companies, schools
ners with Lectra, creating access to the latest
and new talent can meet up and exchange
technology developments, as well as access to
their views on a platform especially
their Fashion Network, offering worldwide
designed for them. By publicizing inter-
communication opportunities.
national contests and events supported
Their specialist Pattern Cutting software –
by Lectra, it showcases the creativity of
Modaris Classic – helps the student learn how
new generations and increases their
to combine know-how and technology in order
visibility with industry players.
to have control over process and give fresh
impetus to their creativity. Quote from Lectra website
Contacts with industry through competi-
tions, seminars and internship programmes

xiii
What Is Digital Pattern
Cutting?
Fashion is fast paced and in order to keep up
with the demands of industry, Pattern Cutting
needs to embrace technology. This said, a
good Pattern Cutter will combine manual
methods with technology to achieve the best
outcome for the task in hand.
The application of technology in Pattern
Cutting means that a Pattern can be produced
on screen with the aid of specialist Pattern
Cutting software.
It is, however, important to think of the
computer as a tool. In order to use any Pattern
Cutting system effectively, the user of this
technology would still have to be proficient in
manual Pattern Cutting. The same rules and
principals apply as in flat Pattern Cutting. The
process is the same – the method of perform-
ing it is different.
xiv
Most manual Pattern Cutting processes,
with practice, can be performed digitally with
the screen, keyboard and mouse.
After Pattern manipulation is mastered on
screen, we can enter the exciting world of 3D
Virtual Prototyping – an increasingly important
addition to digital Pattern Cutting worldwide.
Digital Pattern Cutting is perceived as a
way of performing procedures more quickly,
for example, increasing accuracy, time to
market and reducing costs are just some of the
benefits. Now, students are experimenting
more and realizing that this technology can
support creative and original Pattern making,
drape experimentations can be reproduced on
screen leading to innovative outcomes.
As a Modaris student it is an exciting time
to explore and discover new possibilities.
Introduction To Modaris
Classic And 3D
Lectra’s Modaris Classic, first launched in
1984, provides a comprehensive range of
pattern modification tools designed to meet
the demands of industry.
The addition of the 3D technology innova-
tion makes this an exciting time for students.
Modaris Pattern Cutting software is
Lectra’s leading solution; in fact 80 per cent
of Lectra’s partners are Modaris users.
Modaris Classic and 3D is used for all
stages of Pattern development from initial
Digitization to 3D Virtual Prototyping. The
screen, keyboard and mouse all work together
in the creation and modification of the Pattern
Pieces, while function tools provide access to
the software commands.
The 2D Pattern can then be ‘stitched’
together on screen and opened in the 3D
environment ready for assembly and simula-
tion on a Virtual Mannequin.
The instructions in this book are for
Modaris Classic and 3D: V8; however, most
of the functions are applicable for earlier
versions – V6R1/V7R2/V7R5.
I have covered what I consider to be the
most important foundations to enable the
student to gain a good understanding for
the tasks covered in this book.
All the Patterns and instruction included
here are for Women’s wear, but Men’s wear
and Children’s wear can also be fully explored
using Modaris Classic.
A Note About Modaris Expert
It is important to point out that there is an
Industry specific version of Modaris called
Expert. While most of the procedures are
exactly the same in Expert, some (for speed
and efficiency in industry) are not applicable
for the Classic version, and therefore are not
included in this book. However, for all new
Modaris users, whether using the Classic
or Expert version, the foundation is taught
first.
Lectra offer the following packages:
Modaris Classic – The Foundation
software package and includes all the
required functions to create Blocks,
Production Patterns and graded Patterns
for industry, comprehensive and to
industry standards.
Modaris Classic and 3D – The
Foundation software package as above,
but this package offers Lectra’s 3D
Visualization and Prototyping tools,
which are designed to conform fit and
design prior to producing samples.
Modaris Expert – The Foundation soft-
ware package and 3D as above, but this
package also offers additional tools which
include dependencies that connect indi-
vidual pattern pieces. This allows you to
xv
 adjust existing Patterns where all the
pieces change together, allowing you to
proceed without starting a new pattern.
Lectra believe in continual Research and
Development. Upgrades to Modaris Classic
have been added to improve and enhance effi-
ciency, but have not replaced the original
formula.

xvi INTRO DUCTION TO MODARIS CLASSIC AND 3D

How To Use This Book
This book provides a practical and easy to
follow guide to Modaris Classic and 3D. In
order to use this book effectively there are a
few prerequisites:
● a basic understanding of computers and
general knowledge of software procedures,
i.e. opening/saving documents, etc.;
● a good level of manual Pattern Cutting
knowledge;
● initial basic/starter training in Modaris
would be an advantage.
In many cases, Modaris is used differently by
users, because many tools replicate similar
functions. I would not advise that earlier tools
or functions become outdated, as the basic
principles of the software must be followed
before the user can advance to the expert levels.
To progress to the 3D Virtual Prototyping
stage, it is necessary to have skills in 2D
pattern making; therefore Chapters 1–4 lead
the reader through the initial steps of digital
pattern cutting. Included in each chapter, is an
exercise – a set task – utilizing the functions
previously discussed.
Chapters 5–6 look at the introduction to
3D and Preparation of the Pattern in order
to progress onto the 3D environment.
Chapter 7 leads on to Workshops, from
concept through to finished Pattern and all
include 3D Prototyping. Here we look at
familiar manual Pattern Cutting exercises, but
executed digitally. A technical sketch is
provided together with step by step instruc-
tion for each task.
The reader will learn that 3D becomes an
integral part of the progression from Pattern
to toile. By viewing the garment in the Virtual
environment, the student can make design,
colour print and fabric decisions prior to toile
making.
The final chapters offer more advanced
3D solutions, with the application of Fitting,
Alterations and Visual Effects. The final
Workshops still include familiar shapes, but
more complex pattern manipulation techniques
offers up further challenges, and the student can
now begin to decide between different methods
of application to reach the best conclusion.
To finalize, we look at Drape – a process
that may not usually be considered in digital
Pattern making. Here we see how Modaris
can effectively inform innovation and creative
thinking.
This book is intended to teach the Basic
skills of Modaris Classic and 3D. The student
will expand their knowledge as they learn;
discovering their own preferred way of apply-
ing their new skills, and entering industry.
This is just the beginning of the journey . . .
xvii
Information For Blocks
And Patterns
www.bloomsbury.com/grice-digital-pattern

The following Blocks and Patterns are ready BLOCKS

for download from the above URL, and suit-
able for use with Modaris Classic and 3D: V8. TSHIRT_BLOCK – A loose-fit long sleeve Block
I have included a short description for each, Base size: M
as well as references to the relevant chapters, Fabric suitability: Jersey
exercises and workshops. Applicable for:
An avatar, Holly, can also be downloaded Chapters 1 to 6, Exercises 1 to 11
and saved into your Pattern library. Chapter 7: Workshop 1
Holly has been constructed to comply with WAIST_BLOCK – An average-fit Bodice
an average student dress stand, which is Block – sleeveless
referred to as a size 12, or Medium, and all the Base size: 12
Blocks and Patterns are sized to fit this Fabric suitability: Lightweight woven
Mannequin. Applicable for:
The Body measurements are – Bust 88 cm/ Chapter 7: Workshop 2
Waist 68 cm/Hip 92 cm. Chapter 7: Workshop 5
If you want to change the measurements,
see Chapter 6: Customizing a Mannequin. HIP_BLOCK – An average-fit long line to hip
The Base Size (the size of each Block or Block
Pattern) is either size 12 or Medium. Base size: 12
Fabric suitability is also suggested below. Fabric suitability: Lightweight woven
This is very important in order to achieve the Applicable for:
correct fit and appearance for each style (see Chapter 7: Workshop 3
Chapter 6: Mechanical Properties).
All Blocks and Patterns are supplied
NET – No Seam Allowance.
▲

xviii
▲
SKIRT_BLOCK – A close-fit knee length Skirt you just want to practise 3D preparation and
Block virtual Prototyping skills, the finished Patterns
Base size: 12 for each style are provided.
Fabric suitability: Woven – could include Again the Patterns are all NET – no seam
stretch (elastane) allowance – and exclude Variant/Lines Set as
Applicable for: 3D/3D Substitute Piece/Desk of Stitches.
Chapter 7: Workshop 4 These processes need to be applied in order
Chapter 9: Workshop 7 to proceed to 3D. Instructions for this are
TROUSER_BLOCK – An average-fit, straight- provided for all Workshops, but remember,
leg Trouser Block to help refresh skills, go back and look at
Base size: 12 the relevant notes in previous chapters –
Fabric suitability: Woven Chapters 5, 6 and 8.
Applicable for: JEAN – A close-fitting Basic Jean style
Chapter 7: Workshop 4 Base size: 12
Chapter 9: Workshop 7 Fabric suitability: Woven – MUST include
JEAN_BLOCK – An extra-slim-fit Jean Block stretch (elastane)
Base size 12 Applicable for:
Fabric suitability: Woven – MUST include Chapter 9: Workshop 6
stretch (elastane) SKIRT_PLEAT – A knee-length Skirt with
Applicable for: Pleats at waist
Chapter 9: Workshop 6 Base size: 12
SHIRT_BLOCK – A loose, relaxed-fit Shirt Block Fabric suitability: Woven
Base size: M Applicable for:
Fabric suitability: Woven Chapter 9: Workshop 7
Applicable for: TROUSER_PLEAT – A loose-fit Trouser with
Chapter 9 Advanced Workshops – Work- Pleats at waist
shop 8 Base size: 12
Fabric suitability: Woven
Applicable for:
PATTERNS Chapter 9: Workshop 7
For Chapter 9 Advanced Workshops, I have
supplied completed Patterns for each style. SHIRT – A Basic relaxed-fit Shirt with yoke
I would always recommend making the and long sleeves
Pattern from the sketch and then proceeding Base size: M
to 3D, this is a good way to refresh know- Fabric suitability: Woven
ledge and learn new tips along the way. Applicable for:
Instructions are provided for starting from Chapter 9: Workshop 8
scratch with the relevant Blocks. However, if

INFORM ATION FOR BLOCKS AND PATTERNS xix

xx
 CHAPTER 1
How It Works

LEARNING OBJECTIVES
● Getting to know Modaris Classic

● How to use the Mouse, Screen and Keyboard effectively

● Learning the keyboard shortcuts

● How to navigate and identify menus on the screen

● How to open and save a (Model) pattern

● Identification and application of the Function Tools

● Exercise 1 – How to Open and Save a Model/Navigate the

screen/Menu and keyboard identify/Bring up a selection
of pieces

35111.indb 1 20/08/2018 11:23

 Modaris Classic uses the Windows operating
system.
HELP
There is a useful Help tool located at the top
This specialist pattern making software can
right of the screen on the Menu Bar. Here
be used for all stages of pattern development
you will find most topics covered.
from initial pattern digitization to 3D Virtual
Prototyping.
In this book, I have covered what I consider TIP: When a function is activated (clicked
to be the most important functions to enable on) – click on the Semi-colon (;) on the
you, the student, to gain a good understanding keyboard.
of the most frequently used and relevant tools This is the short cut to the Help Menu.
in digital pattern development. A text document opens offering advice
on the topic activated.
It is important to point out that Modaris is
used differently by users, because many tools
replicate similar functions. I would not advise We will start by looking at how this works,
that earlier tools or functions become and how to navigate the screen, open and save
outdated, as the basic principles of the soft- a pattern.
ware must be followed before the user can The mouse, screen, keyboard all work
advance to the expert levels. As mentioned together (Figure 1.1). The pattern is referred
previously, upgrades to Modaris Classic are to as a MODEL.
continually added to improve and enhance
efficiency, but these do not replace the original
formula.
You will discover that there is always more
than one way to achieve the same result.
As we progress, with practice and experi-
mentation you will be able to decide your
preferred way of working.
I feel that it is also important to include the
basic ‘How to’ at the beginning, as even after
initial training, as we progress, a reminder of
how, where and why can be very helpful.
A short exercise/task is provided at the end
of this chapter to help you to remember and
practise these basic Functions and their
application.
A TSHIRT_BLOCK is available for
download.
The mouse, screen and keyboard all work
together in the creation and modification of
the patterns pieces. Function tools provide
access to the software commands.
figure 1.1

2 CHAPTER 1 HOW IT WORKS

35111.indb 2 20/08/2018 11:24

 MOUSE
The Left and Right mouse buttons are very
specific to the tasks in hand:
Left click usually for selection.
Right click to end a command, multi
selection (and other processes described
as we progress).
Middle scroll button can be used to
undo the last click – in certain functions
or in V8 it is used as the Zoom feature.
To open Modaris Double click on the
Modaris icon on the desktop and maximize
the screen (top right).
SCREEN LAYOUT
The main areas on screen that you need to
familiarize yourself with are shown in
Figure 1.2.
The version of Modaris is displayed in the
top left-hand corner of the screen.
Desktop – The large Grey area – this is
where all Pattern Pieces are created.
(Think of this as your pattern cutting
table, Figure 1.2.)
All screenshots of Lectra Modaris® are copyright
35111.indb 3
Dropdown Menus (top bar) – have
choices for specific tasks and will be
referred to as we progress. But menus
worth initially identifying are:
Config (top right) – Icon/Text to change
the view of the Task Menu (Functions) –
The Current Sheet view can be changed
to Words instead of icons. The default
setting is the Icons – I find changing to
the Words view preferable, but again, the
choice is yours.
Ctrl S – Short cut
Parameters (top right) – Length Unit
– click and hold and slide to the right –
check cm is ticked.
In this book, all measurements are presented
in cm. It is possible to work in other units if
required. All of these are changeable under
this menu.
TIP: The default is set to mm – so, if
when activating a measurement and
it does not seem to be responding
correctly – check Parameters to see if it
has reverted to the default.
figure 1.2
3
20/08/2018 11:24
 Status Bar (bottom bar) – can be turned on
and off and offers different views.
KEYBOARD
Individual keys have specific commands.
A list of the most common ones used and
their description is included below.
Also several shortcuts on the keyboard can
be used – in time you will decide your preferred
way of working. If short cuts are applicable
they are shown at the side of the Command
Field or in the Dropdown Menus (e.g. Edit/
Undo is Ctrl + Z).
● HOME – Click on the HOME key on
keyboard to select one Pattern Piece
only to work on. Very important to see
clearly.
● 8 or J – Click on 8 or J to see all pieces
together.
● SPACE BAR – Swaps the line or
direction selected.
● CTRL – Hold down for a perfectly
straight line or axis (also important in
some commands – described as we
progress).
● SHIFT – Use to vary a function (also
important in some commands
– described as we progress).
● PAGE UP PAGE DOWN – To see
previous or next pattern sheet.
● END – Press end to allow a piece
to be picked up and moved around
screen.
● TAB KEY – Press to access information
when a dialogue box is activated.
● UP & DOWN ARROW KEY – When
a dialogue box is activated – Use these
arrows to type in a value (e.g. in Pin and
Move function).
4 CHAPTER 1 HOW IT WORKS
35111.indb 4
● ENTER – To Zoom in – Press Enter –
Click and drag a box around an area
(always use for precision) V8 – use the
Scroll on the Mouse – (either method
can be used).
● Ctrl + Z or (EDIT and UNDO) – If
something goes wrong – Takes you back
a step.
● Ctrl + A – To select all pattern pieces
(Right click in a blank area to de-activate).
● CTRL + S – Changes the Function
icons to text.
● ESC – To escape if system freezes
(can sometimes occur when entering
data).
● S – Short cut for Selection – (safe mode)
located at the top of the Task Menus.
● FULL STOP – To move around screen
in 3D when zoomed in.
● ALT – Hold when using Seam or Cut for
3D Substitute Piece.
● SEMI COLON “;” – Gives access to
online Help when the Function is
active.
● 7 – To work on a Selection of Pieces
within your Pattern (very useful
especially if your pattern has a lot of
pieces):
Sheet/Sheet sel. Click on pieces
you want to work on (white handles
appear);
Right click away from the black line
that surrounds your pieces;
Press 7 (ignore box that opens);
Left click one of your selection – just
those pieces will be displayed;
Home to see one piece (as above);
J to go back to selection;
8 to go back to all Pattern Pieces.
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 FUNCTION TOOLS ent settings or choices (e.g. F4/
Axis/Folded Corner/select Grain line/Axis).
Task Menus/Functions or F keys are the
To begin – first select (Left click) on the
main operating feature.
Function required from the Task Menu
These are colour coded as shown at the
then click on the relevant Command Field
bottom of the menu (Figure 1.3).
and then carry out the task to complete the
The system works by first selecting a
process.
Function colour coded – e.g. F1–F8
Once a Command is selected the process
(~F1–3D preparation function) and then
will continue whilst the box is Highlighted.
select the Command Field – these are used to
create and modify all Pattern Pieces. Some
commands have Folded Corners – which TIP: If you go to Selection (top right )
when activated reveal a Sub Menu for differ- after the task has been performed – This
will prevent the function from repeating.
Safe mode. (Short cut S)

Ctrl + S – (Short cut) Changes the

Function icons to text – Alternatively see
Config on the top Dropdown Menu Bar.

Below is the list of Functions and their

descriptions and some of the most frequently
used Command Fields.

Note: For clarity and reminder, I have

included coloured boxes to identify
the different functions throughout all
subsequent explanations and exercises.

F1 – Points and Lines – Adding Points/

Aligning/Straight/Semicircular (drawing)
Digitizing/Dividing a line/Parallel line/
Duplicate
F2 – Orientation/Notches – Rectangles/
Circles/Add notches/Change direction of
Pattern Piece on desktop
F3 – Pattern Modification – Re-shape/
Move/Stretch/Pin/Merge/Section
F4 – Industrialization – Seam allowance/
Grain lines/Extraction of piece – (Cut/
figure 1.3 Seam)

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 F5 – Derived Pieces (shapes from existing
shapes) – Mirror piece/Pivot darts/Pleats/
Join piece
F6 – Grading Process – All tools to
facilitate the grading process
F7 – Size Modifications – Creating a size
range – Imp Evt
F8 – Measurements – Measuring lines/
Chart measurement creation/Marry pieces
(check pieces fit together)/Variant (pattern
data)
~F1 – 3D – Desk of stitches (stitching
patterns together)/Check 3D fitting – access
to 3D environment/Set as 3D/Prints display
SAVING
The pattern is referred to as a MODEL.
Models are saved as Files with a .mdl
extension. It’s a good idea to set up a folder to
save. mdl files into – either on the PC desktop
or memory stick. When working in 3D it is
a good idea to save the Model and the 3D
(the 3D extension is .mtg) in the same folder.
They can be synchronized from different
folders, but good practice for identification
purposes.
There are different ways to save a Model:
Setting the Access Paths detailed below,
or
File/Save as – familiar to all software.
File is the first box on the top Dropdown
Menu. You can save the Model with
another name or into another location/
library, etc.
Another alternative is to Save under
Source – Open File and File/Save as – tick
6 CHAPTER 1 HOW IT WORKS
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the diamond next to File/Save – in activated
box – tick Save under Source dir. The Model
will be saved to this location.
It is important to SAVE your work as you
go. In order to do this easily, the Access Paths
need to be set ideally prior to starting your
pattern. Future saves – by just going to
File/Save will automatically be made into the
correct folder.
ACCESS PATHS
The Access Paths indicate the destination
folder in which the file will be saved. It is good
practice to set access paths prior to working.
File/Access Paths – box opens (Figure 1.4).
Left click in top yellow box (if you
Double click here in earlier versions, it will
freeze – just press Esc on the keyboard). A box
appears – search for the folder to save your
work/OK.
If you click on the ! and !! at the side of the
table – all data will be copied to all destina-
tions listed. (In Icon view this is represented
by blue and red symbols.)
Once you have completed press OK – the
box will close. Now every time you press
File/Save, the system will save to your
specified folder.
NOTE: The Access Path table will look
slightly different if you are working in Icon
view (mentioned earlier – under Config).
Symbols replace words (Save as and
Open).
If you are working for some time without
manually saving your work – Modaris will auto-
matically apply the save and if there is a system
crash, on re –opening the model, will ask if you
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 figure 1.4

To create a new model – File/New – Box

TIP: Modaris also has a very useful
Automatic Save function. This can be
turned on or off in Parameters (top right
Dropdown Menu) Automatic Save.
It has a default setting for 300 seconds.
If you want to change this amount – click
on Parameters/Automatic Save – a box
comes up Save Delay – change amount
and Enter.
want to defer to the automatic save which is
denoted by # prefix. There is also a Model
Recovery directory in the Access Path table
which indicates the location of the automatic
generation of the mdl file after a system crash.
NAVIGATION/OPENING
A MODEL
To open a model – File/Open Model – search
for the folder your model is saved in – Open.
opens New Model Name – type in name –
Enter.
IMPORTANT – The Name must Not
have spaces – an underscore can be used
instead if required. Lower or uppercase is
permitted but No symbols.
Example – LONG_SLEEVE_TOP or
LONGSLEEVETOP.
The Model Icon (identification sheet) is
displayed. This ‘picture block’ is always
present when a Model is created (it does not
print out).
SCREEN LAYOUT WITH
PATTERN
When a Model is opened the screen layout is
as Figure 1.5.
There are several things to observe on the
screen:

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 figure 1.5

The Pattern Pieces or Model are light

blue. When a Variant is created
(described fully in Chapter 4) a Yellow
box is present on the screen – this
contains all the Pattern data. When
the Pattern is a Slightly darker blue
this means it has been added to the
Variant – if it is a lighter colour it has
not been included.
The Darker grey background surrounding
only One Piece means that this piece is
Selected and can be worked on.
NOTE: It is usual to work on half of the
Pattern and then mirror the piece when
modifications are complete – for complete
accuracy and symmetrical Patterns.
We can now start to move around the
screen.
NOTE: Blocks are available to download
for all the exercises contained in this book.
It’s a good idea to Save into a Folder on
your PC or memory stick for future use.

Exercise 1
Navigation

Double click on the Modaris icon to open the Open a Model – File/Open Model –
screen. browse for a file Open (ready to download
Identify the Dropdown Menus (Figure 1.2) for practice use TSHIRT_BLOCK)
and Function Menus (Figure 1.3). File/Save as – name new model
Using the instructions provided, practise (EXERCISE 1).
the following tasks:
▲

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 ▲
Use the keyboard and mouse to move the
pieces around:
Home to select one piece
8 or J to see all pieces
Click on a piece to select it
End – to move pieces around the screen
Zoom in – Scroll mouse button V8 (or
Enter and drag a box).
Bring up a Selection of pieces (Figure 1.6):
Sheet/Sheet Sel. – choose pieces – Front
and Sleeve (Left click)
Right click away from the black line that
surrounds your pieces
LEARNING OUTCOMES
In this chapter you will have learnt:
• to become familiar with, and practise
using, the mouse, screen and keyboard
effectively;
• to start to become familiar with (although
you will need to refer back to this section
as you progress) the keyboard shortcuts;
• to be able to navigate and identify menus
on the screen;
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Press 7 (ignore box that opens)
Left click on one of your selection
Right click away to deselect.
The two pieces you have selected will appear.
(This can be very useful if you have a really
large pattern and you want to work on just a
selection.) Proceed as usual:
Home to see one piece BUT use J to go
back to selection
8 will take you back to all pattern pieces.
figure 1.6
• to be able to open and save a
Model;
• to start to become familiar with and
identify the Function Tools.
As part of the first exercise, you will be able
to bring up a selection of pieces from a
Pattern and refer to this process in future
practice as required.
9
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 CHAPTER 2 What Is
Digitizing?

LEARNING OBJECTIVES
● How to prepare and Digitize a Pattern into the system

● Learning the Digitizing procedure and rules

● Identifying and using the Functions assigned to the keys

on the Mouse

● How to prepare for Digitizing on screen (creating a new

Model)

● How to add a size range to your Pattern (Imp EVT)

● Exercise 2 – How to Digitize a T-Shirt Block (available for

download) into the system

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 It is not always necessary to input (digitize) a
Pattern into the system in order to proceed.
However, this process is very much a part of
the Pattern Cutting package and so this
chapter is dedicated to preparing a Pattern
and digitizing the Pattern into the system with
a guide to procedure and rules.
It is important to makes the connection
between the paper (or card) Pattern and how
it arrives on screen. This chapter also provides
points of reference for future projects.
Digitizing is the process of transferring the
paper Pattern into the computer.
This is done by placing the paper Pattern
on the digitizing board and using a digitizing
mouse to input specific points around the
Pattern.
Before this can be done, the Pattern needs
to be prepared with relevant letters and
numbers relating to the digitizing mouse,
written in pencil around the Pattern. Accuracy
here is key, the on-screen Pattern is only as
good as the original, plus careful digitizing.
Therefore, the more accurate the digitizing,
the fewer adjustments required to the
on-screen Pattern.
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Paper or card Patterns can be digitized, but
note also, a carefully prepared calico toile can
be inputted into the system in the same way.
(Useful after draping on the dress stand.)
THE DIGITIZING BOARD
AND MOUSE
An interactive digitizing board must be
directly connected to a computer.
This is usually a large-size board as in
Figure 2.1. Smaller A3 sizes are available – for
example, when working on lingerie or swim-
wear – but generally the larger board is used.
The board can be used in the upright position
as shown, but also can be changed to a hori-
zontal position – this is useful when digitizing
a toile in calico. It is usual to attach the Pattern
to the board with masking tape.
The Mouse (Figure 2.2) is held against the
board and operated by pressing the relevant
keys. The Pattern shape is then drawn into the
system. At the top of the mouse is a circular
transparent shape containing an X crosshair –
this is positioned over the point to be
figure 2.1
11
20/08/2018 11:24

figure 2.2
communicated to the computer (therefore the
more accuracy in placement the better).
Digitizing is always done in a Clockwise
direction
DIGITIZING FUNCTIONS
The system works by defining Points on the
pattern; these are discussed further in
Chapter 3. In order to digitize, we need to
identify certain Points, in particular:
● TYPE 2 POINT – start/end of line/
corner – □
● TYPE 1 POINT – intermediate point
–X
● CURVE POINT – where a line needs to
curve – X
Functions assigned to the keys on the mouse
are as follows:
12 CHAPTER 2 WHAT IS DIGITIZING?
35111.indb 12
A – GRAIN LINE (click Left to Right)
2 – CORNER (Type 2 Point □)
1 – CHARACTERISTIC POINT (Type
1 Point X)
C – CURVE POINT (Type C Point X)
6 – NOTCH (T)
3 – DRILL HOLE (INTERNAL mark,
e.g. end of dart o)
7 – INTERNAL LINE (e.g. press 7 and
then digitize as normal with 2’s, 1’s, C’s, etc.)
1F – (At the end of an internal line)
D – DELETE (cancels the last action)
F O – END OF DIGITIZING and
START OF A NEW SHEET
FF – FINISH FUNCTION – (digitizing
is complete)
PATTERN PREPARATION
Before you can digitize your Pattern pieces
into the system there are a number of steps to
take and rules to follow.
● If your Pattern is symmetrical – it is only
necessary to digitize Half of the piece
(see Figure 2.3).
● It is most important that the Grain line
is marked on each Pattern Piece (mark
this in the centre of each piece).
● Ensure that details such as
Notches/Internal lines/Drill holes are
marked on your Pattern pieces.
● Ensure your Pieces are flat and uncreased
(press if necessary).
● Always have an Uneven number of curve
points – fewer points give better curves.
● Every Piece should have a minimum of 2
Type 2 points (corners).
Always begin by marking the Points on your
pattern in pencil following Figure 2.3.
The second diagram – pattern with an
Internal dart.
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 figure 2.3

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 CURVE POINT
POSITIONING
A curved line needs to have Curve Points
added – marked on your pattern by letter C.
The fewer curve points the better – and always
place an uneven amount of curve points on a
line. Use a ruler or straight edge and refer to
Figure 2.4 for a typical armhole or neckline.

1. Place a line between shoulder and armhole

points.
2. Place first curve point at the deepest part
of the Curve.
3. Place a line between the first curve point
(2) and corner point (Shoulder) and add a
point at the deepest part of the curve.
4. Place a line between the first curve point
(2) and armhole point and add a point at
the deepest part of the curve.

Once your Pattern is prepared, attach to digit-

izing board using masking tape – make sure
your Pattern fits between the Black outline
marks on the board. It is usual to have the
pieces Horizontally on the board (this is also
the way we look at pieces on screen – although
they can be turned around if required). It is
figure 2.4
also preferable to place the top to the left
(elements are presented this way in Diamino
– marker making – lay planning).
For larger pieces – digitize in two halves DIGITIZING PREPARATION
(pattern can be joined on screen later).
It is not necessary to digitize rectangular Creating a New Model
Pieces such as waistbands or belts – these (pattern)
Pieces can be constructed directly on the Before digitizing you need to set up a New
screen by measurements (see Chapter 3). File in Modaris.
Take the following steps to create a New
Model (pattern) into which your pieces will
REMEMBER: Accuracy Is Key – The more
be digitized.
accurate you are the fewer adjustments
needed on screen. Double click on the Modaris icon on
desktop.

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 ● Check the Access Path to ensure that
your new model will be saved into the
correct library by selecting File/Access
Paths – (left click on top yellow line in
box, change to the required field then
click both boxes ! !! to the right hand
side/OK (if you accidentally right click in
this box the system freezes – just click on
Esc on keyboard).
● ALWAYS CHECK ACCESS PATHS
PRIOR TO STARTING ANY
WORK.
● File/New – Type in your Model name,
keep characters to a minimum and, very
important, NO SPACES – you can use
the underscore _ if you wish (e.g.
short_top or SHORTTOP). Upper or
lower case can be used.
● An Icon sheet showing the model block
will appear. Enter.
● Select Display/Title Block, a yellow
grid will appear – this is where you will
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35111.indb 15
be able to see the size and piece name
details. (Press Home on the keyboard to
resize if necessary.)
● A Size Range needs to be added when
creating a new file. A Model will not be
able to Plot (print out) unless a size range
is present. To import your size range,
select F7/Imp EVT and Left click on the
Model icon – the Size Range file opens
(Figure 2.5) – also see how to create a size
range, Chapter 4).
Select the size range file you want to
import (S, M, L, XL or 8, 10, 12, 14, 16, 18).
Open.
TIP: If the size range folder does not open
– check All is selected for the File type.
Sometimes it will be set to Model
(Figure 2.5).
figure 2.5
15
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 figure 2.6
The size range selected will appear down the
left-hand side of the Model icon sheet and all
subsequent sheets created (they will only show
when the Title Block is activated from the
Display Menu) (Figure 2.6).
● Each Piece you digitize will be placed on
an individual Sheet.
To create a New Sheet for the first piece,
select Sheet/New Sheet from the top
Menu bar. Press Home to re-size.
A new Sheet will be created automatically
for the remaining pieces as you digitize.
● Select F1/Digit from the Functions Menu
right-hand side – look for the prompt on
screen 2 points for horizontal axis, this
confirms the function has been activated.
(Make sure cursor is on sheet.)
Now you are ready to digitize.
DIGITIZING PROCESS
At the top right-hand corner of the board, next
to the on/off button is a flashing light. When
the digitizing mouse is placed flat on the board
16 CHAPTER 2 WHAT IS DIGITIZING?
35111.indb 16
this should turn into a constant light, indicat-
ing that digitizing can proceed. It is often the
case, especially if the mouse has been inactive
for a while, that the light continues to flash. To
rectify this – turn away from the board and
press on any button on the mouse. If the light
continues to flash check the batteries.
Take the following steps to digitize each piece
you have taped to the board:
● Digitize the first Piece into the system
starting with Grain line. Place the
mouse with the cross hair X on the Start
of the line, Click on the A button, then
place the X on the other end of the line.
Click on the A button (click on the line
from Left to Right).
● Next continue with a corner point –
Type 2. You can start at any corner but
must proceed in a Clockwise direction.
Continue around the first piece on the
contour line, pressing the appropriate
commands on the mouse button – usually
2 – corner C – curve 6 – notch.
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 If you make a mistake, press D on the
mouse to go back a point.
● As you go round the pattern, the points
and lines you create will appear on the
computer screen.
● When nearly to the end of the Piece, do
not click again on the 1st point digitized
but stop at the point before – it will
automatically join up the piece when you
press FO on the mouse. FO opens a
New Sheet for the next piece to be
digitized. Proceed as above until all
Pieces are in the system.
● To add internal lines – complete the
outline first and the press 7 and proceed
with 2’s and C’s as required.
● For Drill Holes/Dart Ends – press 3.
● At the end of the last piece when all
pieces are complete – press FF on the
mouse to finish the function. Go to the
computer and press Selection (top
right-hand side grey box) to come out of
Digit mode and press 8 or J on the
keyboard to see all pieces displayed.
● File and Save (the second time you
press Save – a dialogue box comes up
telling you the model already exists – press
Continue).
DIGITIZING TIPS
● Always Start with Grain Line ‘A’ (click
on grain line from left to right).
● Always digitize in a Clockwise direction.
● After Grain Line you must always begin
with a Type 2 point (corner).
● If you make a mistake, press D on the
mouse to cancel -– sometimes you may
need to go back a few points.
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● Press FO on the mouse after finishing
the piece (don’t click again on the 1st
point digitized, it will automatically join
up the piece) and move onto the next
piece (make sure the cursor is on the
screen).
● If you have some Sheets on screen that
haven’t worked out well, you can just
delete these – go back to the computer
and press Sheet/Delete.
● If you are left with a White Outline
and not a Blue filled-in pattern shape –
on screen click on the Folded Corner
of F1/Digit and tick No Flat
Pattern.
Note: For some Modaris users, creating
the Flat Pattern (white outline) is the
preferred way of working, and then
extracting the shape after on-screen
modification.
● You do not need to digitize all pieces in
one go. You can add other pieces any
time by going to Sheet/New Sheet
and proceed with instructions from
there.
● You can also digitize a piece into
an already digitized pattern at any
time – simply open the required model
and add a new sheet – Sheet/New
Sheet, then proceed as above.
● If digitizing is not going well for any
number of reasons – press FF on the
board and go to the computer screen.
Delete any sheets you do not need
– Sheet/Delete and start again with
Sheet/New Sheet.
● Make sure to File/Save when finished.
17
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 Exercise 2
Digitizing a T-Shirt Block

Select a Basic Block – the loose-fit T-shirt is

shown in the example in Figure 2.7, TSHIRT_
BLOCK. The diagram mentioned can be used
to fill in the numbers and letters. For digitizing
– it is only necessary to use half the Pattern if
it is symmetrical, using 2’s/C’s/6’s, etc. – use
Figure 2.7 and fill in the relevant commands.
Create a New File and name it in Modaris
(remember No Spaces in name).
File/New – TSHIRT_BLOCK – set the
Access Paths.
Follow previous instructions and prepare
for digitizing – add a Size Range (Imp EVT).
Sheet/New Sheet/F1/Digit./SAVE.
Carefully Digitize the three pieces of your
block into the system following previous
instructions.
When finished, FILE/SAVE (Figure 2.8).
After Digitizing any Block or Pattern, it will be
necessary to open up and check for accuracy.
Refer to the following (Chapter 3) for Point figure 2.7
and Line modification and checking pieces fit
together. Chapter 4 will advise on adding Grain
lines/Seam allowance and Naming Pieces. Note: The Pattern/Block has been
Once your Block is checked and finalized, you Digitized NET (No Seam Allowance).
can use for subsequent Patterns.

figure 2.8

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 LEARNING OUTCOMES
In this chapter you will have learnt:
• to become familiar with the Digitizing
preparation and process;
• to be able to prepare a Pattern for
Digitizing using the guide and
diagrams;
• to be able to prepare on screen for
Digitizing and create a New Model,
including adding a size range to your
Pattern;
• to be able to Digitize a Pattern into the
system.
As part of Exercise 2, you will have Digitized
a T-Shirt Block into the system and Saved
ready to use in future exercises. TSHIRT_
BLOCK

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 CHAPTER 3 Getting Started

LEARNING OBJECTIVES
● How to Create and Modify a Pattern

● How to apply the Functions and Modify Points and Lines

● How to Create a Geometric shape directly on Screen

● Exercise 3 – Adding and Modifying Points

● Exercise 4 – Adding and Modifying Lines

● How to identify and apply the functions in the Sheet Menu

● How to Modify a Piece

● How to Extract a Shape

● Exercise 5 – How to add Modifications to a Piece

● How to Check Piece assembly

● Exercise 6 – How to check Pieces fit together (Marry)

● How to Rotate a Piece and orientation of a Piece

20

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 This chapter is about Creating and Modifying
the Pattern.
We will look at the Function tools in more
detail – in the Task Menu (right-hand side)
– how they are used to manipulate Points,
Lines and Pieces.
The most commonly used tools are
described here – some that I have omitted are
more complex and not required for basic
Pattern Cutting exercises. (For instance, the
F6 menu is dedicated to grading Patterns – as
this a subject in itself, and not referenced in
this book, I have consequently not included
instruction.)
We will refer to manual Pattern Cutting
procedures such as adding fullness, checking
pieces fit together, splitting a piece and
mirroring a piece.

Geometric shapes can be created on screen

from measurements – squares, rectangles and
circles – these shapes can then be Extracted.
After each section an exercise is available so
that you can practise to re enforce learning. A
TSHIRT_BLOCK is available for download
for all the Exercises covered.
As discussed in Chapter 1, the system works
by first selecting a Function colour coded –
F1–F8 – and then selecting the Command
Field; these are used to create and modify all
pattern pieces. Some commands have Folded
Corners which, when activated, reveal a Sub
Menu for different settings or choices.

To begin – first Select (Left click) the

Function required from the Task Menu then
click on the relevant Command Field and
carry out the task to complete the process
(Figure 3.1). (For ease of identification – the
Function boxes are coloured throughout the
instruction.) figure 3.1

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 POINTS AND LINES AND
THEIR MODIFICATION
Patterns are put together with Points and
Lines. It is important to understand the types
of Points and their definitions – how they are
created and used.
We will start by looking at the F1
Menu (Figure 3.1) used to generate points,
but we will also look at F3 in conjunction
with F1 as it is here that points can be
modified.
Relative Point – Blue symbol ✧
Used for marking drill holes – usually end of
bust dart/button positions – there are a
number of display options offered by clicking
on the folded corner of the relative point
Command Field.
Developed Point – White triangular shape △
Adds a Point to a line at a distance relative to
a reference point on the same line. The point
always retains the same distance in relation
to the reference point. Useful for Button
Positioning.

TYPES OF POINTS – F1 ADDING POINTS

Type 2 Point – White or Blue Square □
To add a Type 1 Point (X) to a line
(points are White, but are Blue after
F1/Add Point Click on an Existing Point –
modification)
drag the mouse in the direction the Point
Placed at start and end of a line – used to
is to be placed. A dialogue box and arrow
denote corners but can be placed on a straight
opens.
line if a line needs to be split. Cannot be
Enter Values in the box (use the Down
deleted but can be Merged into a Type 1
Arrow on the keyboard and type in values). It
Point and then deletion is possible.
is usual to leave the dx and dy columns blank
and just enter a Length (Figure 3.2).
Type 1 Point – White or Blue cross X
Left Click on the Line.
Known as a characteristic point – determines
The new Point will placed at the exact
straight lines – can be deleted – can be changed
distance.
into a Type 2 Point if a line needs to be
broken (Sectioned).
To add a Curve Point (X) to a line
F1/Add Point Follow instructions for adding
Curve Point – Red cross X
a Type 1 Point but hold the Shift as you click
Placed on a line where a curve is required.
on the line. (Curve Points will not show on a
Only visible when the Curve Points tab
(bottom left) is activated.

Slider – White oval shape 0

Attached to a line and can be moved along
the line without modifying it – useful for
positioning Slip on Points in 3D (see
Chapter 5). figure 3.2

22 CHAPTER 3 GETTING STARTED

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 line unless you activate Curve Points on the
Status Bar (bottom left tab).)
To add a Slider
F1/Slider Click on line – click again to place
slider. A Slider can be moved along the line by
clicking F3/Reshape .
To add a Developed Point
F1/Developed Click on a reference Point.
(Press space bar if correct line is not selected.)
A box opens – check if positive or negative
value – Down Arrow – enter a length – Enter/
Right click to finish.
PRINT
Activating Print on the Status Bar (bottom
left) allows you to see the original position of
a line or point (shown in Pink) prior to modi-
fication. This is just a visual but can be very
useful, especially if you decide to return to the
original line or point (Figure 3.3). Click again
to de-activate.
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35111.indb 23
MODIFYING POINTS
F3/Reshape Click on the Point and move.
Type 1, Type 2 and Curve Points can be
reshaped by measurements if required.
When re shaping an area, it is a help to be
able to see the line in its previous position
before modification – activate Print on the
Status Bar – (bottom left bar). This
shows the line before modification in Pink
(Figure 3.3).
F3/Deletion Click on a point to Delete
(remember Type 2 points cannot be deleted
– see above). After Deletion it is a good idea to
go into Selection (safe mode) – Short cut S.
F1/Ali 2 Pts A point can be positioned
directly in line with another point on the hori-
zontal or vertical axis. This is useful to
straighten up a hem line after digitizing.
Left click Reference Point (to remain in
same position) – click the second point – the
second point moves in line with the first.
Useful to change the direction of a point.
figure 3.3
23
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 CHANGING A POINT TYPE
Sometimes it will be necessary to convert a
Point to another Type (Figure 3.4).
Type 2 to Type 1
F3/Merge Left click on the Point – turns to
a X.
This is necessary if you need to Delete a
Point – as Type 2 Points cannot be deleted.
Also necessary when measuring a line if there
is a Type 2 Point on the line – the system
will regard the line as finishing at the Point.
figure 3.4
24 CHAPTER 3 GETTING STARTED
35111.indb 24
Type 1 to Type 2
F3/Section Left click on the Point – turns
to a .
Useful if you want to break a line (Detach)
– or change to a corner Point so that Deletion
cannot take place.
FURTHER F3 FUNCTIONS
The following Functions are found in the
F3 Menu and are the most commonly used
Points modification.
F3/Attach To attach two Points together
into one. Sometimes Points are not joined
after certain modifications – usually a red
diamond appears around the Point.
Zoom in – scroll middle mouse button or
Enter and Drag a box around Point and
click on Point until it attaches.
F3/Detach To separate two Points. This is
useful when adding fullness into a shape
and you want to break a line. As above
Zoom in and click on Point.
F3/Pin Points can be Pinned down in order
to Move other Points around the Pattern.
This function is used when lengthening or
shortening a Pattern, or when adding full-
ness. Click on Points required – a red diamond
appears on the Points. (Short cut – Click on a
Point with Both mouse buttons together).
F3/Pin Ends Pins all end Points
F3/Remove Pin Removes pins – it is
preferable to activate this function when
the action has been completed.
TIP: Remember – if you decide to change
an action or make a mistake – Ctrl + Z to
undo.
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 Exercise 3
Adding and modifying points

In order to get used to the Functions and right at the beginning so that your model will
how to use them it’s a good idea to practise be saved into the correct folder (Chapter 1).
the modifications. The Digitized T-shirt block
completed in Chapter 2 can be used for this Bring up the Front Pattern Piece (Home) and,
exercise – alternatively use the T-shirt block following the above instructions, complete
provided for download TSHIRT_BLOCK the tasks below:
(Figure 3.5).
Add a Slider Point to a line
Add a Type 1 Point to CF line 6 cm from
Open the Model
neck Point.
Either – double click on the Modaris icon on
Reshape the neckline – add and delete
desktop to open the Modaris screen – from
Curve Points.
the Dropdown Menu – File/Open Model –
Practise Aligning 2 Points (straighten the
browse for file select Model – Open.
hemline)
Or – Go to the Start Menu – choose Location
Change a Type 2 Point to a Type 1 Point
in whichyou saved your folder.
and vice versa
Double click on Model (Figure 3.5) to open.
Rotate the CF axis
FILE/SAVE (Figure 3.6).
File/Save As – name the exercise (Exercise 3)
It is good practice to set ACCESS PATHS

figure 3.5
▲

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 ▲
figure 3.6
ADDING AND MODIFYING
LINES
As previously discussed with adding and modi-
fying Points, Lines have specific function
tools, again these are contained within the
F1 and F3 Menus.
F1/Straight To add a Straight Line to a
Pattern Piece
Left click at beginning of Line and drag the
cursor to the end of Line. This can be done
by eye or by entering exact measurements in
the dialogue box (see below, X and Y Axis).
Left Click and Hold Ctrl at the same time
– for a true Horizontal or Vertical line. If
you drag the cursor in a line across the
piece it will snap onto an exact 45° angle.
Left click to finish.
Left Click and Hold Shift – for a Right
Angle to the existing line.
Left click to finish (Figure 3.7).
26 CHAPTER 3 GETTING STARTED
35111.indb 26
X and Y Axis
It is very important to understand the X
and Y Axis.
When a dialogue box opens – and exact meas-
urements are required – the system works by
inputting measurements in a horizontal (X)
and vertical (Y) direction – and whether it is a
(+) direction or a (−) direction. It is important
to note the direction (Figure 3.8) and input
−X and −Y values if applicable.
The dialogue box (Figure 3.9) also has very
specific rules for adding the values – if a dx
value is added then it is usual to add a 0 in the
dy (and vice versa), but the dl and Rotation
must be Blank (Backspace). Similarly – if the
dl (line distance) box is filled in then dx and dy
and Rotation need to be blank (Backspace).
TIP: If you have entered values in the box
and you are not getting the required result
– check the Rules above have been
applied correctly.
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 Shift + Straight

Ctrl +Straight

figure 3.7

figure 3.9

figure 3.10
figure 3.8

Use the above information on X and Y axis as
a reference when applying the following line
modifications.
F1/Parallel To add a Parallel Line
(Figure 3.11).
Click on the line to be parallel to and drag
mouse in direction required. If an exact
measurement is required – enter Value in
box – but note whether a minus (−) number
is displayed in the Distance box
(Figure 3.10) and apply accordingly.
Enter.
The new Line created may alter in order to
remain Parallel – so if you need the new line

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F1/PARALLEL
figure 3.11
to be exactly the same as original use
F1/Duplicate instead.
F1/Duplicate Duplicates the Line exactly
(Figure 3.11). This is useful if you want to
Copy a line you have created and place
somewhere else on the same Pattern Piece
or a different piece.
Click on Line to copy and move across to
new position (click X or Y on Keyboard
to flip line if necessary).
F3/Adjust 2 Lines When Lines are not
meeting in the correct place – usually after
using F1/Parallel – use this function to
‘tidy up’ the Lines.
Click on the New line and then the Line to
go to (Figure 3.12).
TIP: Click the Line – Not the Point.
Any further adjustments can be done
with F3/Reshape.
F3/Len.Str.Lin Simply lengthens the Line
– click and drag the line as required.
28 CHAPTER 3 GETTING STARTED
35111.indb 28
F1/DUPLICATE
The Length of a Line can be adjusted by
using either F3/Reshape (no need to pin) –
click on the Point and move either by entering
measurements in the activated box or a left
click.
or –
Pin and Move Described below. The
Pattern Piece needs to be pinned down –
usually end points, but characteristic Points
may also be required.
Activate the Print button – Status Bar
(bottom left) in order to see the difference in
the adjustment.
F3/Pin Pin Points or Ends or both as
required.
In this example – moving a shoulder line
(Figure 3.13) the Curve Points will need to
be pinned (activate Curve Points).
Zoom in to see clearly, either scroll middle
mouse button or Enter and Drag a box around
area.
F3/Move Click on the end Point of the
Line to move and drag in the required direc-
tion. Leave the mouse and enter a value in the
dl column using the Up or Down arrows on
the keyboard (Figure 3.13).
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 figure 3.12

figure 3.13

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Note: F3/Move can also be used to move
a Line (detailed in Piece modification).
Remember – the ShiftX and ShiftY and
Rotation have to be blank (Figure 3.13)
when a value is entered into the dl
column.
To finish – Left click on Line.
F3/Remove Pin SAVE.
F1/Sequence Division This is used to
equally divide a line – useful for marking
button positions (Figure 3.14).
Click on Both ends of line to be divided –
in dialog box enter the number of Spaces
required.
Enter.
figure 3.14
figure 3.15
30 CHAPTER 3 GETTING STARTED
35111.indb 30
To add Notches to points created – click
folded corner and tick Put Notches on
Sequence.
Alternative method for button marking –
using Developed and Developed Series
Add the Position for the Top button first.
F1/Developed Click on CF Neck Point
and enter value in box (for top button
position). Click on CF Line.
F1/Developed Series Click on top button
position – In box add Step value (spaces in
between each button). Left click on Line –
to add the Point – drag mouse for as many
Points (Buttons) as you need.
Left Click to finish.
F1/Semi Circular Use to draw Straight and
Curved lines on the pattern (Figure 3.15).
20/08/2018 11:24
 Shaped pieces can be created – useful for panel
seams.
Left click to start the line Right click to
finish.
For a Straight Line click to start then drag
the mouse or hold Ctrl for a right angle –
click again to change direction. For a Curve
hold Shift while dragging mouse.
Alternative method for drawing Lines and
some would say preferable, in order to achieve
a smoother curve and better results.
F1/Bezier Use to draw straight and curved
Lines as Semi-Circular. The difference is that
a smoother curve can be achieved by using the
Handles to move the Points into position.
Exercise 4
Adding and modifying lines
Open the TSHIRT_BLOCK
File/Save As – name the exercise
(Exercise 4)
Add the following modifications – (Figure
3.16):
Bring up the Front piece – Home.
Draw a Straight line at Right angles to
CF – 10cms long.
Draw a line at a 45° angle
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35111.indb 31
F3/Reshape to modify the Line or altern-
atively F3/Simplify – click on the Point
and enter a value in tolerance box.
Handles has to be ticked in the Display
Menu.
TIP: Practise drawing and modifying
different lines. Remember – Right click to
finish.
Line can be modified by using F3/Reshape
Activate curve points Status bar (bottom
left) to see the points. Remember – there
are always several ways to achieve the
same result – practise here.
Draw a Parallel line – 3 cms from the neck
line and Adjust the line
Increase the shoulder line by 1.5cm (from
armhole edge) (Activate Print to see
change in line)
Divide the CF line into 5 eqal divisions
Draw a shape with Straight and Curved
lines on pattern piece. (Semi – Circular or
Bezier)
FILE/SAVE
figure 3.16
31
20/08/2018 11:24
 SHEET MENU Sheet/Sheet Sel – (Chapter 1) – This
enables us to Select several Pieces in order
Before we continue to look at our Pattern
to perform a task (‘handles’ appear around
Pieces – a note on the Sheet Menu
selected Pieces – Right click in a empty
(Figure 3.17). Think of the Sheet as the
area to deselect).
Pattern paper you use to create your Pattern.
Sheet/New Sheet – (Chapter 2) – Selected
prior to digitizing a new style. Also can be
used at any time when creating a Pattern
Piece from measurements (e.g. rectangle/
circle) (Chapter 4).

Sheet/Copy – Click on a pattern piece –

This is useful to Copy a Pattern piece so
that the original stays intact and the copy
can be modified as required.

Sheet/Delete – Click on a Pattern Piece.

Deletes the whole sheet – be careful here –
if you forget that it is activated it is easy
to delete work by mistake – (go into
Selection top right above the Function
Menus to stop the task (or short cut – S on
keyboard).

A Flat Pattern (white outline) is left behind

(always there attached to the pattern) and
when activating Sheet/Delete (Figure 3.18)
this can be useful if you accidently delete a
piece, as the Flat Pattern remains unless you
hold Shift as you click on the piece.
This can also be used if you want to
work only on the Flat Pattern and then
Extract the Piece (see Extracting a Piece –
Figures 3.26 and 3.27).

Hold Shift with the Left click to permantly

delete the Sheet.

Sheet/Adjust – Adjusts the size of the sheet

– sometimes after several modifications the
sheet becomes distorted – Adjust brings it
figure 3.17 back to the right size.

32 CHAPTER 3 GETTING STARTED

35111.indb 32 20/08/2018 11:24


figure 3.18
Sheet/Arrange – Allows you to pick up a
piece and move around the screen to a
different position. Alternatively, click on
End on keyboard. Very useful if you want
to zoom in on two pieces together.
PIECE MODIFICATION
F3/Pin/Move To Lengthen or Shorten the
whole Pattern Piece
Activate the Print function Status Bar
(bottom left) to show the line before the
move.
F3/Pin (as before) Pin Ends and any
Points required.
F3/Move Click on Line to lengthen (or
shorten) (Not Point this time, although
this function can be used to move a point as
we have referred to previously) and drag
mouse in the direction it needs to go – note
X and Y directions (Figure 3.8).
Leave mouse – use Up and Down Arrow
on keyboard and enter Values in box.
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35111.indb 33
In the example (Figure 3.19) – it would be:
X = 6 (to lengthen line by cm)
Y = 0.
(See X and Y Access – Figure 3.8.)
Click on new Line (do Not press enter
first).
F3/Remove Pin .
Remember the Rules: If you use X, then
Y has to be 0 (and vice versa) if you use dl
– X and Y and Rotation have to be blank.
To lengthen a Line (following the direction of
the line) use the method described previously
(Figure 3.13) and use either F3 Pin/Move or
F3/Reshape but enter value in the dl column
and click on the Point not the Line.
TIP: If you try to Delete an outside line – a
warning message box will appear – select
Cancel/Abort – other wise the whole
piece will be deleted.
MIRROR A PIECE
A piece can be mirrored – using the F5 func-
tion under Derived Pieces.
As we discussed previously, when working
with a symetrical piece (example a Front or
Back) it is only necessary to work with half the
piece and mirror on screen later.
F5/Sym 2 Pts Left Click on one end of
the symmetry line and then on the other
end – the full piece is opened onto a new
Sheet – the half piece still remains on a
separate sheet. If you do not need to keep
33
20/08/2018 11:24
 figure 3.19

figure 3.20

the half piece – hold down Shift before Folded Corner of Sym 2Pts Command Field
clicking. and make sure

To create a Dependence between the two Mirror Piece is ticked ✓ (Figure 3.20).
sides of the Pattern (in other words – if you
modify one side the other side will do the The Dotted white line left on the half piece
same) – before performing the task – go to the indicates the piece has been mirrored.

34 CHAPTER 3 GETTING STARTED

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 This is useful to split a Mirrored piece
TIP: A Piece can be mirrored at any time on the CF or CB (Figure 3.21) but can also
during pattern construction – it is easier,
be used on any piece – it can only be used
however, to modify the half pattern first
between two contour points (outside edges)
and add information – grain lines/notches/
(Figure 3.22).
seam allowance, etc. (see Chapter 4) prior
to mirroring.

TO SPLIT THE PATTERN
F5/Cut 2 Pts To reverse the above and split
the Pattern
Left click on one end of the line and then
on the other end – two new sheets will be
created and the original piece still remains
(Figure 3.21).
TO JOIN PIECES
TOGETHER
F5/Join Click on one end (Point) of the
first piece to join and then the other end
(Point) and then the same for the other
piece.
A new sheet is generated with the complete
Piece (Figure 3.23).

figure 3.21

figure 3.22

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 figure 3.23
ADDING FULLNESS
F3/Stretch There are 2 ways to add
Fullness (Flare) into a Pattern – either using
F3/Stretch and simply ‘stretching’ the side
seam – or by Splitting the Pattern and
then using F3/Stretch – this leaves a Gap
in the Pattern which can be filled in using
F1/Semi Circular after adjustment has been
made. Think of how you would achieve
adding fullness by manual Pattern Cutting
methods – e.g. on a top – you would slash the
Pattern from a Point on the hemline to a point
on the shoulder and open the Pattern the
required amount. The same principle applies
for the digital method.
1 Add point(s) on hemline where you want
to open up Pattern F1/Add Point.
F3/Pin Ends (can pin other Points if
required).
Activate Print – bottom left bar (to see the
line before it was moved).
F3/Stretch Click on Point to Pivot from
(e.g. on shoulder).
Click on Point to open up to (point just
made on hemline) – drag mouse – Pattern
opens up.
36 CHAPTER 3 GETTING STARTED
35111.indb 36
Type in value to open in dl (all other boxes
blank) – left click on hem line to finish
(Figure 3.24).
(If CF is out of alignment – F2/Rotation
2 Pts at the end of this chapter – click from
left to right on the horizontal axis.)
Click again on Print when finished to
de-activate.
2 To Split the Pattern – adds fullness into
sections. The better method for distribut-
ing fullness through the pattern.
F3/Section Click on X point(s) at hem to
turn into Type 2 points.
F3/Detach To split the line (the Point will
now have a red diamond).
F3/Pin Ends .
F3/Stretch Drag mouse – one Point can be
moved up and the other Point down – this
time it creates gaps in the pattern, adding
fullness through the centre of the Pattern.
F3/Reshape Pattern can be completed by
picking up and moving Type 2 Points.
F3/Attach Click on Point again, then
F3/Merge click on Point again – turns
back to a Type 1 – X.
20/08/2018 11:24
 figure 3.24

F1/Semi Circular or F1/Bezier may be EXTRACTING A SHAPE

necessary to use to draw a new line. If working with the Flat pattern (white
F3/Reshape To achieve a good curve – outline) is preferred (as discussed earlier,
(add curve points). Figure 3.18), the Pattern Piece must always
be extracted in order to Plot (print off) the
F3/Remove Pins When finished Piece.
(Figure 3.25). The Piece is Extracted (cut out) and auto-
matically re created on another Sheet as a
Note: The CF has moved off the horizontal Blue Piece.
axis. F2/Rotation 2 Pts Click on the CF Any shape created in a Pattern can be
corner Points from left to right (Figure 3.25). extracted – e.g. panel seams/yokes/pocket
shapes.

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 figure 3.25

38 CHAPTER 3 GETTING STARTED

35111.indb 38 20/08/2018 11:24

 After creating a Geometric shape
(discussed in Figure 3.28) a Flat pattern
(white outline) is produced first and the
shape is extracted – the piece becomes
Blue.
F4/Seam Left click then Right click
inside the pattern piece – the piece turns
Turquoise (Figure 3.26).
A new Sheet with the shape on is automatic-
ally created (Figure 3.27).
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35111.indb 39
Page Down (on keyboard) or Press J or 8
to include the new Sheet on the screen.
TIP: If you need to copy any Internal
information/Lines from the Pattern you
must first Select it – Right click on a line
(goes Green), hold Shift for multi selec-
tion or Right click and drag a box around
the whole Piece to copy everything. Do
this before activating the Seam function.
figure 3.26
figure 3.27
39
20/08/2018 11:24
 The two functions CUT and SEAM achieve
the same result.

F4/Cut can be applied if you are working

without seam allowance.

It can also be useful when a Pattern develops

problems or a function isn’t working as
required. Cutting the Piece out again will
create a new Piece and in doing so can some-
times eliminate previous issues.
figure 3.28
F4/Seam Must be applied if the Pattern
has Seam Allowance included.
Home – The Flat Pattern (white outline)
To refresh the Pattern – hold Shift as you is created (Figure 3.28).
click (this replaces/refreshes the Pattern and F4/Seam Left click then Right click
does not leave a copy). inside the pattern piece – to extract the
Piece – convert to the Blue Pattern Piece
(Figure 3.28).
TIP: If this function does not work it
usually means that there is a Gap in the
Pattern. Maybe a Point is unattached –
sometimes it cannot be seen until you TO CREATE A ROUNDED
Zoom in. Check all Lines and Points and EDGE
use F3/Attach or F3/Adjust 2 lines to
For a rounded edge – e.g. bottom of a pocket,
correct.
create the rectangle shape first (as Fig 3.28).
F2/Tangent Arc Left click a Corner Point
to add the arc.
GEOMETRIC SHAPES Enter a Value in Radius box – this example
If your style includes geometric shapes
is 3.5 cm.
(most commonly rectangles or circles) such as
belts/waistbands/cuffs/neckbands etc – these Enter.
shapes can be created directly on screen from
Do the same on the other side (Figure 3.29).
measurements following the instructions
below

Sheet/New sheet – Home to resize.

CIRCLES
To construct a Pattern for a circle – the Radius
F2/Rectangle Click and draw a box. measurement is required.

Do Not click again – leave mouse and

enter values in dialogue box. Note: In earlier versions prior to V8 the
Diameter was required instead).
Click in centre of rectangle.

40 CHAPTER 3 GETTING STARTED

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figure 3.29
The Radius is calculated by dividing the
Circumference by 6.28 (π × 2).
Example − To create a Full circle skirt
(Figure 3.30) with a waist measurement of
68 – the calculation is – 68 ÷ 6.28 = 10.82.
This is the Value entered into the Radius
box in F2/Circle .
Sheet/New sheet.
F2/Circle Click on new Sheet and drag
mouse but do Not click again.
Down arrow and enter Radius value in box
(10.82)
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35111.indb 41
Enter – the circle created is the Total waist
measurement.
Draw a New circle adding the skirt Length
by clicking in the centre of the circle just
created and entering a value of the Radius +
the Length required.
For example – a 30cm length skirt:
F2/Circle Click in the Centre of the first
circle – drag the mouse but do Not click
again Down arrow and enter Value in
box 40.82 (this is Radius (10.82) + length
(30) = 40.82). Enter.
This gives you a 30 cm length full circle
skirt.
F1/Straight Draw a line through centre.
F4/Seam To extract the shape – cut out
Half of the circle to create the Pattern
Piece (Figure 3.30) – the Pattern would be
Cut 2.
To create a Half circle skirt (Figure 3.31) with
the same waist measurement – the Radius is
21.65 (68 ÷ 6.28 × 2) The second circle would
be 21.65 + 30 = 51.65.
figure 3.30
41
20/08/2018 11:25
 The second circle would be 43.28 + 30 =
73.28.
Quarter circle skirt – Create circle using
above values.
Draw two lines crossing through the
centre (activate Curve Points Bottom Bar)
F1/Straight .
Use only a Quarter of the circle – the
Pattern would be Cut 1 (Figure 3.32).

TO EXTRACT AN
INTERNAL SHAPE
In this example (Figure 3.33) another rect-
angle and circle are drawn inside the first one.
The inside shapes can also be extracted.
Draw the shapes as required (Figure 3.33).

figure 3.31
Half circle skirt – Create circle using
above values. Use only Half of the circle – the
Pattern would be Cut 1 (Figure 3.31).
To create a Quarter circle skirt (Figure 3.32)
with the same waist measurement – the Radius
is 43.28 (68 ÷ 6.28 x 4).
F4/Internal Cut .
Left click on a Corner Point to start.
Go around the piece in a Clockwise direc-
tion and Left click on all points (Line turns
yellow).
Right click on Starting Point to finish –
shape is extracted.

figure 3.32

42 CHAPTER 3 GETTING STARTED

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 For the Circle – Activate Curve Points on
Status Bar (Bottom Bar) so you have points
to click on (Figure 3.33).
To Delete the cut out:
Activate – Cut Piece – on Status Bar
(bottom grey bar).
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35111.indb 43
F3/Deletion – click on a Line and HOLD
mouse button (Line turns blue).
Press Space Bar to select all other lines.
RELEASE mouse button.
The internal cut is deleted.
Make sure you turn off Cut Piece.
figure 3.33
43
20/08/2018 11:25
 figure 3.34

Exercise 5
Piece modification

Open your T-shirt pattern – or Downloaded

TSHIRT_BLOCK. Tip: F2/Rotate 2 Pts to bring Pieces
File/Save As – name the exercise back onto the horizontal axis prior
(Exercise 5). to mirroring Piece (see Orientation
Refer to the previous instructions and carry below).
out the following tasks:

Shorten the length of the Front and Back
Pieces by 8 cm.
Add 8cms Fullness into the Front and Back
Pattern
Mirror F5/Sym 2 Pts Front/Back/Sleeve
Patterns on horizontal axis (Figure35).
Front and Back Pieces split into 2 sections
(each) 4 cm = 8 cm total fullness in each Piece
(Figure 3.34).
FILE/SAVE
All 3 Pieces mirrored. (Use this exercise for
subsequent ones, Figure 3.35.)
▲

44 CHAPTER 3 GETTING STARTED

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 ▲
ASSEMBLY/CHECKING
PIECES
After digitizing/modifying Points, Lines and
Pieces it is necessary to Check that Pieces
fit together – the same as you would do in
manual Pattern Cutting – placing side seams
together and any Pieces that join in order
to check for accuracy. There are several ways
to achieve this in Modaris. The Assembly
Menu in F8 is the most commonly used, but
you can also check Pieces fit by measuring and
in measurement chart (discussed in Chapter 4).
This process should always be carried out
before finalizing a Pattern.
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figure 3.35
F8/Marry Allows one or more Pieces to
be added to the Master (the piece that
receives) in order to match seam lines. The
Pieces added will turn different colours
(Figure 3.36).
F8/Marry Left click one Piece and left
click Piece to marry (Master) – first Piece
is placed on top of the other on the same
Sheet and turns a different colour – it is
also known as the Slave. This Piece can
subsequently be moved.
F8/Move Marriages Left click on a Point
or Line and move the top Piece (Slave) to
align to the under Piece. You can place the
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 top Piece at any point – good idea to align
to CB or CF (Figure 3.37).
F8/Pivot Can be used to Reposition or
Rotate the top Piece from the Last posi-
tioned Point. Click on the top Piece to rotate.
TIP: If the Piece is not rotating as you
require – go back to F8/Move Marriages
and reposition Point.
figure 3.36
figure 3.37
46 CHAPTER 3 GETTING STARTED
35111.indb 46
F8/Walking Pieces Allows you to check
Pieces match along a selected seam line
(click and drag on seam lines).
Right click to stop.
Zoom in and F3/Reshape to adjust Points/
Lines if required.
F8/Divorce To separate Pieces when
finished. Once assembly has been checked,
the Pieces must be separated.
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TIP: Sometimes it is useful to have a
Copy of the married Sheets to work on.
Sheet/Copy – Left click on Married
sheet – click again (Figure 3.38).
Both sheets are copied as a Flat Pattern
(white outline) (Figure 3.39).
The Flat Pattern can be modified and then
shapes Extracted – F4/Seam (Figure 3.26).
This can be very useful when creating a more
complex style.

figure 3.38

figure 3.39

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Exercise 6
Checking assembly
Open Exercise 5 – Check the Side seams
and Shoulder seams match – F8/Marry
(see Figures 3.36 and 3.37).
ORIENTATION
It is often necessary to rotate a Pattern Piece
onto the horizontal axis.
Sometimes after pivoting a dart or simply
after digitizing, the Piece is not exactly sitting
straight on the axis.
F2/Rotation 2 Pts (example to straighten
CF) Left click on the CF neck Point then
figure 3.40
48 CHAPTER 3 GETTING STARTED
35111.indb 48
Left click the hem Point – the Piece will
rotate onto the Horizontal Axis.
TIP: Careful here – any points that are
chosen will make the Piece rotate.
Sometimes it is useful to Rotate Pattern
Pieces (Figure 3.40).
On screen it is usual to work with pieces
Horizontally, but for certain shapes it may
be easier to turn the Piece around. It is also
useful when checking side seams/shoulders,
etc. or if you need to Join pieces together they
may not be in the correct position to do so.
Left Click Piece First, F2/XSym or
YSym – will Rotate the Piece.
If you need to see the Piece vertically –
click 90° or −90° (Figure 3.40).
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 LEARNING OUTCOMES
In this chapter you will have learnt:
• to Create and Modify a Pattern;
• to be familiar with different Points
and their application and practise
modifications;
• to be able to identify and apply
the functions in the Sheet
Menu;
• to be able to Modify a Piece – adding
fullness/Mirror/Join/Split;
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35111.indb 49
• to Create a Geometric shape directly on
screen and extract the shape;
• to create a circle;
• to identify seams and check assembly by
using the Marry tool;
• how to Orientate a Piece.
In this chapter you will have the opportunity
to undertake four separate exercises and
learnt how to apply modifications, and check
assembly of pieces.
49
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 CHAPTER 4 Moving On –
Industrialization

LEARNING OBJECTIVES
● Industrialization – How to apply Notches/Grain Lines/
Seam Allowance

● How to change a corner – to fold a hem

● How to Create a Stepped Seam

● How to add information to a Piece – Naming

● Exercise 7 – To apply Seam allowance/Notches/Grain line

to a Pattern

● How to Add Text – to a line/to a Pattern Piece

● Why do we need a Variant? And how is it created?

● Exercise 8 – How to create and modify a Variant

● How to measure a Line

● How to create a Measurement Chart and customize it

● Exercise 9 – How to create a measurement chart for

T-shirt Pattern

● The Importance of Size Ranges and how to apply

50

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 Industrialization is the term used in Modaris
to describe the finalizing of the Pattern for
production. Think of how you work manually
– it is usual to create a First Pattern – test out
the shape and then it must be made ready for
production. In other words – Notches need
to be finalized in order to facilitate assembly,
Grain lines are required on Pieces to identify
quality of cut, Seam allowances need to be
added and Information needs to be attached
to the Pattern – i.e. the name of the piece/how
many to cut.
In this chapter we will take a closer look at
adding information to our Pattern.
We will move on to creating a Variant. A
Variant contains all the necessary technical
data relating to the Pattern – compiling a
Measurement Chart, essential information
for industry.
A brief look at adding a size range will
conclude this section.
NOTCHES
To add a notch to a Point:
F2/Notch Left click on Point.
F2/Orientation If you add a notch and
it is not at 90° – click on notch and drag
around.
GRAIN LINES
As in manual Pattern Cutting, it is usual to
add a grain line to most Pattern Pieces.
It is important to note that although the
axis line is the first line we digitize, the system
does not add this line as a grain line. Therefore
we must make sure we add grain lines to
complete our Pattern.
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F4/Axis Folded corner – Grain line axis
DF (this must be ticked).
Hold Ctrl – Left click to start Line – drag
mouse and Left click other end of Line.
For a 45° Bias grain line – Hold Ctrl – Drag
mouse across Piece (the line will snap to 45°).
SEAM ALLOWANCE
As we are working primarily with NET
Patterns, it is important to add seam allow-
ance to complete the Pattern for production.
The process is as described below – however,
the last process – Exchange – will depend on
different factors.
The system automatically adds the Seam
Allowance to the inside of the white line of
the Pattern so, therefore – if the white line is
our sewing line the seam Lines need to be
Exchanged to add the allowance to the outside.
If a Piece has been extracted (Chapter 3)
using F4/Seam , the Seam Allowance is applied
to the outside – therefore Exchange is not
necessary. Alternatively, if F4/Cut has been
used for extraction, then the Seam Line will
need to be Exchanged.
F4/Seam and F4/Cut do the same job –
but with or without Seam Allowance.
Some Modaris users may work entirely on
the Flat Pattern and extract the shapes as
discussed, therefore the Exchange function
would not be required. Alternatively, if No
Flat Pattern is ticked when digitizing the
Pieces into the system, the Pieces created are
the Blue Patterns with the white outline as
the Cut line.
This is a good example of the different ways of
working to achieve the same results:
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 F4/Line Seam Hold Shift and Right click
all Lines with same value seam allowance.
TIP: If all the seam Lines have the same
value – a quick way of adding seam
allowances is to Right click and drag a
box around the whole Piece – this selects
All the Lines at once.
Left click 1 of selected Lines.
Down Arrow key to enter seam allowance
value in box.
Enter value Beginning, e.g. 1 cm.
Down Arrow again.
Enter value End, e.g. 1 cm (Figure 4.1).
Down Arrow again.
Right click (in a blank area) to deselect.
figure 4.1
figure 4.2
52 CHAPTER 4 MOVING ON – INDUSTRIALIZATION
35111.indb 52
F4 – Industrialization (top of F4 Menu).
F4/Exchange (bottom of Function Menu).
Left Click in the Centre of the Pattern
Piece to finish (Figure 4.2).
Click on Cut Piece on the Status Bar to see
the Pattern as it appears when cut out – the
Piece with Seam Allowance will have an
Orange Seam Line (inner line) and a Red
Cut Line (outer line.)
To Delete the Seam Allowance:
F4/Del. Line Seam Val Left click on
seam Line to delete, or Right click and
drag a box around the whole Piece to
select All the lines at once. Click on one
of the lines – Seam Allowance will be
deleted from all Lines.
CORNERS
To fold a hem or seam allowance:
If a hem needs to fold back onto a
narrower seam (e.g. sleeve turn back) a
shaped seam or hem allowance is required
(Figure 4.3).
20/08/2018 11:25
 Apply this process after adding Seam This can be changed back to how it was.
Allowance.
F4/Change Corner Go to the folded
F4/Change Corner Click the folded corner again – Default (or Intersection
corner of the Function. earlier versions).
Select Next or Previous symmetry
Click on hem Point.
(depending on location of point) either the
fold is Next after the Point or Previous
before the Point. TIP: The Corner Tools Menu has lots of
different choices for types of corner – click
The Seam Allowance is then shaped to
on the different types to see what can be
create the correct return.
achieved.
Click on hem line Corner Point (Figure 4.3).

figure 4.3

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 STEP IN SEAM
This is useful where the seam lines need to
have different values – a Step – (e.g. for a vent
or side slit or sometimes used on a trouser
seam where a fly piece is added).
The process for a stepped seam allowance
is different from the usual Line Seam.
F4/Line Seam Add Seam allowance
(1 cm).
A Developed Point is required at the loca-
tion of the Change in Seam Value
(Figure 4.4).
F1/Developed Click on an existing Point
– reference Point.
Click position for New Point – (enter the
value in box).
Enter – Click on Line.
F4/Add Corner Click on Developed
Point (the Point designating the step).
F4/Piece Seam Click on the part of the
seam Line to have the Larger value.
Down Arrow – enter the Larger seam
value in box (1.5 cm) (Figure 4.4).
figure 4.4
54 CHAPTER 4 MOVING ON – INDUSTRIALIZATION
35111.indb 54
NAMING PIECES
It is important to name your Pattern Pieces
and add information to your Pattern (as in
manual Pattern Cutting) once you have made
your amendments.
Activate – Display/Title Block from the
Dropdown Menu (top grey box).
A yellow grid appears around all pattern
pieces.
Select a Pattern Piece – Home to enlarge
(if writing in box is not visible Zoom in –
Scroll with middle mouse button or press
Enter and drag a box around the yellow
boxes).
Edit/Edit from Dropdown Menu – click
in the Name field and type in name of
Piece (e.g. Front).
Click in Comment field and type in how
many to cut (e.g. cut one Pair).
ACD field – is an abbreviated code (e.g. Slv
for sleeve, Frt for front).
File/Save (Figure 4.5).
Upper or Lower case can be used for text.
20/08/2018 11:25

Once a pattern piece has been named
you can see the information in the top
Identification Bar by hovering the cursor
over the piece.
Exercise 7
Industrialization of the T-shirt
Open Exercise 5
File/Save As – (Exercise 7).
Refer to the previous instructions and carry
out the following tasks:
Add 1cm Seam Allowance to all seams
Front and Back Pieces
Modify Sleeve Pattern by Deleting
F3/Deletion points on sleeve Side
Seams to create a straight Line.
F3/Merge Change type 2 Points to Type 1
at sleeve head and centre wrist.
If this function does not respond (sometimes
Type 2 points will nor Merge once mirrored),
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figure 4.5
Note: The information added is trans-
ferred to the Variant (Data spread sheet)
described below.
it will be necessary to Cut out the pieces as
discussed in Chapter 3: Extracting a Shape –
F4/Seam (Figure 3.26).
Once the Piece has been refreshed –
Delete centre Point at wrist and Merge Type 2
Point at centre sleeve head F3/Deletion
F3/Deletion.
F2/Notch Add a Notch to centre of sleeve
head.
Add 1 cm Seam Allowance to sleeve –
Except Hem – add 3 cm to Hem.
F4/Change Corner Fold hem accordingly.
Name all Pieces and add Number of
Pieces to Cut in the appropriate fields.
Display/Title Block.
▲
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 ▲
F4/Axis Add a Grain Line to all Pieces.
Final Pieces (Figure 4.6). FILE/SAVE.
As we progress through the chapters, you
can finalize your Pattern as this exercise.
Most of the instruction later for 3D is
for Patterns without Seam Allowance, but
always remember: a Pattern needs this
Industrialization process to be ready for
production.
ADDING TEXT
Naming the Pattern Pieces (as above) adds
the Text to the Pieces when printed. This is
the ‘Label’. The Text does not appear on the
Pattern on screen.
It is sometimes helpful to have Text on
the Pattern Piece to indicate either a process
(e.g. Gathers) or maybe a seam position (e.g.
Shoulder).
It is always useful to add CF and CB to a
Piece.
It is possible to place Text directly on a
seam Line. The text will follow the shape of
56 CHAPTER 4 MOVING ON – INDUSTRIALIZATION
35111.indb 56
figure 4.6
the Line – either straight or curved. Only one
Line of text per line is allowed.
Edit/Text on Line – click on Line to add
Text – type in words. The Text will be
placed at the Start of the Line – to adjust to
further along the Line – press Space Bar a
few times first before typing.
By default Text is placed Above the Line.
To change – first Select the line – go to the
Diamond shape next to Text on Line and
add a Minus sign in front on the Text Height
(Figure 4.7).
The height of the Text can also be changed
to accommodate a longer length of Text.
To View the Text – Display/Text on Lines
and Folds:
To add Text to a specific area of the Piece:
F4/Axis – Folded Corner of Function.
Select – Special Axis.
Click and drag a Line (where you want to
position the text) – a Purple line appears.
20/08/2018 11:25
 figure 4.7

Edit/Edit – click on Line and type.

Enter – the text disappears.
To view – activate Cut Piece bottom
Status bar (Turn off Cut Piece to proceed
– this is only a checking tool) (Figure 4.8).
You can move the Line or change length –
F3/Move or F3/Reshape
3/Reshape .
WHAT IS A VARIANT?
Once we have finalized a Pattern – a Variant
is required.
A Variant is identified on screen by a
Yellow box – similar to the Model Icon
(Figure 4.9).
When opened it comes up in a spread sheet
format.

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 There are several reasons that a Variant is
necessary:
A Variant is required to make a marker (a
lay plan) for fabric efficiency and linked
to the marker making software Diamino.
A Variant is required in order to Plot
(Print out) your pattern from a Marker
using Diamino software, on a plotter in
full scale. (You can also Plot out indi-
vidual Pattern pieces directly from
Modaris without requiring the Variant.)
A Variant is required for information
when translating into a 3D Prototype.
Your Model can have more than one
Variant – each Variant holds information of
figure 4.8
the variations for the same style, e.g. a shirt
could have a short-sleeve and a long-sleeve
version – but the body pieces are the same for
both styles – so there would only be One
Model (pattern) but Two Variants.

TO CREATE A VARIANT
F8/Variant Type in a Name for Variant
in the box (this can be the same name as the
Model – a good idea as easier to identify)
(Figure 4.10).
Remember: No spaces.
figure 4.9
Enter.
The Yellow Variant box appears – but just
A Variant contains all the data – necessary off screen.
details of the Pattern and information for
assembly – associated fabric details – whether Press J or 8 to re-size.
a Piece is required to be cut as a Single or
Paired Piece.
This is a very important information tool
– some processes will not work if the informa-
tion in the Variant does not correspond to
the Pattern. figure 4.10

58 CHAPTER 4 MOVING ON – INDUSTRIALIZATION

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A spread sheet opens.
Minimize or Drag spreadsheet to the
bottom of the screen.
F8/Create Piece Article Left click
each Pattern Piece you want to include
in your Variant. You will notice the pieces
selected turn a Darker blue colour.
Click and drag (or maximize screen) spread-
sheet back to Full Screen.
All the Pattern Piece should now be displayed
in the Spreadsheet (Figure 4.11).
The Pieces are usually displayed in a large
format – to re-arrange to fit the screen size
click (Full stop on Keyboard).
To open an existing Variant go to – either
F8/Variant – ignore box that opens – Double
Click on the yellow picture block – Variant
opens – or F8/Variant press Tab on keyboard
to access the Variants saved in your model.
Careful when clicking on Pieces to go into
the Variant – it is easy to add a Piece more
than once.
The information you entered on your
pattern when Naming Pieces (Figure 4.5)
will be entered into the table – Piece
Name/Comment/ACD.
It is necessary to define if a Piece is a Single
or a Pair and also to identify Pattern Pieces
which are to be cut in Different Fabric Types.
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figure 4.11
TIP: Take time here to fill in the columns
as mistakes here will have an effect later
– it is important that all the data is correct.
Fill in the following information on each
line of the spreadsheet:
S – Number of Single Pieces – enter 1 (e.g.
Complete Front or Back).
DH – Number of Paired Pieces (on hori-
zontal axis) enter 1 (e.g. Sleeves = 1 pair).
DV – Number of Paired Pieces (on vertical
axis) (most commonly S and DH are used).
Tot. Nb. Pce. – Total number for each
Pattern Piece is automatically entered into
this column according to the number of
Single and Paired Pieces entered above.
Enter a 0 in the column not required
(Figure 4.12).
Fabric – Fabric type used (Figure 4.12).
The default is 1.
This Must be filled in for Pattern Pieces in
different fabrics – (e.g. 1 = self, 2 = lining,
3 = interfacing, etc.
If you are using different fabrics – the Pattern
Pieces will Change Colour to denote fabric
groups. If you go to Piece Article/Sort (grey
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20/08/2018 11:25
 figure 4.12
top menu) – the Pieces will be sorted accord-
ing to the Fabric types.
(This is a good way to visually check you
have the correct fabric types for Pattern Pieces
– especially for a larger pattern as in example
of a jacket pattern (Figure 4.13) when there
are 3 or more different fabric qualities used.)
To Delete a piece from the Variant:
Select the Number in the first column and
go to Piece Article/Delete Piece Article
(top grey menu).
To Duplicate a Piece:
Select the Number in the first column
and go to Piece Article/Duplicate Piece
Article.
figure 4.13
60 CHAPTER 4 MOVING ON – INDUSTRIALIZATION
35111.indb 60
To Copy a Variant.
Variant – Copy Variant – Enter new name
in box.
The spread sheet can be printed – Export/
Print (grey top menu).
The information is in word format (for
production purposes). If you want to print this
as the picture you must – Print Screen.
If the Yellow Variant box is displayed on
screen with a Broken edge – this means that
a Pattern Piece has been deleted from the
model. This leaves an empty line in the table
– check both Pattern Piece and Variant – if
the piece is no longer required, the line must
be deleted from the table.
20/08/2018 11:25
 To Delete a Variant from a model –
Sheet/Delete – click on Yellow picture block.
NOTE: The Variant components have been
expanded from the original format above
and can provide different options of
working with the data and codes. (Some
processes relate to the Product Lifecycle
Management approach and are not
covered in this book.)
However, it is important to note that
new columns have been added to the
spreadsheet which allows you to manage
all the information required to proceed to
3D (covered later in Chapter 5) within the
same Variant. Previously, it was necessary
to make a separate Variant containing only
the information relating to the 3D. Now at
the end of the Variant spreadsheet, two
new columns are present – a Production
column and a 3D column.
Entering a 0 or a 1 in the appropriate
field denotes whether the Piece will be
produced or sent to 3D, therefore allowing
you to manage all the information within
the same Variant. The system transfers
the right elements throughout the
different processes.

Exercise 8
Create a Variant for a T-Shirt

Open Exercise 7. Create and Name a Variant for your pattern

File/Save As – (Exercise 8) Add the data for the Single or Paired
Pieces.
Refer to the previous instructions and carry
Change the Sleeve to a different Fabric and
out the following tasks:
Sort the pieces (Figure 4.14). FILE/SAVE.

figure 4.14

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 MEASURING
After modifications it is necessary to check
assembly – seam lengths – as discussed in
Chapter 3.
Another way to check our assembly is by
measuring the seam lines. Every time you
measure a Seam, the system can automatically
record and add this length to a chart.
(Discussed in Measurement Chart,
Figure 4.20.)
First go to Display and Un Tick Hide
Measures (Figure 4.15). As a default this is
usually Ticked – if left on – the measurements
will be hidden (this is useful, and can be turned
on and off as required).
figure 4.15
62 CHAPTER 4 MOVING ON – INDUSTRIALIZATION
35111.indb 62
TO MEASURE A LINE
F8/Length Measure
Measure.
Click on a Line to measure and Drag
mouse away.
Click again on inside of pattern – meas-
urement is displayed (Figure 4.16).
If when clicking on the line the wrong line is
selected – press the Space Bar to change
selection.
It is possible to measure between 2 Points
in a straight Line (e.g. across armhole or
across neck).
As above – but click on a Point and press
Space Bar several times until an Arrow
appears – click on the Second Point to
measure as a straight line.
Sometimes when measuring a number of
Lines it is useful to Tick ✓ Hide Measures
– so you can work on your Pattern without
seeing lots of measurements – they are still
there but hidden – so go back and forth Tick
or Un Tick as required.
figure 4.16
20/08/2018 11:26

figure 4.17
figure 4.18
If you want to record your measurement
(discussed below) and add to a chart:
F8/Length Measure Folded corner and
tick boxes (Figure 4.17).
Now when the line is measured you will be
asked for Measure Name (Figure 4.18).
If you are just doing a check and do not
need to go into the chart at this time – press
Esc.
To Delete a measurement from the
Pattern – F3/Deletion – click on the meas-
urement Line.
TO CREATE A
MEASUREMENT CHART
A table of measurements associated with the
Model can be created. The chart will be Saved
with the Model and the measurements will
depend on the Lines they are attached to. This
means that when you modify a line on your
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35111.indb 63
Pattern, the measurement in the chart will
change automatically.
The chart can also be used for calculations
based on measurements taken from Patterns
(e.g. a total waist can be calculated by adding
the Pieces together excluding the darts).
This function is very useful when construct-
ing a waistband by using the recorded
measurements.
If you have previously measured a Line but
not made a chart, the measurements will still
have been added automatically to a chart
called Mchart.
F8/Create Measurement Chart Folded
corner in Function – tick All.
Close box.
F8/Chart Manager The Chart opens –
right click on Mchart – Rename – name
chart.
Enter.
Double click to open Chart.
F8/Length Measure Folded corner in
Function – Tick ✓ Add to Measurement
Chart – Tick ✓ Name Result Measure.
Measure Lines as usual as above – box opens.
Measure Name – type in name (or press
Tab on key board and select the appro-
priate name from list).
Enter.
All measurements will be displayed in chart
(Figure 4.19).
If you don’t want to name a measurement
or if wrong line selected, etc. – press Esc.
To Delete a measurement from Chart –
Right Click on the appropriate Row in Chart
and choose Delet.
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 figure 4.19

TO CUSTOMIZE A CHART modifications it is possible to customize

your chart.
LAYOUT With the Chart Open select MCM –
The chart shown below is the default view Customize (Figure 4.20).
and if you decide you would like to make

figure 4.20

64 CHAPTER 4 MOVING ON – INDUSTRIALIZATION

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 figure 4.21 figure 4.22

The following box will appear (Figure 4.21).

For colour – click in the field you want to
change and select the new colour from the
colour palette.
To Change the Amount of Columns and
Rows that are in the Chart – Select the
Measurement Chart Layout tab and
Remove the ticks from the information not
required.
For narrower columns – it is recommended
to change the Pixel Height to 30.
Suggested amendments (Figure 4.22).
TO CALCULATE
MEASUREMENTS
Use the Formula Editor at the bottom of the
screen (Figure 4.23).
In the Chart – Double click the
Measurement to be inserted into the
Measure Formula bar – the name is entered.
Click on the Symbol for the calculation
(e.g. +). Enter a name in the Formula Name.
Click Create.

Example:

Measure Formula – Front Armhole +

Back Armhole Formula Name – Total
Armhole Create.

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 figure 4.23
The result appears in the chart in a line
containing the symbol:
TIP: If measurements are deleted from
your Pattern all the formula that use these
measurements are automatically deleted
from the chart.
To Print – MCM – Print Chart – (Print
Preview first and check formatting prior to
printing).
SIZE REPRESENTATION
IN A CHART
It is usual to show All Sizes in the size range
in a Chart. The chart will show the Difference
in sizes if the Pattern has been Graded (not
covered in this book). If the Pattern has not
been graded, then all boxes will show the same
measurements.
Exercise 9
Create a Measurement Chart for a T-Shirt
Open Exercise 8.
File/Save As – (Exercise 9).
Refer to the previous instructions and carry
out the following tasks:
66 CHAPTER 4 MOVING ON – INDUSTRIALIZATION
35111.indb 66
It is possible to have a Chart with just the
Base size M or size 12.
To change the Size Representation in a
Chart (i.e. if only the Base Size is showing
and you want to see the Full Size range):
Go back to the Pattern – Un Tick Hide
Measures.
Open the Chart.
From the Dropdown Menu – Display/
Title Block – the Sizes are shown vertically
down the left hand side of each Pattern
Sheet.
Select a size range on any Pattern Piece
(hold Shift and right click on each size –
they become highlighted) All sizes (or just
Base size – whichever is required).
F8/Nest Transfer .
Go back to Chart – amendments will be
transferred to Chart.
Create a Measurement Chart for your pattern.
Name the Chart and add the following
information:
Body Length from CBN
▲
20/08/2018 11:26
 ▲
Shoulder Length Customize the chart refering to information
Side seam Length above. Either show Base size M or All sizes
Sleeve Length from Armhole – F8/Nest Transfer .
Front Chest from Armhole Print off a copy – Landscape format
Back Chest from Armhole (Figure 4.24).
Total Chest (calculation) FILE/SAVE – Chart is saved with Pattern.

figure 4.24

SIZES when activated from the Display Dropdown

Menu. It is important that each new style you
The Menu is dedicated to Sizes. Most of
create has a Size Range.
the command fields are for more advanced
It is usual to add a Size Range at the very
work and connected to the grading function
beginning of the Pattern process.
– which, as previously mentioned, is not
included in this book.
Sizing is also a vast topic and there are Note: although the Size Range has been
many extensive documents related to the added to a pattern – this does not mean
subject. As a Pattern Cutter you will already the Pattern has been graded. The Pattern
be aware of the difference in sizing groups. will show all sizes you chose, but only the
However, in order to understand how Base size will plot out (unless you grade
the Pattern). If you press F9 on the
Modaris and the system works, there is one very
keyboard you will notice an orange solid
important function in this section we must
line around the Pattern Piece – this
understand – F7/Imp EVT – import evolution.
means the pattern has Not been graded.
As discussed above, a Pattern Must include Press F10 to return the setting. (If a
a Size Range in order to plot. Pattern has been graded, then all the
When preparing for Digitizing, we Add a coloured lines of the grade will show –
Size Range – F7/Imp EVT (Chapter 2). again we will not cover this here, but it is
The Size Range icons are inserted into the useful to know.)
left-hand side of the Title Block and is seen

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 SIZE RANGES
A Size Range can be either – 8–18 or XS–XL
(these are just examples smaller or larger
ranges can be applied). You can create many
different ranges – Men’s/Children’s/Formal/
Casual – all can have a different range of
measurement according to requirements).
The Base Size is usually the Middle size of
a range and the Size that will be displayed on
screen, this will be defined when you create
the size range. The Base Size is always
displayed in White.
It is usual to create a Size Range and Save
in a folder named Sizes to a chosen location.
The Size Range is a separate Folder and
created in Windows/Notepad:
Right Click and make a new Folder –
Name – SIZES.
There are two types of size ranges:
Numerical – numbers 8–18 – and have
a file extension evn
Alphanumerical – letters XS– XL – and
have file extension evt.
Open the new folder and Right click/
New/Text document.
Name the File – e.g. Ladies XS–XL or 8–18.
You can add as many size ranges to the folder
as required.
The method and order of creating this
document is very specific.
Open the File and type in Exactly as in
Figure 4.25.
For numeric sizes, it is Not necessary to
type all sizes just as above.
For alpha sizes, Every size must be
entered.
After completing as above (exactly as shown
– lowercase and with asterix before the Base
size) – File/Save As – BUT change the file
extension to .evn or .eva according to either
numeric or alphanumeric:
alpha – .eva
numeric – .evn
TO CHANGE SIZE RANGES
A size range can be changed after it has been
assigned to Pattern. This may be necessary if
you have inserted Pieces from a different
Pattern with a different size range (i.e. new
pattern is XS–XL and the one you are working
on is 8–18). The Size Ranges cannot be mixed
in one Pattern – again problems further along
the line usually plotting errors will occur.

figure 4.25

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 Make sure both Base sizes are equivalent
(e.g. M is equivalent to size 12).
From Dropdown Menu – Display/Title
Block – Double click over the Size Range
on the Model ID sheet.
(This opens the Size Folder.)
Select the New Size Range.
Open.
Ctrl + A to select all the sheets.
LEARNING OUTCOMES
In this chapter you will have learnt:
• to become familiar with the
Industrialization process and apply as
required – adding Notches/Grain Lines/
Seam Allowances;
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F7/Rename Sizes Click in centre of the
Model ID sheet (the Size Range becomes
visible next to the cursor) (Figure 4.26).
Click on the centre of Any One of the
Pattern Pieces – all Sheets will change.
Check through all Sheets to make sure they
are the same – for any that have not changed:
F7/Rep.EVT Click on Model ID sheet
on top of the Sizes – then click on any
Unchanged sheets on top of the sizes.
figure 4.26
• to be able to Change Corner and apply
different values for a Stepped Seam After
applying Seam Allowance;
• to be able to add all relevant information
to Pattern Pieces.
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 Exercise 7 – Will allow you to Industrialize
your T-Shirt Pattern:
• You will be able to add Text to a Line on
your Pattern.
• You will become familiar with a Variant
and be able to input data into the spread
sheet.
Exercise 8 – Will allow you to create a
Variant for your T-Shirt Pattern.
• You will be able to Measure a Line and
Create and Add Measurements to a
Measurement chart.
• You will become familiar with the
importance of Size Ranges and their
application.
Exercise 9 – You will have completed a
Measurement Chart for your T-Shirt
Pattern.

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 Introduction

CHAPTER 5
And Preparation
For 3D

LEARNING OBJECTIVES
● An understanding of the Principles involved in 3D Virtual
Prototyping
● How to prepare a Pattern for 3D – 3D Substitute Piece/
Lines Set as 3D
● Another reminder about the Variant for 3D

● To gain an understanding about the stitching together of

pieces in Desk of Stitches
● To understand the difference in Seam Types and how they
ae applied
● How to apply Define Points Facing Each Other

● To understand the necessity of Slip on Points and their

application
● How to change a Pattern piece into a different Layer

● Exercise 10 – Preparing your T-shirt Pattern in Desk of

Stitches

71

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 Renowned for their 2D pattern making soft-
ware, Lectra have added Modaris 3D to their
pattern making solutions for fashion, and in
both education and industry this forward
thinking program is an exciting step.
Below is a look at the philosophy behind
Modaris 3D taken from Lectra promotions.
A FOCUS ON 3D
True collaboration through shared visu-
alization means a better product, an
improved way of working and an
enhanced creative process.
3D virtual prototyping is the way to
optimize resources and preserve brand
DNA. Lectra product development
solutions give control early on in the
product lifecycle, meaning cost
constraints and volume fluctuations are
no longer a risk. 3D virtual prototyping
shortens the fashion product develop-
ment cycle by reducing the need for
time-consuming physical samples,
manual grading and physical fit sessions.
3D virtual prototyping can help
shorten time to market, overhaul style
and fit, and improve design options.
Today’s customer is highly connected
and highly demanding, and is driving
profound changes in the fashion sector
in their search for the perfect product.
The virtual fitting room brings everyone
together around a product to ensure that
style and fit excellence can be achieved.
Lectra website 2017
Modaris 3D is used to simulate a Virtual
Prototype using a combination of com-
ponents – the three main ingredients are: a
72 CHAPTER 5 INTRODUCTION AND PREPARATION FOR 3D
35111.indb 72
previously created Pattern in 2D, a 3D
Mannequin and Fabric Mechanical
Characteristics.
The 3D programme enables you to stitch
together the Modaris 2D Pattern on screen
and then assemble on a Virtual Mannequin
allowing a visual aid for style, proportion, fit,
colour and print application. 3D becomes an
integral part of the progression from Pattern
to toile. By viewing the garment in the virtual
environment, initial decisions about the
design, prior to toile making, can be made, in
effect speeding up the process. It should be
said, however, that 3D Prototyping does not
replace the need for toile making – but helps
to reduce the amount of toiles required to get
to the end result.
An effective way to use 3D is to first make a
basic Pattern silhouette in 2D for the required
design and assemble in 3D straight away,
adding a fabric characteristic similar to the
one proposed for the final outcome. Then
using the 3D alteration and fit tools develop
the style on the mannequin. Swap between 2D
and 3D, checking fit and silhouette at the same
time. When happy with the result – go back to
the 2D Pattern and finalize amendments –
before moving on to a final pattern and
subsequent toile.
In this chapter – we will look at the trans-
ition from 2D to 3D.
THE PRINCIPLES OF 3D
VIRTUAL PROTOTYPING
A successful Virtual Prototype is a result of the
following combinations – explained in further
detail as we progress.
Pattern Preparation – The 2D Pattern
has to have some modifications in order
20/08/2018 11:26
 to be able to ‘stitch’ the Pieces together.
In previous versions before V8 a
separate Variant was also required.
The Variant supplies the information
required to make the connection
between 2D and 3D.
∼F1/Desk of Stitches – The Pattern is
stitched together in ∼F1/Desk of
Stitches. This is done in Phases or
Stitches
‘sheets’. Any number of Phases can
be used, if a style is quite complex it
is easier to stitch and see any mistakes
when broken down into different
Phases.
Mannequin – An appropriate
Mannequin must be chosen for the
simulation. Parametric Mannequins
are available in the system and can be
configured as appropriate to suit various
requirements. Mannequins are available
for Women’s/Men’s and Children’s wear.
It is also possible to scan a body and
enter into the system (this process is not
covered in this book).
Assembly/Simulation – The style is
simulated in the 3D environment. There
are different methods for assemble on
the mannequin; with practice you will
be able to select appropriately according
to the nature of the style you are
simulating.
Fabric – A suitable fabric is chosen from
the vast library contained in the system.
It is important to see your style in a
fabric which is a near representation of
the final chosen fabric. The correct fit/
appearance of the garment will depend
on the fabric choice (e.g. a jersey T-shirt
will not appear correct if the fabric it is
simulated in is a woven canvas).
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Fitting and Alteration – Tools to enable
checking and modifications. 3D has
many checking and alteration functions
to allow you to see if your pattern is
correct and, if required, alter on screen
the length/shape/ease/etc.
Visual Effects – A good tool for commu-
nication – here we can apply print/
colour/buttons/stitching detail and swap
visuals around. All helping towards early
decision making.
PATTERN PREPARATION
FOR 3D
The successful assembly and simulation of
your design depends on the correct Pattern
Preparation prior to launching the 3D envir-
onment. Practice will improve skills and
techniques, spending time checking for
correct stitching is paramount to achieve the
results you want.
In the following instructions the Model
(Pattern) is referred to as ‘2D Pattern’ or
‘2D View’.
Patterns can be simulated in 3D without
Seam Allowances – This is useful if you want
to check the shape and silhouette of your style
before completing all Pattern Pieces. Similarly
a completed Pattern with Seam Allowances
can also be simulated. The outcome will be
the same.
TIP: Be careful here – it is possible to mix
seamed and none seamed Pieces, but I
have found when beginning, it is advisable
do one or the other as sometimes
confusion can occur.
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 Note: Most of the instruction for 3D in
this book is for patterns Without Seam
Allowance.
This is just a preferred way of working
and not mandatory. As previously
discussed, in time you will find your
preferred way of working.
The 2D Pattern needs to be Simplified
for 3D.
The Modaris 2D Pattern needs to be
prepared for the next step – ‘stitching’ together
before simulation in the 3D environment.
There are a few limitations that prevent the
Pattern from being used as it is.
Darts and contour darts need to be
hollowed out leaving just the seam line for
stitching.
Double or folded pieces such as Cuffs,
Waistbands/Collars only half or single Piece
is required for stitching.
Facings/Linings/Pocket Bags are not
usually included for stitching.
In earlier versions, separate Pieces would
be required.
figure 5.1
74 CHAPTER 5 INTRODUCTION AND PREPARATION FOR 3D
35111.indb 74
3D SUBSTITUTE PIECE
Instead of creating a new Pattern Piece to
meet the requirements of 3D when a part of
the production piece needs to be removed, we
can now generate a 3D Substitute Piece on
top of the original Pattern Piece.
Darts
The centre (fullness) of a dart cannot be
stitched in 3D – it needs to be ‘Cut Out’.
3D Substitute Piece can be generated on
top of the production Pattern Piece.
To extract the Piece without the Dart
Dropdown Menu – Display – click on 3D
Substitute Piece.
F4/Seam or F4/Cut (if Seam Allowances
have been added F4/Seam must be
used).
Hold Alt – Left then Right click inside the
piece. Piece turns Purple.
The Substitute Piece sits on top of the blue
pattern piece in the 2D pattern view, but the
Dart has been cut out leaving the Lines in
order to stitch together (Figure 5.1).
20/08/2018 11:26

To extract a contour Dart:
F4/Internal Cut Hold Alt – Left click on
each Point and Right click the last point
(Figure 5.1).
To view the Pattern Piece without the
Substitute Piece – Un Tick in Display
menu.
To Delete a Substitute Piece – press
Delete on keyboard and Click inside the
Piece.
Facings
The turned back part of the Facing is not
required for 3D purposes. The Piece will be
stitched together on the CF line.
Dropdown Menu – Display/Tick 3D
Substitute Piece
F4/Seam or F4/Cut Hold down Alt –
Left then Right click inside of piece to
copy – excluding the facing part. (Figure 5.2)
Only the Piece without the Facing will be
stitched.
Cuffs, Waistband, Collars, Ribs
All pieces need to be single, i.e. if the Cuff/
Waistband/Rib is folded Extract half the
Piece.
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35111.indb 75
figure 5.2
F1/Division In box – 2.
F1/Straight Draw a line dividing the Piece
in half.
As above – 3D Substitute Piece (Figure 5.2).
Only click inside the Piece required.
Only a Single Piece for a collar is neces-
sary, double thicknesses cannot be simulated.
If a Piece needs to be mirrored – do this
First prior to 3D Substitute Piece.
Remember to Select all Internal Lines/
Points required (Right click to select –
Hold Ctrl for multi selection) before using
F5/Sym 2 Pts .
TIP: If there is only an outline left after
extraction – this means there is an issue
with the extraction. Go back and do 3D
Substitute Piece again. Sometimes –
triangles or crossed lines – curve prolong-
ation – means the system cannot read the
piece.
LINES TO SET AS 3D
Style lines can be Drawn onto the Pattern
and Set as 3D.
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20/08/2018 11:26
 Examples could be a Line which requires Yellow (Figure 5.4).
elastic (e.g. on a waistline).
To view the Lines go to Dropdown Menu –
Or Lines that need to be stitched on top of
Display and tick ✓ Display 3D Curves.
one another to form a wrap – A Shirt or Jacket
Mirror any Pieces as required F5/Sym2Pts
that has a CF wrap would need to be stitched
For a Wrapped Style – Example a Jacket
together on this Line.
or Shirt – the CF Line needs to be displayed
Lines also need to be drawn on the pattern
in order to Stitch together in 3D.
for Pocket Positions – to attach a patch pocket.
Another application could be if you have F1/Straight draw on the CF Line.
several seam lines and just need to create a
∼F1/Set as3D – Click on CF Line a
visual guide (and not actually stitch in a
dialogue box is activated.
seam).
For any Line (other than a seam line) that Tab – Select from sub menu.
you need to appear in 3D – follow instructions
unchanged fold.
below.
Enter – line goes Yellow (Figure 5.4).
In 2D Pattern
F1/Semi Circular or F1/Bezier or If the Pieces have a Button Fastening, an altern-
F1/Straight Draw Lines on pattern. ative here would be to draw in the Buttonholes
(for several positions see Chapter 3: Sequence
∼F1/Set as 3D Click on Drawn Lines (to
Division; or Developed Series) and draw a Line
Multi select hold Shift and Right click all
for each Buttonhole F1/Straight and apply the
Lines)
above process for each one.
3D Type dialogue box opens (Figure 5.3).
To Indicate a Fold Line
Tab – Select from sub menu. If there is a Folded Line on the Pattern –
Example a rever collar, or Tucks or Pleats or
Select unchanged fold.
any Line to be folded – these Lines will also
Enter – Line on Pattern Piece goes. have to be Set as 3D. But instead of selecting

figure 5.3

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unchanged fold from the sub menu – you
must choose the Direction of the fold. The
Lines indicating the positions for each fold
need to be drawn on the Pattern as above and
then the appropriate command selected –
either wrong side wrong side fold or right
side right side fold.
The selection depends on which side of
the fabric Folds together. (This process is
explained in more detail in Chapter 9:
Workshop 7. Pleats in Skirts and Trousers)
To Undo 3D Line setting
∼F1/Unset 3D Attribute Click on Line(s)
to delete 3D setting.
VARIANT FOR 3D
As we mentioned earlier in (Chapter 4) from
V8 the system allows you to manage all the
information within the same Variant. reviously,
a new separate Variant with modified pieces
was required for 3D simulation purposes. This
means duplication is avoided. Two new columns
have been included at the end of the Variant
spreadsheet. Production and 3D.
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35111.indb 77
figure 5.4
It is necessary to check the 3D column as
follows:
If the 3D column is set to 1 – the piece
Will be sent to 3D
If the 3D column is set to 0 – the piece
Will Not be sent to 3D.
If there is a mistake with fabric assignment or
any error in the Variant information (as in
the diagram below) – the piece turns RED
(Figure 5.5).
Make sure the Pieces are facing the right
way – ie side seams together – if not use the
symmetry function in the Variant to turn the
Pieces before the assembly stage, or change
Orientation in 2D pattern view.
NOTE: As discussed in Chapter 4: What is
a variant?, the Variant components have
been expanded from the original format
and can provide different options of
working with the data and codes. An
example (not covered in this book)
would be piece association with the acd
(analytical code) enabling pieces to be
exchanged in 3D.
77
20/08/2018 11:26
 figure 5.5

ASSEMBLY/DESK OF
STITCHES
In preparation for 3D Simulation, the Pattern
Pieces need to be ‘Stitched’ together. This
process is done in Desk of Stitches found in
the ∼F1 menu (Figure 5.6).
The Pattern Pieces are added into Phases
– similar to Sheets in 2D.
It is possible to Name the Phase (useful if
you have several) – Title Blocks are associ-
ated with them (same as in the 2D pattern)
Display/Title Block.

Ctrl + Z – to undo a process.

CREATE PIECE TO STITCH

∼F1/Create Piece to Stitch Click on the
Pieces required on the desktop.
A Phase is automatically created if no
Phase already exists and Pieces entered.
(Phase/Add Phase can be used to add
figure 5.6 subsequent Phases)

78 CHAPTER 5 INTRODUCTION AND PREPARATION FOR 3D

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 Single Piece to Stitch
For Paired Pieces Stitched Singly (e.g.
Two Fronts/Backs/Sleeves).
Hold Ctrl (and click on Pieces on
Horizontal Axis – X).
Hold Shift (and click on Pieces on Vertical
Axis – Y).
2 Pieces (a pair) will be sent to the Phase
(Figure 5.7).
TIP: If a Piece is displayed in the Phase as
Red – this means that there is no Variant
in the Model matching the direction of the
Piece, or the information in the Variant is
entered incorrectly – e.g. Pieces incorrect
in the Single (S) and Paired (DH) columns.
Go back to Variant and check.
Multiple Piece to Stitch
Pieces can also be stitched using just Half of
the pair – (e.g. 1 Front/Back/Sleeve) this is a
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35111.indb 79
time saving way of stitching. If the garment is
symmetrical you can just assemble Half the
pieces and the system automatically generates
the other half.
The more Multiple Pieces to stitch – the
more time saving this process becomes.
For Multiple pieces to be stitched as a Pair
(e.g. One Front/Back/Sleeve):
Do NOT Hold Ctrl or Shift.
Click on Pieces – 1 Piece will be sent to the
Phase (Figure 5.8).
Because a Pair was entered in the Variant the
system knows a Pair needs to be stitched.
The Pieces will be added to whichever
Phase is highlighted.
It is important that the single Pieces (Half
of a Pair) are facing the right way – all from
the same side of the body – either the left or
right. Otherwise they will not be able to be
stitched together correctly.
figure 5.7
79
20/08/2018 11:26
 figure 5.8

DESK OF STITCHES
The Pieces to Stitch appear in the assembly
Phase in no particular order (Figure 5.9).
They need to be rearranged to facilitate
assembly (Figure 5.10).

Edit/Move – to rearrange Pieces ready for

assembly

Click on a Piece – then click Z

Use Z to rotate the Pieces, however be

careful, make sure you Left Click on the
Piece first before going to Z as Z is a short-
cut for Delete (cap lock must be off).

Arrange Pieces to Stitch as Flat seams

(e.g. Front and Back shoulders together and
Sleeve head positioned next to armholes.)
(Figure 5.10) If you are stitching manually
you would place the right sides together, but
for 3D they need to be Side by Side.
Pieces can be moved around – and can be
vertical if it makes it easier to assemble: figure 5.9

80 CHAPTER 5 INTRODUCTION AND PREPARATION FOR 3D

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 figure 5.10

Edit/Move (to change the angle of the

piece use Q or W or the keyboard).

Edit/Deletion if Pieces need to be deleted

–– click on the piece.

Ctrl +Z will undo your last move.

TO STITCH SEAMS
To stitch seams together:

Stitch/Add Stitch (Figure 5.11).

Make sure you stitch the seams in the same
direction (i.e. if you start at the armhole edge
towards the neck – do the same on the corres-
ponding seam – otherwise the seam will be
twisted).
There are 3 steps to stitching: figure 5.11

1. LEFT click (on Point) one end of the seam

RIGHT click (on Point) the other end When the seam is joined correctly it is shown
2. LEFT click the corresponding seam in Red – a Blue ‘thread’ connects the seam
RIGHT (Figure 5.12).
3. click the other end This operation needs practice – the Line
4. Left click away. you click on should turn Black – if wrong

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 figure 5.12
Line is selected press Space Bar to change. If
the Pattern ‘flashes’ and all seam Lines turn
white it will stitch around the whole Pattern
– so you need to start again.
TIP: If you are stitching part of a seam or
from a Point that is close to another Point
– it can sometimes be difficult to select
the correct Line.
Click on the Point to start and Hold
down the mouse button while tapping the
space bar until the correct Line is selec-
ted. Release mouse button and proceed.
82 CHAPTER 5 INTRODUCTION AND PREPARATION FOR 3D
35111.indb 82
Proceed and join all seams together.
Practice and Patience is required here.
To stitch two seams together and then join to
another – e.g. Front and Back armhole stitched
to the Sleeve – as diagram
Back armhole Left click start Left click
finish then LEFT click Front armhole Right
click finish – Left click Right click sleeve head
(Figure 5.13).
TIP: Spend time here checking all Lines
are correct before proceeding. If you are
not sure or you know you have joined the
20/08/2018 11:26
 wrong seams – Delete seams and repeat
process.
To delete the seam Edit/Deletion click on
seam line and then the ‘blue thread’.
If you hold the Shift at the same time as
Deletion then click on ‘Blue thread’, all Lines
associated will be deleted at the same time.
The best way to get an accurate result is to
have the Piece as big as you can on the screen.
Zoom in first – either Middle mouse button
or Enter and drag a box around area.
Left click on start line and continue
down the seam line until nearing bottom of
screen – then press ‘.’ (full stop) on keyboard
and move cursor in the direction you want to
go – you will be able to move around the
screen.
Press ‘.’ (full stop) to zoom out again.
Left Click
Left Click
Left Click
Left Click
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35111.indb 83
This is Most important, especially if you
are finding it difficult to stitch seams together.
You may think you have clicked on the right
point, but if 2 Points are close together it is
sometimes impossible to be accurate without
zooming right in.)
If Points required on a line are not showing
on Pattern in Desk of Stitches (e.g. when
a Piece is Mirrored the corresponding side
does not show the Notches – usually Neck/
Armhole/Sleeve).
Go back to 2D pattern view.
F4/Imp Piece Click on Points required.
Go back to Desk of Stitches view.
Points should now be there.
You need to identify missing Points first in
Desk of Stitches and then go back to 2D
Right Click
Right Click
figure 5.13
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 Pattern as the Points will show on 2D Pattern
view but not be there in Desk of Stitches.
SEAM TYPES
The default seam is called a Simple seam (just
2 seams joined).
To check seam types:
Edit/Edit – click on the Blue Thread,
In box the Seam Type will show. There are
3 types of seam, Simple/Rejoined/Released.
NOTE: There are different choices for
Assembly and Simulation in the 3D
Environment – this means that depending
on the method you choose – the Simple
seam may not need to be changed
(discussed further in Chapter 6).
As a guide – if the garment is assembled in
3D using the Pre-Positioning method (V8)
(discussed further in Chapter 6) the Simple
Seam need not be changed.
figure 5.14
84 CHAPTER 5 INTRODUCTION AND PREPARATION FOR 3D
35111.indb 84
If, however, the garment is assembled in 3D
with Slip on Points, then certain seam types
as detailed below may need to be changed
depending on type. (Slip on Points are
discussed below in Figure 5.17.)
Rejoined and Released Seam Type need to
be applied to the appropriate seams as follows.
The Rejoined seam is a dummy seam used
mainly in the assembly of wrapped styles –
Jackets/Shirts/Pleats/Frills, etc. The CF
Seam on a wrapped style would be changed
to Rejoined as in the example below
(Figure 5.15).
Or another example would be the seam
joining a Frill or Pleat.
The Released seam is also a dummy
seam and can be used in the assembly of
buttonholes.
If it is necessary to change the seam to
Rejoined or Released:
Stitch the seams together first. Stitch/Add
Stitch.
Edit/Edit and click on the ‘Blue thread
line’ – Dialog Box opens.
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 figure 5.15

figure 5.16

Delete text in dialog box. Stitch/Define Points Facing Each Other

Left Click on one Point and Right click on
Press Tab and choose Rejoined (thread
the other.
turns Green) or Released (thread turns
Turquoise). A Blue dotted line with Pink ends is
displayed.
Enter (Figure 5.15).
Use for any placement of notches and for
positioning – Gathers/Panels/Ease/Pleats
DEFINE POINTS FACING (Figure 5.16).

EACH OTHER
After Stitching is complete it is a good idea to
relate notch information – especially for sleeve SLIP ON POINTS
to armhole – but can be added anywhere that (See note below – Choices – Different
requires notch matching. Methods OF Assembly)

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 After the garment is stitched it needs to be
prepared for ‘Slipping’ onto the Mannequin.
It is necessary to place special Points (Slip on
Points) that describe the way the garment is to
be positioned on the body – these Points need
to be added to the Pattern Pieces at Openings
of the garment, for example – Neck/Right
Wrist and Left Wrist/Right Thigh and Left
Thigh/Waist. They correspond to points
previously applied to the Mannequin.
It should be noted, however, a garment can
be successfully simulated in 3D without Slip
on Points if Pre-Positioning is used for
assembly (Chapter 6).
Sometimes a garment assembles more easily
with Slip on Points; sometimes the preferred
way of working is to use the Pre-Positioning
method. The choice depends on the complex- figure 5.17
ity of the design and which is your preferred
way of working – you can decide.
The results for either method should
provide the same outcome.
Slip on Points are only added to the
FRONT of the pattern.
Slip on Points should be placed on the
Edge of the piece but Not placed on an edge
that is Stitched.
figure 5.18
Slip on Points should be placed on a Single
Phase (Not Multiple Piece to Stitch).
Slip on Points are positioned on an exist- Delete text.
ing Point on the Pattern Piece – if there is no
Tab – select the appropriate name from the
point available it will be necessary to go back
list (Figure 5.18).
to 2D pattern view and add a Slider on the
line where you need to place the Slip on Point. Enter.

F1/Slider Click on the Line of the Pattern Orange squares appear on the selected
Piece and click again to add Slider. Points (Figure 5.19).

F1/Desk of Stitches Stitch/Add Slip on Repeat for all positions.

Point (Figure 5.17).
If Slip on Point shows as RED – this means
Click on a suitable point or Slider – box something is wrong – Check the Slip on Point
opens. is in the right position.

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figure 5.19
NOTE: Choices – Different Methods of
Assembly
It is not always necessary to apply Slip on
Points.
As we discussed above, in Seam Types
– there are different methods of Assembly
and Simulation onto the Mannequin
available in 3D. The method of Assembly
chosen when in the 3D environment will
determine the appropriate Preparation of
the Pattern required in Desk of Stitches.
For instance, from V8, Modaris 3D has
further choices in 3D which, in the main,
make assembly easier. It is possible to
Pre-Position Pattern Pieces onto the
Mannequin, and in most cases when
choosing this method of assembly there
is no need to apply Slip on Points –
discussed above. Discussed fully in
Chapter 6.
However, it. is very important to note
that although the latest method can
alleviate some error message linked to
Slip on Points – with certain Patterns, the
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35111.indb 87
Slip on Points are still relevant and in
some cases invaluable. Therefore, I have
included a full description of this process,
and, as previously discussed, you can
decide which method to employ. It is also
important to note that in some cases both
methods can be used together. Further
discussion regarding Assembly and
Simulation in 3D is found in the next
chapter (Chapter 6).
TIP: If you have not included Slip on
Points, but later in 3D decide they are
required – you can go back and forth
between Desk of Stitches and 3D and add
or delete as required.
LAYERS
When first learning and getting used to
3D, the process of identifying some Pattern
Pieces in another Layer is not usually looked
at until much later. However, it is important
to note this, as sometimes, identifying for
example a collar or pocket pieces as another
Layer can help with the assembly and simula-
tion of the garment in the 3D environment
(Chapter 6).
The main garment pieces are assembled,
then the next Layer – For example – Pockets
can be assembled separately.
In Desk of Stitches to change a piece to
another Layer.
Edit/Edit – click on Piece.
In box change Layer to 2.
Enter.
Piece concerned turns a different colour
(Figure 5.20).
87
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 figure 5.20

If you amend the Pattern in 2D view – it
will automatically change in the Variant. If
you add or reduce Pattern Pieces – make sure
you update Variant and Desk of Stitches
(if you forget – further along Error messages
will arise when trying to simulate garment – it
will say ‘problem in layer 0’ (this means
Variant). Or ‘Piece not Sewn’.
If Error messages come up always check
Variant and Desk of Stitches.
Take time in Desk of Stitches – make as
many Phases as you feel comfortable with –
for complicated styles break down into easy
stages (e.g. you can just sew side seams – then
another Phase for collar, etc.).
If Garment fails to Simulate (Chapter 6)
with Slip on Point Error – check Slip on
Points are in correct position first – but it
may be the sewing – so check all seams are
correct.
If there are no errors, but Garment is
twisted on Mannequin – it is usually a Sewing
Error – go back to Desk of Stitches and
check all seams are correctly stitched.
It may be advisable to delete stitching and
stat again.

Exercise 10
Stitch a T-Shirt in Desk of Stitches

Open Exercise 9. Open the Variant – and check 3D

File/Save As (Exercise 10). column.
Open ∼F1 Desk of Stitches and
Refer to the previous instructions and carry Stitch Pieces together in a Single
out the following tasks: Phase.
▲

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 ▲
Define Points Facing Each Other Thigh (Add Sliders first if required)
– Sleeve Notch to Armhole Notch. (Figure 5.21).
Add Slip on Points – Neck/Left
Wrist/Right Wrist/Left Thigh/Right

figure 5.21

FILE/SAVE.

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 LEARNING OUTCOMES
In this chapter you will have learnt: • to understand and apply Define points
facing Each Other;
• to understand the Principles involved in
• to have a good understanding of Slip on
the 3D process;
Points and how to apply;
• to be able to prepare a pattern and apply
• to be able to change a piece to a different
3D Substitute Piece and Set Lines
Layer.
as 3D;
• to check the Variant – make sure the 3D Exercise 10 – Will enable you to sum up the
column has a 1 included; above skills and prepare your own T-shirt
• to understand and apply Stitch add pattern ready for Assembly and Simulation in
Stitch in Desk of Stitches; the 3D environment.
• to be able to change the Seam Types if
required;

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 3D Virtual

CHAPTER 6
Prototype

LEARNING OBJECTIVES
● To understand and become familiar with the 3D
Environment

● To gain an understanding of the different Mannequins,

and how to Customize

● How to Assemble and Simulate a garment and the

different choice of assembly available

● How to apply and manage adjustments – Fall/Pull

Fabric/Lock Pieces

● To understand the importance of Mesh, Re-Meshing and

apply modifications

● How to Check assembly – The use of Lines and Panels

● How to apply a Mechanical Property

● How to Change and Add Visual Effects – Ribbing/Elastic/

Fabrics

● Exercise 11 – How to produce a 3D Prototype for T- Shirt

and Save as a .mtg File

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 Our 2D Pattern is prepared and we are
ready to go forward into the exciting world
of 3D.
We start with an introduction to the 3D
environment, with its specific screen layout
and tools, leading us onto the Assembly and
Simulation of our garment.
We will discuss the Virtual Mannequins
available in the system, and how to customize
to suit individual requirements.
In Assembly and Simulation we will look at
the use of alternative methods, which link
with the Pattern Preparation in Chapter 5.
We will come to realize the value of using
3D to simulate our designs. From the start of a
collection, seeing a garment on the mannequin
reduces the number of physical toiles required,
encourages decision making and communica-
tion between everyone involved.
As we progress, we will see the benefit of
being able to apply Visuals to the virtual
Prototype directly on screen.
THE 3D ENVIRONMENT
The Simulation of the garment takes place in
the 3D environment, which can be accessed
from the 2D pattern view.
~F1 Check 3D Fitting – to open the 3D
window.
The Working Toolbar (Activities bar) at the
Top Left of the Screen provides access to the
Working menus (Figure 6.1). These menus are
the main tools used in the Simulation/
Fitting Alteration and Visual Effects of the
Garment.
They will be explained as we progress.
The General Toolbar at the Top Right of
the screen provides Display and Navigation
Functions (Figure 6.2).
92 CHAPTER 6 3D VIRTUAL PROTOTYPE
35111.indb 92
figure 6.1
Mannequin/Garment/Mechanical Properties/
Assembly Simulation/Fitting/Alteration/Design
figure 6.2
Select/Click to Hide/Show/Rectangle Zoom/Focus
on garment Point/Define View/Configure Views
The Select tool (1st tool) is widely used –
click on Arrow/click on Item to be selected
– turns Pink. To Deselect – click inside the
window.
Click to Hide/Show tools are useful
options for different views – turning on
and off.
The Click to Hide/Show buttons enable
sections to be locked and unlocked while
assembling the Garment. This can be very
useful, for example, for a Collar or a Wrapped
style – Pieces can be Locked (so they are not
included in a Simulation) while the rest of the
garment is being modified.
Configure Views lets you define how
many different views to choose when setting
up the working window.
Screen Layout (working window)
(Figure 6.3).
The working window can be split into
configurable parts – Configure Views (last
icon in the General Toolbar). It is usual to
work with Two views – Mannequin view and
Pattern Piece view – but useful to add Back
and Side Profiles at the same time if required
(Figure 6.4).
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 figure 6.3

figure 6.4

The Top Menu Bar contains ‘Windows’
which hold analytical information relating to
the simulation found under the View menu
(Figure 6.5).
These windows are managed independ-
ently and are ‘dockable’ at the sides of the
working window. They can be added or
removed as required.
Click on the View menu – then on the
Name of the window to be added to the view.
By Clicking on the Auto Hide (Pin)
(Figure 6.6), the window will be docked down
the Left-hand side of the screen. Click again
to display.
Go back to the View menu at the top to
select or re-select the required window
(Figure 6.5).
The most commonly used windows are:
Command Bar

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 Season Palette

Properties Bar

Manipulation Bar.

Shown ‘docked’ to the Left side (Figure 6.6).

The Working Window can be changed to a
different view – if preferred – go to the Design
icon top Right in Working tool Bar.

Bottom Right Icon – Stage (Figure 6.7).

Drag and Drop on to window.

figure 6.5

figure 6.6 figure 6.7

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 PREPARING FOR
SIMULATION
This process consists of three steps. The
purpose is to collect all the data necessary to
drape the Prototype.
● Choose the correct Mannequin.
● Retrieve and Simulate the Pattern
assembled in the 2D view.
● Select a suitable fabric.
MANNEQUINS
There are several Mannequins stored in the
3D system to use for Garment Simulations.
These are known as Parametric Mannequins
and consist of Ladies’/Men’s/Children’s
average sizes. It is important to use a
Mannequin that represents the target customer
and obviously is the right size for your Pattern.
It is possible to Customize a Mannequin
and Save into the Mannequin folder. It is
also possible to start from scratch with
figure 6.8
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35111.indb 95
measurements and create a Mannequin that
perfectly fits the purpose (this is how industry
would proceed) and opens up endless possibil-
ities (e.g. Plus Sizes/Maternity/Petite, etc.).
It is, however, quite a complex process to
configure a new Mannequin from scratch
from a set of measurements and there is a very
specific sequence for inputting data (as
described in the Lectra handbook).
At this first stage of getting to know 3D, I
would suggest using ‘Julia’ from the Parametric
Mannequin list or an adaptation of her size.
Julia – Size 12 was generated from the official
French sizing Survey. As we are looking at
women’s wear in this book, and are working with
a Size 12 – Julia will be our first starting point.
I have adapted Julia to suit the Blocks I
have provided for download and created a new
Mannequin (Holly to the Left – Julia right)
(Figure 6.8).
As discussed in Chapter 4, sizing is a
complex subject and a size 12 can be different
in different clothing ranges.
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20/08/2018 11:27
 It is also possible to use a body scanner and
produce a Mannequin – this has to be
processed and saved in MNQ format and
imported into 3D (again a more advanced
procedure).
Look at the size you are working with and
compare to Julia’s measurements – if you
would like to adjust the Mannequin – follow
the procedure below.

CUSTOMIZING A
MANNEQUIN
The Mannequin icon is the first tab in the
Working Toolbar – Click here to access
all functions dedicated to Mannequin
management.
To select a Mannequin – Click on the
Mannequin tab on the Working Toolbar.
If you have a Saved Mannequin it is
possible to use the Browser (Yellow Folder)
and open a folder.
In the first instance we will work with Julia
C:\Program\Parametrics.
Click on Julia and drag and drop onto the
3D window (Figure 6.9).
Once the Mannequin is displayed – click
on the Measurements sub menu – (bottom of
Mannequin menu) (Figure 6.9).
The Measurements menu allows access to
the various customization associated with the
Mannequin.
In the Measurements menu (Figure 6.10)
click on the arrows at the side of each para-
metrer (if customizing Bust/Waist/Hip – the
Torso parameter is the only necessary adjust-
ment) – insert measurements into the boxes
(Figure 6.11).
Enter – alternatively – drag the cursor
along the Scale at the side. figure 6.9

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 The Measurements relate to each other
and change accordingly.
When inputting measurements above –
you can use Ctrl +Z to undo.
Restore Measurements (top of
Measurements menu) resets the Mannequin
to original setting.
To Save the Mannequin – Once you have
made adjustments:

Mannequin (Top menu)/Save Mannequin.

Name your Mannequin and Save in a suit-

able Folder – the File extension must be
figure 6.10 Mannequin File (.mnq).

figure 6.11

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 You can now use your new Mannequin for
future exercises. Several Mannequins can be
configured to suit individual requirements.
The Mannequin that I have used for
subsequent simulations is called Holly and the
blocks and patterns we will be using have all
been fitted onto her shape (Figure 6.12).
(Holly can be saved into a suitable Folder.)

figure 6.13

HAIR
The Mannequin can be displayed with or
without Hair.
This can be useful in collar or hood
construction. You can choose.
To change the view –
Assembly/Simulation – Collision
Management.
Tick or Un Tick Show Hair (Figure 6.13).

POSTURE
Each Mannequin is available in several differ-
ent postures.
Click on the Posture sub menu (Bottom
right of Mannequin Bar).
There are several different poses to choose
figure 6.12 from.

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 Either Double Click on Posture required, This can be useful if you need to see a style
with arms outstretched, for instance.
or
Click and Drag onto the working window
(Figure 6.14). Note: If you chan ge a Posture after the
garment is assembled, it will be neces-
Posture can be changed at any time even sary to go back and Simulate again.
after the Garment has been assembled.

SIMULATION IN THE 3D
ENVIRONMENT
To open the 3D window in 2D View –
when Desk of Stitches is complete –
minimize and go to ~F1/Check 3D Fitting
(Figure 6.15).

figure 6.14 figure 6.15

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 The Dialog box opens.
Tab – choose Variant form sub menu
selection (Figure 6.16).
Enter.
The 3D environment opens automatically and
the system Sychronizes the files 2D to 3D.
When the 3D window opens, it opens with
the Garment menu. Here Files are displayed
to the left and can be selected from different
folders using the Browse (Yellow) Icon
(Figure 6.17).
As discussed above, the window can be
arranged in different views – Configure
Views (Figure 6.4).
The Pattern view to the right needs to be
displayed (for later modifications) and will
automatically open as above once set.
figure 6.16
figure 6.17
100 CHAPTER 6 3D VIRTUAL PROTOTYPE
35111.indb 100
If the pattern view is not showing – Right
click on the Right-hand side pane – View
Type/2D.
The Mannequin can be changed/selected
from the Mannequin menu – again open the
(Yellow) Browse folder if required. Drag and
Drop onto the screen.
The Garment menu is also used to
Sychronize the files if connection is lost.
MOVING AROUND THE
SCREEN
To Zoom in and out on Mannequin or
Pattern view – scroll with Middle mouse
button.
To Spin the Mannequin around – Hold
down the Right mouse button and drag to
turn the Mannequin around.
Press R on keyboard to position the
Mannequin centrally on screen.
Press F on a Section of the Mannequin
then Left click and scroll in with middle
mouse button.
20/08/2018 11:27
 In the 2D Pattern Window – Hold the
Right mouse button down and slide to move
around the screen. Zoom in and out with
middle scroll button.
3D Stage – There are a number of back-
ground options for the 3D stage – from the
Working Toolbar – click Design icon/Stage
sub menu. A list will be displayed in the
left window. Drag and drop onto the 3D
window.
ASSEMBLY/SIMULATION
IN THE 3D ENVIRONMENT
There are different choices for Assembly and
Simulation.
In Chapter 5, we looked at the choices of
preparing your Pattern either with or without
Slip on Points.
Prior to V8, Slip on Points were man-
datory for garment Simulation (see Chapter 5:
Slip on Points).
They enable the garment to Slip onto the
body in the correct position – the Slip on
Points corresponding with those already
present on the Mannequin.
This method is quick and effective for some
garments with standard opening positions.
The drawback to this method can be that it
can sometimes throw up error messages,
which can be frustrating; the Slip on Points
can easily be wrongly positioned or even
duplicated. The system will then not allow
Simulation of the garment to take place
without finding and correcting the issues first.
Alternatively, the Manual Pre-Positioning
method does not rely on Slip on Points, but
‘floats’ the pieces around the body. It takes
place on the Mannequins existing segmenta-
tions (planes indicated by yellow outlines).
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35111.indb 101
The principle consists of selecting and posi-
tioning the pieces one by one.
It is also possible to combine both methods
– start by assembling with Assemble+ – using
the standard method with Slip on Points
applied, then assemble subsequent pieces
using Pre-Positioning – or vice versa,
combining the two method. If you have not
included Slip on Points, but later in 3D
decide they are required – you can go back
and forth between Desk of Stitches and 3D
and add or delete as required.
As you progress you will find your preferred
way of working.
In Manual Pre-Positioning the pieces are
selected individually for positioning on the
Mannequin.
ASSEMBLY/ASSEMBLE+
In this method, the garment prepared for 3D
is positioned on the Mannequin using Slip on
Points added in the Pattern assembly Phase
(Chapter 5) – linked to those already present
on the parametric Mannequin. This method
can be quick and sometimes easier to apply
especially for simple styles.
From the top menu (Working Toolbar)
Assembly/Simulation Assembly/Assemble+
(Figure 6.18).
The garment should now appear and
gradually unfold on the Mannequin
(Figure 6.19).
If the system cannot Simulate the garment
(this could be for different reasons – maybe
incorrect stitching or Slip on Points) – Error
Messages will be displayed. Unless the Error
Message relates to Incorrect Stitching, it is
advisable to go back to Desk of Stitches and
check – make sure the Slip on Points are in
the correct position and not duplicated.
101
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 figure 6.19

If corrections have to be made to the

stitching, on returning to the 3D screen, a
modification message will appear (Figure
6.20). Click Yes to proceed. Simulate again.

Note: For subsequent Layers – Once

Layer 1 is placed on the Mannequin,
assemble Layer 2.

Assembly/Simulation.
Layer Management.
Mount Next Layer (Figure 6.21).
Slip on Points must only be placed in
Layer 1.

PRE-POSITIONING
As discussed above, an alternative for assembly
figure 6.18 is to Pre-Position each piece onto the
Mannequin.

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 figure 6.20

figure 6.21

This method does Not rely on adding Slip

on Points in Desk of Stitches, therefore elim-
inating Slip on Point error messages.
The Mannequin is split into different
segmentation planes which facilitates the
positioning of the pieces (Figure 6.22).
In this example, we will look at a simple
fitted waistcoat (Figure 6.23) – previously
prepared in Desk of Stitches (Figure 6.24).
(See instructions for Substitute Piece/Desk
of Stitches (Chapter 5).)

Note: No Slip on Points have been

added to this Pattern in preparation for
Manual Pre-Positioning.
figure 6.22

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 Open Assembly/Simulation from the
Working Toolbar.
Select Pre-Positioning – at the very
bottom of the Command Bar (the last of the
four icons at the bottom of the menu).
The Pre-Positioning sub menu opens
(Figure 6.25).
Manual Pre-Positioning – Make sure
Manipulation by Pair is ticked (if positioning
Paired Pieces) (Figure 6.25).
Click on Mannequin icon (Figure 6.25)
and then click on a Pattern Piece in the 2D
View – and drag the Piece onto Mannequin.

figure 6.23 figure 6.25

figure 6.24

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 Use Up and Down Arrows on Keyboard
to adjust pieces to roughly correct positions.
Position onto Planes on body that appear
highlighted in Yellow (Figure 6.26).
Left click again to position.
Practise here to refine skills; at first it can
sometimes be difficult to do so.
Apply the pieces in exactly the right
positions.
To Remove pieces from Mannequin (some-
times you may want to start again).
Use the Disassemble icons (Red/Orange)
(Figure 6.27) either select a Piece with
Selector tool (top General Tool Bar) turns
Pink.
Click on Disassemble Selection.
Or disassemble All.
Pieces can also be re-assembled
automatically.
Automatic Pre- Positioning.
figure 6.26
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35111.indb 105
Assemble Layer and Assemble- Selection
(Figure 6.28).
Note: Activate the Assemble Layer icon
to assemble any subsequent Layers
created in Desk of Stitches.
Also for quickness, use Assemble
Layer when opening a Previously
assembled Garment – the last
assembly will be retained in the memory.
(Pieces may need adjustment prior to
Simulation.)
Once Pieces are roughly in position, use the
Manipulation Tools (Figure 6.29) to move
the pieces around.
Click on either of the Blue Icons
Select a piece first and then apply the
manipulation.
Move/Rotate/Move and Rotate.
The most effective is the Move/Rotate –
(Bottom icon) use the Arrows to move the
piece in different directions (Figure 6.30).
figure 6.27
figure 6.28
105
20/08/2018 11:27
 Again, Practice will produce refined
results.

Tip: If the pieces displayed in the Pattern

view are wrong (could be duplicated):
Go back to Variant and check 3D
column.
Adjust – Close down 3D and re-
launch.

CURVATURE
Pieces now need to be Curved to go around
the body.
Select a piece first (Select tool).
Curvature icon is activated – (Figure 6.31).
Enter an amount in Parameters % box
(usually 20–80). A smaller value for body
figure 6.29 pieces is likely to produce the best results
(30) and higher for sleeves (80) – but insert
different values until the required effect is
achieved.
It is very important that pieces are curved
to go under the arm, otherwise the garment
will not simulate correctly.
Pieces can be curved in different directions
– (dropdown menu) usually on the Grainline
but pieces can be changed to Crossline or
Bias (Figure 6.31).

figure 6.30 figure 6.31

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 Before activating the simulation, it is a
good idea to see if the stitch lines are in
SIMULATION
Launch Simulation – Assembly/Simulate
the correct position (again, especially under
The garment is displayed on the Mannequin
the arms).
and Gradually unfolds (Figure 6.19). (The
To see the Stitch Lines – press L on the
same as earlier with the Assemble+
Keyboard (Figure 6.32).
method.)
To see stitches on a particular area – Select
It is important to point out that you do not
only those pieces (will only show selection).
need to Assemble and Simulate the entire
If pieces do not look correct – go back
garment in one step. In fact, piece by piece –
and use the Manipulation tools re-Curve
assembling the garment gradually.
the Pieces or even Disassemble and start
It may be necessary to go back and forth
again.
between Simulate and Pre-Positioning

figure 6.32

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 figure 6.33
(using the Manipulation tools) until a satis-
factory effect is achieved.
Practise here. Remember you can use
Ctrl +Z to Undo.
The same outcome should be achievable
using either method experimentation is key.
Waistcoat Simulation (Figure 6.33).
Once the Assembly process has been
successful, there are several adjustments and
effects that can be applied.
The following instructions apply for any
further modifications and do not depend on
the method used for assembly and simulation.
RELAXATION
The Simulation tools are activated.
The garment is in ‘Relaxation’ Mode when
the Simulation button is activated, and this is
the time to adjust the position of the garment
on the body if required. Usually the garment
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will unfold without having to modify – but for
some styles it will be necessary to Adjust the
garment on the mannequin.
The Pull Fabric tool lets you ‘Pull’ parts of
the garment if it is not sitting in the correct
position.
PULL FABRIC
Pull Fabric (Figure 6.34) lends a helping hand
to enable the garment to fall into the correct
position.
Click and Hold down the mouse button
while moving the part of the garment to be
adjusted.
Use Ctrl to pull a complete Line. Move a
complete piece by holding Shift + Ctrl at the
same time.
Use Shift to pull progressively by area –
Red points display to show progress – then
use Shift + Tab to decrease pull zone.
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 figure 6.35

figure 6.36

When in Fall Mode – once the Status

Bar (the progress bar) Bottom Right
(Figure 6.36) is full (Green) the system stops
automatically.
It is a good idea to keep an eye on this bar
as sometimes it is difficult to know which
Mode is activated – the Status bar tells you
whether the Mode is Fall or Relax or Stop.
At any time during the draping process you
figure 6.34
can stop the Simulation – Click on the
Stop/Restart button.
Practise here – to see what can be achieved.
It will be necessary to press Simulate
(Figure 6.35) to aid activation.
MESH
The image on the screen is made up of Mesh
(small triangles).
FALL To see the Mesh:
Fall (Figure 6.36) allows the garment to ‘Fall’
on the body (think – gravity pulling it down). Right click in either window (but not on
Activate this once the prototype is the Mannequin or Pattern) – from box.
positioned. Select Show Mesh (Figure 6.37).

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figure 6.37
The size of the Mesh can be changed at any
time during the Simulation and will affect the
appearance of the garment.
The Larger the Mesh – the Faster the
Simulation – but the appearance is not so
realistic.
The Smaller the Mesh – the Slower
the Simulation – but a more refined
appearance.
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When the first Simulation takes place, it
is recommended to start with a Higher
Mesh – 3 or 4.
Refine Mesh to 1.5 to achieve a more
realistic result after garment is positioned.
In the Assembly/Simulation Command Bar:
Re-Mesh (Figure 6.38) Box opens.
Change size in box – 3 or 1.5 are usually
recommended.
OK.
Simulate.
The size of the Mesh can be reduced for
smaller pieces to improve appearance (e.g.
collar/cuffs/pockets).
Select the piece to re-mesh – Left click the
Select arrow then Left click the piece (either
pattern or mannequin).
Helpful to activate ‘L’ to show lines, or ‘P’
for panels (discussed below).
Piece turns Pink.
Properties Bar – 2 items of information:
Current Mesh – Mesh that has been
simulated for main garment pieces.
Required Mesh – Value of Mesh inher-
ited from original Mesh simulated
(Figure 6.39).
Change the Required Mesh value –
(example 0.5).
Assembly/Simulation – Simulate.
Left click on Refine Mesh – the larger
value is entered, usually 1.5 (the value of
the main body pieces).
OK.
To see the differences in the Mesh – Right
click either mannequin or pattern screen
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 figure 6.39

figure 6.40
figure 6.38

It is also possible to Re-Mesh Seams.

(as above). The Pieces re-meshed (neck rib Useful for collars/frills/pleats/gathers.
and cuff) will be smaller/tighter triangles Select Seam line instead of piece and apply
(Figure 6.40). the same process – as above.

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 CHECKING ASSEMBLY
There are two very useful Checking tools
available:
‘L’ on the keyboard displays all the Seam
lines in different colours (Figure 6.41).
‘P’ on the keyboard displays all the
Panels in different colours (Figure 6.41).
Press L or P again to come out of this view.
LOCK
It is also possible to Lock a piece or pieces and
continue to work on another area until the
desired effect is achieved. Especially good for
a rever collar or anywhere where one side is in
the right position, but the other side needs
more adjustment.
The Locked piece will not move when
Simulating the rest of the garment.
Click to Hide/Click to Show icons –
located on the General Toolbar (top right).
figure 6.41
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Click on Lock and then on the piece to
lock – turns Dark Grey.
Click on Unlock and on the piece again
when finished.
MECHANICAL
PROPERTIES
To achieve a realistic Simulation, it is neces-
sary to choose and apply a suitable fabric for
your garment – obviously, if you are trying to
simulate a soft draped jersey and the fabric
is set to a stiff canvas – the result will not be
realistic. Therefore, we need to find a fabric
that is the most similar to the actual material
being used for the style.
The Modaris library of fabrics contains a
virtual catalogue of fabric characteristics –
over 300 to choose from.
Fabrics can be applied at the very begin-
ning of the Assembly process – prior to
simulation if preferred.
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 FABRICS
Go to Working Windows Bar (Activities
Bar).

Mechanical Properties.

From the Fabric Type dropdown menu

(Figure 6.42) Select fabric number (will just
be 1 if all pieces are in the same fabric –
if there are a number of different fabrics
in one style – the different fabrics will have
been assigned numbers at the Variant stage,
i.e. 2 or 3 – then each different number can
be selected here and assigned different
fabric types).

Once the number has been selected All the

icons are Highlighted (Figure 6.43).
Fabric on Mannequin/Pattern Pieces turn
Pink.
To Deselect – Left click in the Mannequin
or Pattern Window.
Click on Select Material box (Figure 6.44).
figure 6.42

figure 6.43

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 Material Selector box is activated and It is also possible to re-arrange the icons in
automatically opens the Material Browser the Material Browser box by clicking and
box (Figure 6.45). dragging on the icons.
Either Search by Criteria or just Press
Select appropriate fabric (Highlights).
Search and results are displayed on right-
hand side. OK – bottom right.
The fabric library is very comprehensive –
Back to Assembly/Simulate – de-select.
it is possible to conduct the search by Weight
Composition – Name, etc.

TO CHANGE FABRIC IN
3D VIEW
If you decide to change the type of fabric after
Simulation (instead of previously entering a
different number in the Variant column in
Pattern View) it is possible to apply this in the
3D View.
It may be that you need to change some
of the pieces to have a rib effect (as in
example below) or you may wish to change
some pieces to have a different colour or to
add a Print.

figure 6.44

figure 6.45

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figure 6.46
Select Pattern Piece(s) (in 2D Panel View)
with Select Arrow from General Toolbar
– To multi select Hold Ctrl.
(Selection turns Pink).
Mechanical Properties.
Change Fabric Type (Figure 6.46).
Opens Fabric Type box – from the drop-
down menu change number in box to 2.
OK/Simulate.
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A different fabric or colour can now be applied
to all pieces with the same Fabric Type number.
TIP: Any Fabric/Colour can be Saved
– Click on Save icon/Click on Fabric/
Colour in box type in a Name/OK. The
fabric is saved in the Left-hand menu.
TO CREATE RIBBING
EFFECT
A good example of changing the fabric type is
to change the cuff to a Rib.
Change the Cuff pattern pieces to Fabric
Type 2 (Selected).
Click on Ribbing icon (Figure 6.47).
Tick – Create Ribbing Effect.
Stretching Effect set with scale (advisable
to go to the end of the +).
OK.
Simulate.
Click on Select arrow again and on back-
ground to deselect.
figure 6.47
115
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 ADDING ELASTIC
Other Mechanical Properties that can be
added include Elastic or Gathered effect.
This is very useful in order to create a
gathered, pleated or folded appearance.
Select the Seam Line to be elasticated
(click on Mannequin or Pattern view).
Properties Bar/Seam Effect Attributes
opens Seam Effect change to Elastic.
Final Percentage – usually 20% to 80%
(decide which suits your requirements).
Intensity – Strong (Figure 6.48).
Simulate.
This process can also be added to a line that
has been Set as 3D. For example – draw a line
figure 6.48
116 CHAPTER 6 3D VIRTUAL PROTOTYPE
35111.indb 116
on pattern F1/Straight or F1/Semi Circular
or F1/Bezier .
~F1/Set as 3D (Chapter 5).
Select the line and apply the Elastic effect
as above.
For the best gathering effect it is advisable to
be on a Low Mesh – 1.5 and in Fall. Wait –
this can take a while to complete (check
bottom Green Status band).
If required – it is also possible to re-
mesh the seam line (as discussed above in
Mesh).
STIFFENING
If an interfacing effect is required for a collar
or cuff or waistband, this can be achieved by
adding Stiffening.
As above – Select the pattern piece and
change the Fabric Type to 2.
Click on Stiffen (Figure 6.49).
Move the slider to achieve required effect.
OK/Simulate.
figure 6.49
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 TO ADD OWN PRINT TO TO EDIT PRINT ON
GARMENT MANNEQUIN
If you are working with Print Design it Once Print is in place use the tools below to
is possible to add the Print to your edit.
Mannequin.
Material Visual Effect/Move/Scale
First Save Print as a jpeg or png file
Motif (Figure 6.51).
format.
To Move print – Left click and drag.
Working Toolbar – Design icon (top Left).
To Scale print – Ctrl Left click and drag.
Catalog – Browse (Yellow folder) – Find
To Rotate print – Ctrl/Shift then click and
File – OK.
drag (Figure 6.52).
Click and drag file onto Mannequin. There is
Shift.
also a range of Prints contained in the program
(Figure 6.50) – scroll through and select – Colour changes can be made and different
drag onto Mannequin. effects created – Click Select icon
(Figure 6.53).

figure 6.50

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 figure 6.51 figure 6.53

figure 6.52

Visual Effects box opens (Figure 6.54). Select Pantone Book or Colour Chooser
Select new colours. (Figure 6.55). Discussed further in Chapter 8.

TO CHANGE PLAIN SAVING AND OPENING

COLOURS ON FROM 3D
MANNEQUIN When happy with Prototype File/Save 3D
Open Season Palette from View menu – Style.
Choose a colour and drag onto Mannequin It is also a good idea to name the 3D
There is also a Pantone colour book Prototype and the 2D Pattern the same for
available. identification purposes.

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 figure 6.54

figure 6.55

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 Once the Prototype has been saved as a
.mtg file – it is not necessary to access through
2D Pattern in ~F1/Check 3D Fitting .
Open the .mtg file first (double click on
file) from Desktop or Folder.
File opens in Garment – Browse – Yellow
Folder for the 2D Pattern File.
Exercise 11
Assemble and Simulate a T-Shirt
Open Exercise 10 – File/Save As
(Exercise 11) Save Pattern as .mdl File
and then when 3D is completed – Save 3D
as .mtg File – Save as same name
Exercise 11 (so that this will be ready for the
next exercise).
Refer to the previous instructions and carry
out the following tasks:
∼F1/Check 3D Fitting when dialog
box opens press Tab and select 3D
Variant.
Assemble and Simulate garment on
Virtual Mannequin.
Try both methods for Assembly.
As Slip on Points have been added in the
last exercise in Desk of Stitches – start
120 CHAPTER 6 3D VIRTUAL PROTOTYPE
35111.indb 120
The appropriate Files are displayed in the
Left hand column.
Click on the 2D Pattern File.
Synchronize.
The 2D Pattern will now open automatically.
with Assembly/Simulation – Assemble+
(Figure 6.18).
Then try the Manual Pre- Positioning
method (Figure 6.22).
Add an appropriate Fabric – Mechanical
Properties (Figure 6.42) Jersey.
Check Assembly Look at Seams and
Panel view (Figure 6.41) L and P.
The Variant has different Fabric Types (1
for Body and 2 for Sleeve) – Practise changing
to different colours/prints.
When happy with results – File/Save 3D
and then File/Save 3D Style as for
subsequent versions with different Prints/
colours. For example Exercise 11A/B/C.
Different ideas below (Figure 6.56).
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 ▲

figure 6.56

LEARNING OUTCOMES
In this chapter you will have learnt:
• to understand and navigate around the
3D Environment;
• to be able to open, select and customize a
Mannequin;
• to be able to Assemble and Simulate a
garment using the different methods
available;
• to be able to apply modifications to the
assembled garment in order to achieve a
realistic outcome – Fall/Pull Fabric/
Lock Pieces;
• to check assembly and activate Lines and
Panels;
• to understand the importance of
Mesh, Re-Meshing and be able to
apply modifications to the
Mannequin;
• to be able to apply a Mechanical
Property to tour garment;
• to be able to Change and add
Visual Effects – Ribbing/Elastic/
Fabrics.
Exercise 11 – Will enable you to practise
the different methods of Assembly and
Simulation for your own T-shirt, and
apply some Visual Effects, and save as
.mtg File.

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 CHAPTER 7 Confidence
Building
Workshops
LEARNING OBJECTIVES
● To understand how to insert a Block or Pattern from a
Library
● To put together the skills you have learnt so far and complete
Patterns and 3D Prototypes from the sketches provided
● To complete 2D Patterns for familiar shapes (from basic
manual pattern cutting practice), this will link your
understanding of manual pattern cutting methods to
practise manipulation, leading to a better understanding
of procedures and consequently giving you confidence and
apply your new skills
● The following Blocks are required for each workshop
● To be able to refer back to previous chapters for
information required
● Workshop 1 – TSHIRT_BLOCK. A Basic T- Shirt. To re visit
the T-Shirt and complete a production pattern and 3D
Prototype
● Workshop 2 – WAIST_BLOCK. Dart Modification. To re-
create some familiar basic pattern cutting dart manipula-
tion exercises, and then experiment with different shapes
● Workshop 3 – HIP_BLOCK. To convert darts into panels,
using a longer length Block, and to apply new Functions
(Pivot/Walking Pieces) which you will be able to apply to
future patterns going forward
● Workshop 4 – SKIRT_BLOCK/TROUSER_BLOCK. How to
convert the darts from a skirt and a trouser into flare, and
also look at other shapes that this method would be
appropriate for
122 ● Workshop 5 – WAIST_BLOCK. How to add a Facing/
Button Wrap and Button positions

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 The aim of this chapter is to put together
the skills we have learnt so far and complete
patterns and 3D Prototypes from the sketches
provided.
By starting out quite simply with the T-shirt
shape, confidence will be gained by seeing
your knowledge and techniques improve with
each workshop. Previous chapters can be
referred back to as reminders of process if
required.
There are five workshops in this section –
which include basic Pattern Modifications
usually taught in manual Pattern Cutting, so
the principles of the Pattern cutting outcomes
should already have been mastered.
Each workshop is accompanied by the
relevant technical sketch and the Pattern
can be assembled in 3D and then completed
to production level, using the information
from previous chapters (Chapters 1 to 6:
Exercises 1 to 11).
NOTE: I have referred back to earlier
chapters for some of the repeated
processes, but have gone into more detail
if the process is new or needs further
explanation.
Before we begin the first workshop, we take a
look at the procedure for inserting Blocks or
Patterns from a library into a new or existing
pattern.
BLOCKS AND INSERTING
PATTERNS
One of the benefits of Modaris is the estab-
lishment of a Library of Models (Patterns). It
is possible to re-use complete Patterns or just
Pieces of Patterns.
Just as in manual Pattern Cutting, you
would copy Blocks onto card and use repeatedly
for new styles – the same can be achieved digit-
ally. Any Patterns or Blocks can be Saved into
the Library and then inserted into a new or
existing style without having to start again.
Open Modaris.
File/New/NAME the Model/Insert
Model (Figure 7.1).

Blocks for all the workshops covered are

available to download and include:

Workshop 1 – TSHIRT_BLOCK

Workshop 2 – WAIST_BLOCK

Workshop 3 – HIP_BLOCK

Workshop 4 – SKIRT_BLOCK/
TROUSER_BLOCK

Workshop 5 – WAIST_BLOCK. figure 7.1

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 The window opens – browse for Block/ Select required Model from menu – Four
Pattern required – go to Change Directory steps (Figure 7.3).
(Figure 7.2).
1. Select (Click) on the required Model from
Once the correct location is found, scroll
list
through until you find the required Pattern or
2. Click on the Arrow going to the Right
Block.
3. File is sent across to the Right hand side
It is possible to insert the whole Model or
of the screen
just some of the Pieces.

figure 7.2

figure 7.3

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 4. Load Files (Bottom Right) a Piece belonging to a previous Pattern – just
5. Close (Bottom Right) File/Insert Model and proceed as above
Blocks that are used in the following
If you only require Pieces from the
workshops are referenced and available for
Model – either Right Click or Double
download. If not already, Save these to your
Click on the Model in the list – the Pieces
PC or Memory stick so they are ready
will appear. Select the ones you want and
for use.
repeat above process. Hold Shift to multi
It would be a good idea to make your own
select.
Library.
The Model or Pieces will now appear in the
This is only a starting point – and you may
new Model window.
have your own Blocks already. You can add
It is also possible to Insert Pieces into a
to your Library – try digitizing in your own
Model you are working on – so, for instance,
Blocks.
if you are creating a Pattern and require

Workshop 1
A Basic T-Shirt

We have looked at a basic T-shirt block from
the beginning – through digitizing the basic
shape and then Pattern Modification. Here
we will look at the process from Pattern
construction to Prototyping. The following
workshops include step by step instruction
– but also refer back to previous procedures
throughout.
Long Sleeve Loose Fit T-shirt with Rib
Neckband and Cuff (Figure 7.4).

figure 7.4
▲

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 ▲
Open digitized T-shirt block from Chapter 2:
Exercise 2, or use TSHIRT_BLOCK provided.
Or – Create a new Model and insert Block
from Library (Figure 7.5).
SLEEVE
figure 7.5
SET ACCESS PATHS
(See page 6)
2D PATTERN
Straighten CF/CB/Centre Sleeve.
F2/Rotation 2 pts Straighten up hori-
zontal axis lines. Click on CF (CB/Sleeve)
(Type 2 corner points from left to right)
ONLY CLICK ON AXIS LINE.
SAVE.
Straighten Hem
F1/Ali 2 points Click on hem Points to
align (the first point you click on stays still
the next point moves in alignment) click on
corner points.
126 CHAPTER 7 CONFIDENCE BUILDING WORKSHOPS
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File/New – Name Pattern (TSHIRT).
File/Insert Model – Choose TSHIRT_
BLOCK.
Load Files/Close.
BLACK
FRONT
Check Side seams match (Chapter 3:
Assembly/Checking Pieces).
F8/Marry .
F8/Move Marriages .
Check Pieces match (Side seams/Shoulder)
and if necessary use F3/ReShape to move
Points. Zoom in for accuracy.
F8/Divorce When seams match. Left click
on pieces to separate.
(Sometimes it is necessary to flip or rotate
pattern so that seam lines are in the right
direction – do this prior to using the Marry
command – F2/X Sym .)
T-Shirt Sleeve
We are working with half the sleeve (as both
sides of sleeve are the same).
20/08/2018 11:28
 For this T-shirt we need to add width at F3/Remove pin ,
wrist and straighten the underarm seam as it is
SAVE.
slightly curved.
To straighten underarm seam – activate Add Seam Allowance – 1 cm – Shoulder/
Curve Points (bottom tool bar). Side seam/Armhole/All around Sleeve.
F3/Deletion Click on Red Curve Points
2 cm Front/Back Hem (Figure 7.7)
and Type 1 Point (x) at wrist (this will
(Chapter 4: Seam Allowance).
straighten the whole line).
Be careful with Deletion – everything can F4/Line Seam .
disappear – if you accidentally click on another
SAVE.
piece always go straight into Selection after
deleting (top right). Add Grain lines to All Pieces (Chapter 4:
To Add width at Wrist – For this T-shirt Grain Lines).
we will add 3 cms (Chapter 3: Pin and Move).
F4/Axis Folded corner – Grain line Axis.
Activate Print (to see line before moving)
(bottom toolbar). SAVE.
F3/Pin Ends/ F3/Move .
Click on wrist Point (on underarm seam) –
Mirror Pieces – Front/Back/Sleeve
drag mouse in direction of increase (note if
Full Pattern Pieces are required (Figure 7.8)
positive or negative direction).
(Chapter 3: Mirror a Piece).
Enter values in dialog box. F5/Sym 2 Points Folded corner – Check
Mirror Piece (if dependency is required) is
X = 0 – Y = 3 (dl and rot = blank).
ticked. (If you want to replace piece instead of
Left Click on new line (Figure 7.6). creating a new piece – hold Shift as you click.)

figure 7.6

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 figure 7.7

figure 7.8

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TIP: Type 2 Points at CF/CB neck and
Centre of Sleeve head need to be Merged
to Type 1’s (and Points on centre hem line
deleted). Once the Piece is mirrored – Cut
out again to refresh.
Extract the Shapes (Chapter 3: Extracting a
Shape).
F4/Seam (to extract rectangles).
Add Seam Allowance to these Pieces
(Figure 7.9).

F4/Seam (as Seam allowance has been Name your Pattern Pieces (Chapter 4:
added) Naming Pieces).
Hold Shift – Left and Right click inside the FILE/SAVE.
Piece – the Piece is replaced and Points can
now be merged. Check Pieces Fit Together/Grain lines/
Seam Allowance.
Add a Notch at Sleeve Head

F2/Notch Click on Point (zoom in for

accuracy). VARIANT
Create a Variant (Chapter 4).
Make Pieces for Neckband and Cuff
(Figure 7.9) (Chapter 3: Geometric Shapes). Identify Single and Paired Pieces.

figure 7.9

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 figure 7.10

figure 7.11

Change Rib Pieces to 2 in Fabric Column.

3D PATTERN
Check there is 1 in 3D column at end of PREPARATION
chart (Figure 7.10).
(CHAPTER 5)
Pattern is now complete – FRONT/BACK/ Cuff and Neck Rib
SLEEVE/NECKRIB/CUFF (Figure 7.11). Remember, the double pieces (Neck and Cuff)
Proceed to check Production Pattern – need to be single for Desk of Stitches.
Seam Allowance/Check all Notches/Grain Therefore we need to 3D Substitute
Lines/Name Pieces/Quantity to Cut. Piece.

F1/Division Divide Pieces in half.

Note: Seam allowances have been added
prior to proceeding in this case, but if you
prefer to add after 3D simulation – go back
to adjust Pattern for production after 3D.
F1/Straight Draw a straight line (hold
ctrl).
Display – Tick 3D Substitute Piece –
F4/Seam Hold down Alt.

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 figure 7.12

Left then Right click inside the Pieces.

Piece turns Purple (Figure 7.12).
There are no other Preparations required in
2D for this pattern, so we can proceed to Desk
of stitches.

ASSEMBLY – DESK OF
STITCHES (CHAPTER 5)
∼F1/Create Piece to Stitch
Pieces can all be stitched in one Phase –
Single Pieces to Stitch – or – if preferred
– Add another Phase for the Neck Rib and
Cuffs.
Click on Front/Back (Single pieces).
Hold Ctrl – click on Sleeve (Paired pieces)
(Figure 7.13).
Stitch pieces together – if you find it easier –
Neck Rib and Cuff can be stitched in a
separate Phase (Figure 7.14).
Desk of Stitches with Slip on Points
(Figure 7.14) (Chapter 5: Slip on Points). figure 7.13

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 figure 7.14

We will look at both methods of Assembly

and Simulation.

3D SIMULATION
(CHAPTER 6)
∼F1 Check 3D Fitting
Select Variant – Enter – 3D environment
opens.
Either method can be used for assembly –
for this style the Assembly+ works well if Slip
on Points have been correctly applied.
Click on Assembly/Simulation icon
(Cotton Reel) (Chapter 6).
figure 7.15 Assemble+ The garment unfolds in
Relaxation mode.
Note: It will be necessary to go back to Mesh is 3 to aid assembly.
Pattern and place Sliders to Cuff and
Neck pieces for correct placement of Slip When garment is sitting correctly – Fall
on Points F1/Slider . (Gravity).
Do Not include if Pre-Positioning will
Change Mesh to 1.5.
be used prior to Simulation.
Simulate.

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Mechanical Properties (Chapter 6:
Mechanical Properties)
Fabric Type – Select 1.
Click on Select Material opens Fabric
Browser.
Select a Jersey Fabric (this is very important
to achieve the correct look for the garment).
OK/Simulate.
Mechanical Properties – Fabric Type –
Select 2.
Click on Ribbing icon.
Create Ribbing Effect. Set Stretching
Effect with scale (suggest slide to the end
of the scale).
OK/Simulate (Figure 7.15).
This method of Assembly/Simulation is very
effective and straightforward for this simple
style, but if you prefer to manually position
the pieces – Pre-Positioning follow instruc-
tions below.
Assembly/Simulation – Pre-Positioning –
Manual Pre-Position (Chapter 6: Assembly/
Assemble+; Pre-Positioning; Curvature;
Simulation; Relaxation; and Fall)
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figure 7.16
figure 7.17
For a garment with Sleeves, it is advisable to
Simulate the body Pieces first and then add
the sleeves (Figure 7.16).
After positioning the Pieces – remember to
add Curvature (Figure 7.17) (Chapter 6:
Curvature).
For body pieces 30–50% – on Grainline
For Sleeve – 80% – on Grainline.
Make sure the pieces go under the arms.
Cuff and Neck rib (Figure 7.18)
Practise applying the rib pieces is required.
Positioning and curving the Neck and Cuff
Pieces can take time.
There are several different ways to achieve
this.
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 One solution could be to assemble the Rib
pieces First – before the body pieces.
Another effective method is to change the
Neck and Cuff pieces to a different Layer
(Chapter 5: Exercise 10).
Assemble the Front/Back and Sleeves first
in Manual Pre-Positioning.
Set Neck Rib/Cuffs as Layer 2 – Edit/Edit
– click on Pieces (must zoom in here).
Type in 2 in Layer box.
Enter (Figure 7.18).
figure 7.18
figure 7.19
134 CHAPTER 7 CONFIDENCE BUILDING WORKSHOPS
35111.indb 134
Go back to 3D view – Layer Management/
Mount next Layer (Chapter 6: Pre-
Positioning).
It is important to note that it is possible to
go back and forth between 3D and 2D in
order to achieve the required results.
Practise different ways to achieve the
easiest methods of assembly.
Look at changing to different Colours and
Prints, or adding you own Print design
(Figure 7.19).
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 Workshop 2
Dart Modification

In manual Pattern Cutting, moving the shoulder
dart into different positions around the bodice
block is one of the first dart exercises we prac-
tise. Dart Manipulation is the term used for
moving the dart by folding up and closing the
unwanted dart area and slashing open where
the new dart is required. The same result can
be obtained by Pivoting the pattern from the
bust point. We can achieve the same results
digitally. Remember, the thinking behind the
process is exactly the same as with manual
pattern adaptation – e.g. consider the position
for your new dart and mark on the pattern.
Pivot the dart into the new position. Always
start from the BUST POINT
Figure 7.20 (Basic WAISTBLOCK) should look
familiar to you from manual Pattern exercises.

figure 7.20

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 Follow the instructions below to complete
this task digitally.
File/New – Name Model (DARTS) – File/
Insert Model – Choose WAIST_BLOCK
figure 7.21
TO PIVOT A DART
Bust darts Must always be pivoted from the
Bust point (as in manual pattern cutting).
Bring up Front Pattern Piece (remember –
it is preferable to work on the Half Piece and
mirror once modifications are complete)
F1/Add Point For the new position of dart
(click on an existing point, then add the Point
at the required position)
F5/Pivoting Dart (Figure 7.22):
1. Left click on Bust Point
2. Click Fixed Point (one side of bust dart)
3. Click Moving Point (other side of bust
dart)
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35111.indb 136
– Load Files/Close. We will not need the
SLEEVE – so this can be Deleted.
Firstly – move the shoulder dart to the under-
arm position as in sketch (Figure 7.21).
4. Click New opening Point (the new point
– where you want the new dart position)
5. Click Fixed Point again (first side of dart
clicked)
Delete Points left behind from previous posi-
tion and on shoulder line (change Type 2 to 1).
F3/Merge and F3/Deletion.
F3/Deletion
F3/Section Click on End of darts (to
change to Type 2 point) – delete old Points of
darts left behind.
New Opening position.
Practise moving the Shoulder dart around
the Pattern to the different positions shown.
Side seam/Armhole/Neck/CF/French
Sketches (Figure 7.23).
20/08/2018 11:28
 1
2
5

figure 7.22

F5/Dart Cap Folded corner

Click on Fold Notches.

Second box opens.
Notch tools.
Click on the ‘V’s should be Red
(Figure 7.26).

Mark tools 35 should be selected in the

figure 7.23
Pattern pieces – For the French Dart move
both shoulder and waist dart into the same
position (Figure 7.24).
DART CAP
The dart needs to be ‘filled in’ in order to fold
with the seam edge for construction purposes.
For Dart Cap settings (Figure 7.25).
middle box (this setting ensures a drill hole is
marked on the pattern)
Dart cap mark is set at 2 cms (this is the
sewing position for the end of the dart).
Before performing the Function it is
important to Select any Internal lines you
made need (as these will be deleted during the
process).
Right click on waist dart line – goes Green
(selected).
If you want to Replace the piece (e.g. if you
have already named it): Hold Shift down
while clicking – if you want to keep the

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 figure 7.24

original piece do not hold shift – a new piece

will be placed on a new sheet and the original
will be retained.

F5/Dart Cap – Always start from the Bust

Point.
Left click Bust Point.

Left click One end of dart.

Left click The other end of dart.

F1/Semi Circular Draw in the new dart

Line if required (remember Right click to
finish) (Figure 7.27).

If you want to complete the pattern at this

figure 7.25 stage – add Seam Allowance/Grain

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 figure 7.26

figure 7.27

Lines/Name pieces. Mirror the Front Piece FILE/SAVE.

(see special note below) (Chapter 4).
Although we have only been using the
Front Block for our exercises – we still need a
Back Pattern Piece so that we can complete a
Production Pattern and Stitch together for
3D. The Back Block can be used as is for this
exercise.
Alternatively – Assemble and Simulate the
garment first (without seam allowance) in
3D and then go back to pattern to finalize
(Industrialize) for Production. Seam
Allowance/Check all Notches/Grain Lines/
Name Pieces/Quantity to Cut.

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 VARIANT ASSEMBLY – DESK OF
Make a Variant – add all Pattern pieces and STITCHES (CHAPTER 5)
check Single and Paired pieces are entered in ∼F1/Create Piece To Stitch.
Stitch
correct boxes (Chapter 4: Variant; and Variant Pieces can be Stitched in a Single Phase.
for 3D). Add a Single Piece – Front and a Pair
(Hold Ctrl) for Back.
To Stitch Darts Left click End – Right
3D PATTERN click Point – Left click other end Right click
PREPARATION Point.
It is necessary to prepare your pattern by Stitch shoulders/Side seams/CB
cutting out the dart sections as previously (Figure 7.29).
discussed (Chapter 5).

3D SUBSTITUTE PIECE
Mirror the Front Piece FIRST. Remember to
Select the Internal Dart Points/Lines first
– Right click – goes Pink/Green.
F5/Sym 2Pts.
Make sure 3D Substitute Piece is ticked
in Display menu.
F4/Cut or F4/Seam to Generate the
Substitute Piece Hold Alt and Left and Right
click inside the piece (Figure 7.28).

figure 7.28 figure 7.29

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figure 7.30
TIP: Sometimes when a piece has been
Mirrored – the corresponding Points do
not show up in Desk of Stitches (even
though they are on the 2D pattern), e.g.
Armhole point (Figure 7.30) – this Point is
required if you are using Slip on Points.
Go back to 2D pattern view.
F4/Imp. Piece Click on Point on
pattern.
Back to Desk of Stitches point will
now show.
Add Slip on Points – Neck/Left Armhole
and Right Armhole/Waist, if using (Chapter 5:
Slip on Points).
If you prefer to use the Pre-Positioning
method, Do Not include Slip on Points
(Chapter 6).
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3D SIMULATION
∼F1/Check 3D Fitting .
Select Variant – Enter – 3D environment
opens.
Either method can be used for assembly.
If the Assembly+ is preferred, make sure to
add appropriate Slip on points.
Remember to check for point on armhole
as discussed above (Figure 7.30).
Click on Assembly/Simulation
– Assemble+
Garment should gradually unfold on the
Mannequin.
Apply any modification as appropriate
(Chapter 6).
In this example (Figure 7.31):
Assembly/Simulation Pre-Positioning.
Manual Pre-Positioning was used
(Chapter 6: Pre-Positioning).
Proceed as previous instructions.
Press ‘L’ to see Dart lines (Figure 7.32).
Check Mesh – Remember a Higher
Mesh to start (3 or 4) and then reduce
to (1.5).
As before – add a Mechanical Property
(Chapter 6: Fabrics; To Change Fabric in 3D
View; To Create Ribbing Effect; Adding Elastic;
Stiffening; To add own Print to Garment; To
Edit Print on Mannequin). Choose a light-
weight woven. Add Colours/Prints.
141
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 EXERCISES TO TRY
Practise moving darts into different positions
– create new shapes while still retaining the
same fit. Remember – as long as the dart goes
to the BUST POINT – it can be moved
anywhere.
Start to feel comfortable with constructing
a shape and being able to quickly stitch, and
then Simulate in 3D to check the silhouette/
design before continuing.

BOTH DARTS INTO CF

POSITION
Move shoulder and waist darts into CF posi-
tion (Figures 7.33, 7.34 and 7.35).

figure 7.31

figure 7.32

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 figure 7.33

figure 7.35
figure 7.34

DARTS INTO PARALLEL

POSITION
Move Shoulder darts into waist positions and
then Pivot Left dart (as you look at pattern)
into Top line and Right dart into Lower
line – re-orientate piece (Figure 7.36).
F2/Rotate 2pts On CF line.
F3/Section All end of line Points
(Figure 7.37). Completed simulation –
(Figure 7.38). figure 7.36

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 figure 7.37

figure 7.38

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 Workshop 3
Darts into Seams

Again – as in manual Pattern Cutting – darts Panel Seam (Straight) (Figure 7.39)
can be modified into seams. The two most
common panel seams are illustrated below.

figure 7.39

Create a new Model and insert Block from Load Files/Close. The SLEEVE pattern
Library. will not be required and can be deleted
File/New – Name Pattern (PANEL_SEAM). (Figure 7.40).
File/Insert Model – Choose HIP_BLOCK

FRONT BLOCK BACK BLOCK

figure 7.40

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 SET ACCESS PATHS – this will prevent the Extraction process
from working)
(CHAPTER 1) F4/Cut or F4/Seam Cut out each Panel
Click on the FRONT Piece. (Left click then Right click inside each Panel
Adjustments required – connect points/ Piece – Not taking centre section of darts)
lines as below prior to proceeding. (Figure 7.42).
F3/Reshape Click on Shoulder Dart Point
and move to Bust Point and connect this to F3/Adjust
//Adjust 2 lines Tidy up any lines still
top of Contour Dart with a straight line attached.
F1/Straight.
F1/Straight F3/Merge
/
/Merge Type 2 points on seam lines.
Extend bottom of Contour Dart with
a straight line to hemline F1
F1/Straight
Straight (Figure F2/Notch
/
/Notch Add Notches to Points where
7.41). appropriate.
It is quite common to have a Gap where
lines meet ie end of darts and where you have Note: The Points on the seam lines need
drawn connecting lines – so Zoom in to check to be adjusted to provide a smoother
all Lines meet Points and F3/Attach Click on curve. F3/Reshape
Points where necessary – (If there are gaps

figure 7.41

figure 7.42

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 figure 7.43

F5/Sym 2 Pts Mirror Front Piece on CF

(Figure 7.43).
VARIANT
Make a Variant – add all Pattern pieces and
For Back panels – make sure the seam lines
check Single and Paired pieces are entered in
meet up at the shoulder position and proceed
correct boxes (Chapter 4: Variant).
as above.
F1/Semi Circular or F1/Bezier to draw a
Curved line connecting Back shoulder dart
to Top of contour dart. ASSEMBLY – DESK OF
To complete for production – Add Seam
Allowance/Check all Notches/Grain
STITCHES (CHAPTER 5)
Pieces can be stitched in one Phase – all
Lines/Name Pieces/Quantity to Cut
Paired pieces except CF panel (Figure 7.44).
(Chapter 4).
FILE/SAVE. F1/Check 3D Fitting.
∼F1/Check
Alternatively – Assemble and Simulate the
Hold Ctrl and click on for panel pieces
garment first (without seam allowance) in 3D
(except CF – Single Piece).
and then go back to pattern to finalize
(Industrialize) for Production. Stich seams (Figure 7.44).

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 figure 7.45

figure 7.44

Look at adding Stitch/Define Points points. Neck/Left and Right Armhole/Left

Facing Each Other – for Notch positions
(Figure 7.44).
3D SIMULATION
F1/Check 3D Fitting.
∼F1/Check
Select Variant – Enter.
3D environment opens.
Either method can be used for assembly.
If the Assembly+ is preferred – go back to
Desk of Stitches and add appropriate Slip on
Thigh/Right Thigh (Chapter 5: Slip on
Points).
Click Assembly/Simulation – Assemble+
(Chapter 6). Proceed with previous
instructions.
In this example (Figure 7.45), Assembly/
Simulation Pre-Positioning Manual.
Pre-Positioning was used (Chapter 6).
Remember – Curvature/Check Mesh.
Press ‘L’ to see Seam lines (Figure 7.46).
As before – add a Mechanical Property
(Chapter 6).
Change Fabric/Colour/Print

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 figure 7.46

The Second Panel Seam in this example is Make sure seam lines go through the bust
curved – seam lines can be created else- point to keep the fit consistent.
where and bust dart moved accordingly.
Curved Seam (Figure 7.47)

figure 7.47

File/New – Name Pattern (CURVED_ SLEEVE pattern will not be required and
SEAM) – File/Insert Model – Choose can be deleted. Alternatively only select
HIP_BLOCK – Load Files/Close. The the Front and Back pieces.

As above, bring up the Front piece and F1/Semi Circular or F1/Bezier.

F1/Bezier
modify end of Bust dart to Bust Point Draw a curved line – making sure it passes
– F3/Reshape . through the Bust point (Figure 7.49).
F5/Pivoting
Pivoting Dart Pivot Bust dart out of the
//Pivoting F3/Reshape To move curve points around
way – into side seam (Workshop 2) (Figure 7.48). to create a good curve.

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 figure 7.48

figure 7.49

C.F.
figure 7.50

Before cutting out F2/Notch Notch F3/Merge

/
/Merge Zoom in and Merge Type 2
seams – click on appropriate points. Points on the line.

Check again if Gaps are present on the line F2/Orientation to change Notch direc-
and tidy up. tion if necessary. Cut Out CF Panel
F3/Reshape. (Figure 7.50).

F3/Adjust 2 lines or F3/Attach.

F3/Attach F4/Cut or F4/Seam (as above).

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 Cut Out Top Left Side Panel (Figure 7.51).

F4/Cut or F4/Seam
Seam Zoom in to where
Line meets Bust Point and make sure
Point is on the line before cutting this
section.

Cut Out Lower Side Panel (Figure 7.52).

F4/Cut or F4/Seam – again it may be

necessary to check Lines are attached.

F3/Merge Points as necessary as before

and F2/Orientation for Notch positions.
Join Pieces Together (Figure 7.53).

F5/Join
/
/Join Left click on Points either end of
one Piece and then the same on the Piece to
join to.
figure 7.51
F3/Merge Type 2 Points.

figure 7.52

figure 7.53

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 F8/Add
//Add Mark Left click at required position – a
Note: The Points on the seam lines need Mark will be added to Both pieces. (Check
to be adjusted to provide a smoother
Folded Corner of menu and tick Mark
curve. F3/Reshape
All Marriages.) Back to F8/Walking
//Walking Pieces
Left click to resume ‘Walking’ – Right click to
finish.
Just as in manual Pattern Cutting – Pieces can
be ‘Walked’ around and checked for fit. F3/Reshape Make adjustments as
This is done using – F8/Marry /
/Marry – necessary.
Move Marriages – Pivot – Walking Pieces.
Pieces
F8/Divorce To separate Pieces.
F8/Marry Side panel to CF piece.
F8/Move Marriages Position top piece at Add Notches to Marks as appropriate.
start of seam and F8/Pivot. Click on top piece
and drag until in correct position. Left click
and ‘run’ along the seam line with the Mouse. TIP: This process can be useful at any
Right click to stop. Use this function as a time if you have forgotten to add notches
to pieces.
checking device (Figure 7.54).

Create Back Panels according to style

Note: Several Pieces can be Married
required (Figure 7.55).
together on a Sheet and checked for fit –
all will be displayed in different colours. Mirror Front Panel Piece.
This is a very useful Function.
Also, when the two pieces are
Add Grain Lines to all Pieces.
together a Mark can be added for a Notch Check All Seams match.
position – (or as a reference point). Right
click to stop on the line. Add Seam Allowance either before or after
3D simulation.

figure 7.54

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 Name Pieces.

FILE/SAVE.

Alternatively – Assemble and Simulate the

garment first (without seam allowance) in 3D
and then go back to pattern to finalize
(Industrialize) for Production (Chapter 4).

VARIANT
Make a Variant – add all Pattern Pieces and
check Single and Paired.
Pieces are entered in correct boxes
(Chapter 4: Variant; and Variant for 3D).

ASSEMBLY – DESK OF
STITCHES (CHAPTER 5:
SLIP ON POINTS)
∼F1/Create Piece to Stitch
Stitch.
As previous style – all pieces can be stitched
in one Phase.
Diagram shows Slip on Point placement.
figure 7.55 Neck/Left and Right Armhole/Left Thigh/
Right Thigh (Figure 7.56).

figure 7.56

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 3D SIMULATION
F1/Check Fitting.
∼F1/Check
Select Variant – Enter.
3D environment opens.
Either method can be used for assembly.
For this example I have included Slip on
Points.
Assembly/Simulation Assembly+
(Chapter 6).
If Manual Pre-Positioning is preferred –
Do not add Slip on Points and proceed as
(Chapter 6).
Assembly/Simulation – Pre-Positioning
– Manual Pre-Positioning.
A reminder to add Curvature to all Panels
– 30–50%.
As before – add a Mechanical Property –
Change Fabric/Colour/Print.
Press ‘L’ to see seam lines (Figure 7.57).
OTHER EXERCISES TO
TRY USING THE BODICE
BLOCK
There are many possibilities for moving
Darts into seams. Practice will lead onto new
discoveries – don’t forget – if you try out a
style and it doesn’t work – just try another
approach. Digital methods can speed up the
process and lead to several new innovations.
Below are some examples using the Waist
Block.
ARMHOLE DART AND
FRENCH DART INTO A
SEAM
Move Waist Dart into Side and Cut out as 2
panels (Figure 7.58).
Side Seams could be Joined as one Piece.
Add Notches (either before cutting or by
measurements.

figure 7.57

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If you add a Grain line Before cutting out
– both pieces will retain it.
F8/Marry.
Check panels fit together – F8/Marry
Remember to F3/Attach Points prior to
Extraction.
In Desk of Stitches – the Pieces can be
Stitched in 1 Phase.
Remember: Define points Facing Each
Other – for Notch positions (Chapter 5).
Particularly important for unusual Panel
Positions.
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figure 7.58
figure 7.59
There are several possibilities in 3D –
Change Panel Colours – Add different
Fabrics/Prints.
The examples shown are just for
ideas and to demonstrate that once you
start to manipulate Darts into Seams there
could be endless possibilities. Try using
different Blocks to achieve further design
possibilities.
Experiment here and see what develops
(Figure 7.60).
155
20/08/2018 11:29
 figure 7.60

Workshop 4
Darts into Flare

In Workshop 2 we looked at moving Darts
around the Bodice Block to create different
shapes while retaining the same fit. If a flared
shape is required for a skirt or trouser – the
Darts can be closed at the waistline and trans-
ferred to the hemline (as in manual pattern
cutting). The same principle applies for a flared
top – the shoulder Dart can be opened into
the hem. We will look at three examples of
Darts into Flare.
A-Line Skirt (Figure 7.61)

figure 7.61
▲

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 ▲
Create a new Model and insert Block from File/New – Name Pattern (A_LINESKIRT)
Library. – File/Insert Model – Choose SKIRT_
BLOCK – Load Files/Close (Figure 7.62).

FRONT SKIRT
BACK SKIRT

figure 7.62

SET ACCESS PATHS Click on Fixed side of dart.

(CHAPTER 1) Click on Moving Point.

Select Front Pattern Piece. Click on New opening Point.
Add a Point on hem line for Dart opening
Click on Fixed Point again (see Workshop 2).
position.
F1/Add
//Add Point Click on an existing Point Dart closes at waist and opens at hem
and then on position for Point. (Figure 7.63).
F1/Align
//Align 2 Points Click on Dart End F3/Merge Zoom in around waist section
Point and then Point on hemline – the Point Merge Points into Type 1.
on hem is aligned to the end of the waist dart
(Figure 7.63). F3/Deletion Click on Points (Figure 7.64).
F5/Pivoting Dart Click on End point of
dart:

figure 7.63

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 F2/Rotation 2pts If Piece rotates off grain
– Click Left to Right on CF (to straighten
piece).
F3/Deletion Click on internal Mark (bottom
of waist dart) and then Click on Point
(bottom of waist dart) – hemline is filled in
(Figure 7.64).
Zoom in on hem and add a Curve point
for a smoother hem line.
F1/Add Point Between Type 1’s and then
F3/Deletion Click on Type 1’s (remember to
hold Shift for curve point and activate Curve
Points at Bottom Status Bar.
NAME THIS PIECE (so as not to get
confused with back piece – both look very
similar).
Do the same for Back – Pivot both darts
into hem (Figure 7.65) – then compare pieces.
F8/Marry
/
/Marry Click on Front then on Back.
F8/Move
//Move Marriages Click on Hip notch
and place directly over Hip notch on other
Piece.

figure 7.64

figure 7.65

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 CF and CB should be parallel (Figure 7.66).
Add to Front (or take off Back to make side
seams the same).
F3/Reshape Pick up Point at hem and
position until side seams match (Figure 7.67).
F8/Divorce Click on centre of pieces to
separate.
Mirror Front Piece
For Production pattern:
Seam Allowance/Check all Notches/Grain
Lines/Name Pieces/Quantity to Cut.
Add Seam Allowance either before or after
3D simulation.
If required – add a Notch for zip position
at CB.
FILE/SAVE.
Alternatively – Assemble and Simulate the
garment first (without seam allowance) in 3D
and then go back to pattern to finalize
(Industrialize) for Production (Chapter 4).
Final Pattern with seam allowance added
(Figure 7.68).

figure 7.66

figure 7.67

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 figure 7.68

figure 7.69

VARIANT 3D SIMULATION
Make a Variant – add all Pattern pieces and ∼F1/Check Fitting.
Fitting
check Single and Paired pieces are entered in Select Variant – Enter.
correct boxes (Chapter 4: Variant; and Variant 3D environment opens.
for 3D). Either method can be used for assembly
(Chapter 6).
For this example – Assembly/Simulation
ASSEMBLY – DESK OF Assembly+. As this is a simple style.
STITCHES (CHAPTER 5) Or – Assembly/Simulation Pre-
∼F1/Create Piece to Stitch . Positioning – Manual Pre-Positioning if
This is a simple Pattern and all the Pieces preferred.
can be stitched in one Phase. As before – add a Mechanical Property.
Diagram shows Slip on Point placement. Change Fabric/Colour/Print (Figure 7.70).
Waist/Left and Right Knee (Figure 7.69).

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 figure 7.70

Similar to the skirt modifications – the same

effect can be achieved for trousers. The
amount of flare required can be adjusted after
the darts have been pivoted.

Wide-Leg Trouser (Figure 7.71)

figure 7.71

Create a new Model and insert Block from File/New – Name Pattern (WIDE_
Library. TROUSER) – File/Insert Model – Choose
TROUSER_BLOCK – Load Files/Close
(Figure 7.72).

FRONT TROUSER BACK TROUSER

figure 7.72

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 SET ACCESS PATHS
(CHAPTER 1)
Select Front Pattern Piece:
F1/Add
//Add Point On hemline for dart opening
position.
F1/Align 2 Points (click on Dart End and
then Point on hemline). This aligns the
point with end of dart.
F5/Pivoting Dart As above for Skirt
(Figure 7.73).
F3/Merge Zoom in around waist section.
F3/Deletion click on Points (leave one
Point on waistline) (Figure 7.73).
F2/Rotation 2pts If piece rotates off axis.
F3/Deletion Click on internal Mark (bottom
of waist dart) and then Click on Point (bottom
of waist dart) – hemline is filled in.
If necessary Zoom in on hem and add a
Curve Point – F1/Add Point – (hold Shift
for curve point) between Type 1’s and then
F3/Deletion – Click on Type 1’s.
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NAME THIS PIECE.
Do the same for Back – Pivot dart into hem
– then compare pieces.
F8/Marry
/
/Marry – click on Front then on Back
//Move Marriages – click on Hip notch
F8/Move
and place directly over Hip notch on other
piece (Figure 7.74).
Grain Lines should be Parallel.
Add to Front (or take off Back to make side
seams the same).
F3/Reshape Pick up Point at hem and
position until side seams match (Figure 7.75).
As we looked at previously in Workshop 3
– pattern pieces need to be ‘Walked’ around
to check the seams fit together.
F8/Marry side panel to CF piece.
F8/Move Marriages Position top piece at
start of seam.
F8/Pivot Click on top piece and drag until
in correct position. Left click and ‘run’ along
the seam line with the Mouse. Right click to
stop (Figure 7.76).
Do the same with the inside leg seam and
adjust hem line if necessary (Figure 7.76).
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 figure 7.74

figure 7.75

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 F8/Divorce Click on centre of Pieces to
separate.
Inside leg and outside Leg seams are a
different shape – but make sure Grain Lines
are parallel.
For Production pattern:
Seam Allowance/Check all Notches
Grain Lines/Name Pieces/Quantity to
Cut.
FILE/SAVE.
Alternatively – Assemble and Simulate the
garment first (without seam allowance) in 3D
and then go back to pattern to finalize
(Industrialize) for Production (Chapter 4).
VARIANT
Make a Variant – add all Pattern pieces and
check Single and Paired pieces are entered in
correct boxes (Chapter 5).
ASSEMBLY – DESK OF
STITCHES (CHAPTER 5)
∼F1/Create Piece to Stitch .
Desk of Stitches can be done in 2 Phases.
Create Multiple Piece to Stitch (only
figure 7.77
164 CHAPTER 7 CONFIDENCE BUILDING WORKSHOPS
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Stitch one side of a Pair – the System auto-
matically generates the other side).
Click without holding Ctrl on Front and
then on Back – single pieces are added to the
Phase.
Stitch – Outer and Inner leg Seams.
Phase/Add Phase – Create Single Piece
to Stitch.
Hold Ctrl and click on Front then on
Back – two pieces are added to the Phase.
Stitch – Front and Back Rise Seams.
Although this is a simple shape, and could
easily be stitched in one Phase – this is a good
opportunity to show an example of how using
Multiple Piece to Stitch is effective for a
trouser. On more complex styles – Stitching
just Half of the Pieces can save time.
NOTE: Remember to make sure that
the pieces are in the right direction – (a
Pair – from the same side of the body). If
not – go back to 2D Pattern and change
direction of Pattern.
(Slip on Points are shown in diagram,
Waist/Left and Right Ankle, but omit if
preferring to use Manual Pre-Positioning
for Assembly/Simulation, Figure 7.77.)
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 3D SIMULATION As the leg is wide, select a soft draping
fabric.
∼F1/Check Fitting.
Fitting
Alternatively – File/Save 3D Style as –
Select Variant – Enter – 3D environment
and enter another Name – Select a stiffer
opens.
Fabric from the Library so that you can see
Either method can be used for assembly
the difference. It’s a good idea to experiment
(Chapter 6).
with different Fabric weights – to achieve
For this example, Assembly/Simulation
different effects.
Assembly+ is the easy alternative for this
style. Slip on Points are in place and the
garment should gradually unfold. TIP: In Mechanical Properties – Select
Or – Assembly/Simulation. Fabric Type – click on Fabric Type
Pre-Positioning – Manual Properties icon – the selected Fabric
Pre-Positioning. number and type of fabric will be
Add a Mechanical Property (Chapter 6: displayed.
Mechanical Property).

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 Remember: Simulate after selecting a
Fabric from Material Browser – to see
the change in Fabric quality.
Change/Colour/Print (Figure 7.78).
TIP: Image (Figure 7.78) shows two
garments simulated together. For this
process see Chapter 8.
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FLARED TOP/DRESS
To conclude this workshop on Flare – it is
worth noting that the same principles of dart
manipulation can be applied to other garments
(as in manual pattern cutting).
For Tops and Dresses using a Waist or Hip
Block – Pivot the shoulder dart into the hem.
From Basic Block with Darts (Figure 7.79)
– to Flared Dress (Figure 7.80).
More Flare can be added (Figure 7.81).
Apply F3/Stretch (Chapter 3: Adding
Fullness).
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 figure 7.80

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 Workshop 5
Button Wrap and Facing

Adding a Button Wrap to a pattern is neces-
sary for button or stud fastenings. As in
manual Pattern Cutting, the width of the Wrap
is determined by the size of fastening to be
used. In the following example, we will look
at an average size button and work with a
Wrap of 2 cm.
A Facing can be added to neaten a neckline/
armhole/waistline for different garment types.
The following examples are shown for the
Bodice Block (or Waist block) and include
exercises for Separate and Grown on Facings.
Button Wrap with Grown on or Separate
Facing (Figure 7.82).

figure 7.82

Create a new Model and insert Block from WAIST_BLOCK – Load Files/Close
Library (Figure 7.83).
File/New – Name Pattern (FACING) – The SLEEVE pattern will not be required.
File/Insert Model – Choose

BACK BLOCK
FRONT BLOCK

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 SET ACCESS PATHS
(CHAPTER 1)
Button Wrap
Bring up FRONT> piece.
Pivot the Shoulder Dart out of the way –
into the Side Seam position.
F5/Pivoting Dart – (Workshop 2).
F1/Parallel Click on CF Line and drag the
Line in the direction to be placed – in box
check whether + or –.
Leave Mouse and use Down Arrow to
enter the Value for Wrap – (e.g. 2 cm),
Enter (Figure 7. 84).
F3/Adjust
//Adjust 2 lines Extend neck line and Hem
line to meet new Line – Click Line to Lengthen
and then Line to go to F3/Attach Zoom in
Click on Outer Points to make sure they are
attached (Figure 7.85).
Select all Internal Lines/Points – Right
click and Drag a box around the whole piece
(goes green).
Cut out Piece.
F4/Cut or F4/Seam Seam Left Click (Click
inside the Darts and Wrap Line also) and then

figure 7.84

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 figure 7.86
Right click inside piece (if there is a gap in
Pattern the Extraction function will not work
– so always Zoom in and adjust).
F1/Straight Re – draw the CF Line.
F2/Notch
/
/Notch CF (Top and Bottom of line)
(Figure 7.86) – Zoom in here and check
Orientation of Notch – may need to correct
F2/Orientation Click on Notch and
re-position.
The Button positions can be added to the
CF line.
ADDING BUTTON
POSITIONS
There are different methods for marking
button positions on the pattern – the most
efficient is F1/Developed Series
Series.
To Add the Position for the Top button.
F1/Developed Click on CF Neck Point
and enter value down from this point in box
Click on CF Line.
F1/Developed Series Click on top button
position in box, add Step value (spaces in
between each button) (Figure 7.87).
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figure 7.87
Left click on Top Button position on Line
– drag mouse for as many Points as you need.
Click to finish (Figure 7.88).
Second Method
F1/Relative Point To mark Button posi-
tions (on CF Line) use X and Y to put in first
and last button positions (click on existing
Point first).
F1/Division Left click on position of first
top button and then last button position – in
box number of spaces are required – (so if
4 buttons required, enter 3 spaces) put in
amount – Enter (Chapter 3: Adding and
Modifying Lines).
F1/Relative
Relative Point To mark in Drill Holes
– folded corner – scroll in box to Mark Tool
35 – Zoom in and click on each point
(Figure 7.89).
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CF
As an alternative – The Buttonhole
Positions can be added (and later stitched
together in Desk of Stitches).
Zoom in and add positions for Buttonhole
F1/Developed to add a mark either side of
button. Add a straight line F1/Straight for
each Buttonhole.
TO ADD A SEPARATE
FACING
Add the Button Wrap as above first
(Figure 7.84).
Draw on the Facing position (the width of
this will depend on the style creating).
F1/Add
//Add Point At shoulder and hem as a
guide.
F1/Semi Circular or F1/Bezier Draw in
facing shape (click on point to start and hold
Shift for curves – Right click to finish).
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figure 7.88
figure 7.89
F3/Reshape line as necessary (Figure 7.90).
F4/Cut or F4/Seam Cut out Facing shape
(as above).
F3/Adjust
//Adjust 2 lines to complete shape.
Draw in CF line and add Grain line and
Notches (Figure 7.91).
TO ADD A GROWN ON
FACING
Add the Button Wrap and draw on the shape
for the Facing as above (Figure 7.90).
Select Facing line – Right click (goes
Green).
Mirror the Piece on Wrap line –
F5/Sym 2 Pts click on Wrap Line from left
to right.
Right click outside of Piece to deselect
facing line (Figure 7.92).
F4/Cut or F4/Seam Cut out Piece – Select
any internal lines required first – otherwise
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 figure 7.90

CF

FACING

figure 7.91

figure 7.92

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 figure 7.93

they will not copy when the Cut function is F1/Parallel on Back Piece – neckline –
activated (as above). click on line and drag away (Figure 7.95).
F3/Adjust
//Adjust 2 lines Adjust Lines – as above Adjust line on back Piece where facings
(Figure 7.93). meet at shoulder and line to meet CB –
F3/Adjust 2 lines – F3/Reshape.
F3/Reshape

F8/Divorce Click on Front to separate.

BACK NECK FACING
It is not always necessary to include a facing F4/Cut or F4/Seam Cut out back facing
for the back neckline – this depends entirely Piece – check there are no gaps.
on style and method of manufacture being F3/Attach Points if necessary (Figure 7.96).
used. If a facing is required for the back neck
If required the Piece can be mirrored:
– proceed as follows.
F5/Sym 2 Pts Click on CB line
F8/Marry Front to back Piece at shoulder.
(Figure 7.96).
F8/Move Marriages/Pivot to place Piece
Add Grain line.
in position (it may be necessary to flip a
Piece first). For Production Pattern – Seam Allowance/
Check all Notches/Grain Lines/Name
F2/X Sym or Y Sym
Sym.
Pieces/Quantity to Cut.
Zoom in to make sure shoulder Points
match (Figure 7.94). FILE/SAVE.

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 figure 7.94

figure 7.95

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 Alternatively – Assemble and Simulate the
garment first (without seam allowance) in 3D
and then go back to pattern to finalize
(Industrialize) for Production (Chapter 4).
VARIANT
Make a Variant – add all Pattern pieces and
check Single and Paired pieces are entered in
correct boxes (Chapter 4: Variant; and
Chapter 5: Variant for 3D).
3D PATTERN
PREPARATION
(CHAPTER 5)
The preparation, stitching and 3D simulation
for this style is very similar to the Darts exer-
cise in Workshop 2. For this workshop – the
CF is wrapped to accommodate buttons and
the CB is cut on the fold.
3D SUBSTITUTE PIECE
(CHAPTER 5)
Facings are not included in any 3D simulation
so therefore 3D Substitute Piece must be
applied.
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Make sure 3D Substitute Piece is ticked
in Display menu.
F4/Cut or F4/Seam Hold Alt and Left
then Right click inside piece – drag mouse to
include button wrap – But (if the facing is
grown on) do not include the facing piece
(Figure 7.97).
To ensure garment wraps – CF line should
be set to 3D.
∼F1/Set as 3D Click on CF line in 3D
Type box choose Unchanged Fold.
Enter.
Line goes yellow (make sure display
3D curves is ticked in display menu)
(Figure 7.97).
It is also possible to draw on Buttonhole
positions and then stitch these in Desk of
Stitches instead of drawing a CF line (see
above instruction for 2D).
If Button positions are preferred for
Stitching – Proceed to set each one as 3D.
In box select – Unchanged Fold
(Figure 7.98).
For this exercise – either draw a CF line
and set as 3D (Figure 7.98) or draw Each
individual Buttonhole and set as 3D
(Figure 7.99).
More details for adding buttons to garment
on Mannequin are included in Chapter 8:
Visual Effects.
figure 7.97
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 figure 7.98

figure 7.99

ASSEMBLY – DESK OF For Darts Left click End – Right click

Point – Left click other end Right click
STITCHES (CHAPTER 5) Point.
∼F1/Create Piece To Stitch
Stitch.
Stitch shoulders/Side seams/CF (Figure
Single Piece to Stitch: 7.99).
Add a Single piece – Back and a Pair (Hold
Ctrl) for Front.

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TIP: To select CF line – Hold down mouse
button and tap space bar until the correct
line turns Black.
If Buttonholes are required –
Stitch each Buttonhole separately.
Left click then Right click on each line (CF
line will not be required) (Figure 7.100).
3D SIMULATION
∼F1/Check Fitting.
Fitting
Select Variant – Enter – 3D environment
opens.
For this example the garment has been
assembled using Manual Pre-Positioning
(Chapter 6).
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If Assembly+ is preferred – go back to Desk
of Stitches and add appropriate Slip on
points. (Remember to check for point on
armhole – as in Workshop 2 Darts (Figure 7.30).
Assembly/Simulation – Pre-Positioning
– Manual Pre-Positioning (Figure 7.101)
(Chapter 6).
Activate the L button on keyboard to see
Lines and P to see Panels (Figure 7.102).
For some style activating the Panels can
help with identifying problem areas.
In Mechanical Properties – Select Fabric
Type.
Experiment with different prints/colours
Fabric compositions (Figure 7.103).
Re-size Prints and use own Prints to
personalize garments (Chapter 6: Add and
Edit print).
figure 7.100
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 figure 7.101

figure 7.102

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 LEARNING OUTCOMES
In this chapter you will have learnt: different dart positions
prior to realizing the
• to be able to insert Patterns or Blocks
3D Prototype.
into another Pattern from the Library
Workshop 3 Darts into Panels – You
and understand the importance of this
will be able to convert the
procedure;
darts into panel seams, and
• to be able to prepare patterns from
in this workshop you will
sketches provided and apply previously
have learnt how to Walk
learned skills to manipulate and Assemble
and Pivot the Pieces to
and Simulate in 3D, referring back to
check seams fit together.
previous chapter as a reminder of
Workshop 4 Darts into Flare – You
processes;
will be able to convert a
• to use your manual pattern cutting
straight skirt with darts
knowledge to help re-create similar
into an A-line skirt and
shapes on screen and then apply
apply the same process
Assembly and Simulation skills to realize
to a trouser and a top.
the 3D, applying Mechanical Properties
You will apply different
and adding colour and Print choices to
Mechanical Properties
complete the final Prototype, in the
in 3D and this will give an
following workshops:
insight into the importance
of this process.
Workshop 1 Basic T-Shirt. A familiar Workshop 5 Button Wrap and Facing
shape – You will have – You will complete the
gained understanding of process for adding a
how to apply the Rib and Button Wrap and a
challenges that may occur Facing to your garment in
in 3D. 2D. In 3D you will learn
Workshop 2 Dart Manipulation – You how to stitch and
will be able to Pivot a dart Simulate individual
around the garment and buttonholes, adding
apply Dart Cap. You will alternative methods for
be able to experiment with future Prototypes.

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 CHAPTER 8 3D Advanced

LEARNING OBJECTIVES
● Visual Effects to T-Shirt

● To understand and be able to apply more advanced 3D

applications

● How to Assemble and Simulate two garments together

on the same Mannequin

● To understand and apply more advanced Visual

Effects – Fabric/Seam/Notions

● To understand and utilize the Fitting tools – Ease/

Balance/Drawing lines on the Mannequin

● How to Transfer these modification lines from 3D to 2D

● How to apply Alterations to the Mannequin and then

transfer to Pattern

● Exercise 12 – How to Open a 3D Prototype directly from

the. mtg File and Synchronize with 2D Pattern, prior to
applying, Fitting, Alterations and Visual Effects to T-Shirt

180

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 In this chapter, we will look at a number of
more advanced aspects of the 3D solution.
TO ADD TWO GARMENTS
To add two garments to the Mannequin – first
Once a style has been successfully simu-
prepare each Pattern separately and Save
lated in 3D, we can assess how we want
separately.
to proceed, and utilize the different tools
The garments can be prepared and
available.
assembled using Slip on Points. Make sure
Perhaps we need to adjust the Fit – we have
the same Slip on Point is not duplicated (e.g.
several options, from checking the Ease or
if a Waist Slip on Point is on the trouser –
maybe the Balance to making adjustments to
change the Slip on Point on the top to
the style, creating a visual to help with design
Hip – reposition if necessary).
decisions.
Alternatively – if the Pre-positioning
We can add some Visual Effects. This can
method for assembly is preferred this can also
be an important tool for communication –
be achieved.
an indication of Buttons, Rivets, Zips, Top
Open the Model and Simulate the one
Stitching can all be applied.
that you want underneath first.
The Fitting and Alteration tools add an
In this example the JOGGER simulation
opportunity to discover how to amend or
(.mtg file) was opened first and assembled
modify the garment in 3D before returning to
with Slip on Points.
the 2D pattern to finalize. How to draw and
Open .mtg file – JOGGER (Figure 8.1).
transfer lines back to 2D, stitch and unstich a
Lock all pieces (Figure 8.2) – Left click on
garment on the mannequin, cut or add to the
Pieces to lock – turn dark grey. (This is advis-
length.
able so that when the next garment is simulated
We will start by looking at how to add two
the first garment will not be changed.)
garments to the same Mannequin.

figure 8.1

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 Assembly/Simulation – Assemble+
In the Garment window – Make sure you
are in the correct folder and search for the
.mdl file (Pattern file) for the next garment
(VEST).
Click on the File and select Merge – Large
window opens – check Variant is correct.
OK (Figure 8.3).
3D Prototyping box opens – Select NO.
The second garment appears in the
figure 8.2 2D View window alongside the first one
(Figure 8.4).

figure 8.3

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 In Assembly/Simulation – Go to Layer
Management and Left click Mount Next
Layer (Figure 8.5), the second garment is
assembled (Figure 8.6).
If using Pre-Positioning for assembly –
Simulate the first garment in Manual
Pre-Positioning mode – Save – Simulate the
second garment in Manual Pre-Positioning
mode Save.
Open the first .mdl again and simulate it.
The Pre-Positioning will already be saved
in the computer memory and pieces will be
displayed as previously simulated.
figure 8.5
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As above, select the second garment .mdl
file – and Merge (Figure 8.3). Remember
to Lock the pieces of the first garment
(Figure 8.2) prior to proceeding to the second
garment.
Assembly/Simulation – Pre-Positioning –
under the Automatic Pre-Positioning heading
click on Assemble Layer (Figure 8.7).
The Pre-Positioning will already be saved
in the computer memory and pieces will be
displayed as before (Figure 8.8).
Assembly.
Simulate.
figure 8.7
figure 8.6
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 MATERIAL VISUAL
EFFECTS
In Chapter 6, we looked at adding our
own Prints to the garment or using prints
contained in the systems library – Material
Visual Effects. Here we can take a closer look
at other Material Visual Effects contained
under the same menu.

To Change Fabric:
Click on the Design icon – open Material
Visual Effect (Figure 8.10).
Choose a Fabric from Catalog selection
(select from Wovens/Knits/Prints) (Figure
8.11).
figure 8.8

VISUAL EFFECTS
After simulation of the silhouette is complete
– it is useful to be able to apply Visual Effects
to the garment.
A ‘visual’ can be any image format that is
added to the garment – such as a Fabric texture
Velvet/Satin or Knit. Or Buttons/Topstitching/
Bias Binding – Motifs or drawn images such as
Pockets/Ties/Laces/Drawstrings.
The Visual Effects are found when the
Design icon is activated from the Working
Toolbar (at the bottom of the Command Bar)
(Figure 8.9).

figure 8.9 figure 8.10

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Drag onto Mannequin.
The Move/Scale Motif in the Material
Visual Effects box (Figure 8.12) can be used to
modify any of the Fabrics. Under – Garment
Modification a very useful tool (Hold Ctrl
and move with Left click) (Chapter 6).
figure 8.12
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figure 8.11
To create your own Colour Palette –
Open Season Palette and click on Pantone
Book (Figure 8.13) – the colour book
opens – select a colour – drag into Season
Palette box.
Save Palette – enter the path to the folder
in which to save the file – Save.
Using the tools in the Season Palette (top
row of icons) palettes can be Created/Loaded
(from a saved file) – Re-named and Saved
(Figure 8.13).
To Re-Name a colour – Double Click on
it – opens Colour Chooser – type new name
in Name box (Figure 8.14).
Fabric/Colours can be changed on differ-
ent panels on the garment – Change Fabric
Type in Mechanical Properties – Select
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 the garment Panels/Pieces to be different
(Hold Ctrl for multi selection) and change
the number in the Fabric Type box
(Figure 8.15).
Now any Fabric or Colour selected can be
dragged and dropped onto the appropriate
pieces (Figure 8.15).

MORE FABRIC EFFECTS

To change the appearance of the fabric –
Brighter, Darker or Transparent – Click on
the Select tool (Pipette) in the Material
Visual Effect box – then click on the Garment
(or select individual pattern pieces)
(Figure 8.16).
figure 8.13

DIFFUSION/OPACITY/
BRIGHTNESS
These can all be adjusted with the sliders
(Figures 8.17 and 8.18).
The Opacity slider is very useful to show
transparent fabric (Figure 8.18), and can also
be helpful when fitting a garment – (checking
ease amount, etc.).

figure 8.14

figure 8.15

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 See also Fitting (Figure 8.45).
Fabric Effects such as Velvet and Satin can
also be applied.
Click on the Select tool (Pipette) in the
Material Visual Effect box (Figure 8.16) –
then click on the Garment (or select individual
pattern pieces).
Go to Reflect (second small button at
bottom of Visual Effects box) (Figure 8.19).
Tick Satin/Velvet/Panne Velvet – apply
the modifications.
OK.
To apply a ‘Bagged Out’ effect in Visual
Effects/Background view – scroll down to
Profile/Double Rounded (Figure 8.20).
Type in Edge Thickness (0.5–1 cm).

figure 8.16

figure 8.17

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 figure 8.18

figure 8.19

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 figure 8.20

TO SHOW A LINING Open Visul Effect box as above.

Select a Fabric from Catalog selection
It is possible to easily switch fabrics on
and drag into Background image box (Figure
the garment between a Lining and a Body
8.22).
fabric – Fabric Switch. This can be useful to
Click to activate the Link + Red Cross
help inform design decisions early on – differ-
(Figure 8.22).
ent lining possibilities can easily be created
For a plain colour – select from Pantone
– Colour/Print changes can be visualized.
Book (or Season Palette) drag into Season
To show a view of the inside of the
Palette Colour box.
garment for a lining – it is necessary to Delete
To swap between garment and lining click
the Mannequin and proceed with just the
on Switch to change inner and outer positions
Garment veiw.
(Figure 8.23).
Click on Click to Hide (icon on top menu
bar) then click on Mannequin– Mannequin
disappears (Figure 8.21).

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 figure 8.21

figure 8.22

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 figure 8.23

figure 8.24

NOTION VISUAL EFFECTS TO ADD BUTTONS

Choose Notion Visual Effect (Figure 8.9).
Visuals contained in this menu include
Buttons/Zips Motifs/Image formats for
pockets/Drawstrings, etc. To see the various
elements – go to Catalog and browse in the
menu (Figure 8.24).
Open Notion Visual Effect (Figure 8.25).
Choose a Button and Drag and Drop onto
the garment.
The Button can be modified by either using
the Move/Scale Motif (Figure 8.25) – Hold
Ctrl and Scroll with Left mouse button to

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 resize – or Select the Button with the Select
tool (Pipette) this opens the Visual Effect
box (Figure 8.26).
The Width × Height can be changed by
entering a value in either box (it will be
proportionally recalculated).. If you want to
give it different values – click on the Ratio
(Link+ Cross) icon and modify/OK.
If you have several buttons and need to
modify the size – do this first to one button
then Save – click on Save then click on Button
– enter a new name in box/OK.
The Button is now saved to the left column
(Figure 8.27).
Now Click on the new named button and
drag and drop onto the garment – use Move/
Scale Motif to move and position all buttons
(Figure 8.27).
Move/Scale Motif can also be used to
Rotate an element – Hold both Ctrl and
Shift Left click and rotate.
To Delete an effect – select the Delete
icon (Eraser) in the Garment Modification
figure 8.25
Tools box (Figure 8.27). Completed button
application (Figure 8.28).

figure 8.26

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 figure 8.27

figure 8.29

SEAM VISUAL EFFECTS

Choose Seam Visual Effect (Figure 8.9).

TO ADD TOP STITCHING

figure 8.28
TO ADD OTHER EFFECTS
Still in Notion Visual Effect – explore the
library found under Catalog or alternatively
add your own file saved as a jpeg format.
Example of zip (Figure 8.29). Use the
Visual Effects box and tools as above to
Move/re-size, etc.
DETAIL
Scroll through the stitch options (Figure 8.30)
and choose an appropriate visual. Left click
and Drag onto a Seam line on garment
(Figure 8.31).
If you need the seam effects to appear on an
Internal line with no assembly – e.g. to
symbolize a patch pocket, you must first set
the lines as 3D – ∼F1/Set as 3D in the 2D
Modaris Pattern.

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 To Move or change the size of the stitch –
Left click the Move/Scale Motif function
then Left click on the visual (Figure 8.32).
To change the position of the stitch (e.g. a
different seam allowance or position from the
drawn line), Left click the Seam Allowance
function (Figure 8.33) and then Left click on

figure 8.32

figure 8.30 figure 8.33

figure 8.31

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 figure 8.34

figure 8.35
figure 8.36

the visual – type in a different value in box

(Figure 8.34).

TO CHANGE COLOUR OF
STITCH
Left click on Select tool (Figure 8.35).
Click on Stitch line (or visual) opens
Visual Effects box (Figure 8.36).
Change colour by selecting from Season
Palette or Pantone Book (or you can apply
any colour by using the Colour Chooser
(Figure 8.37).
Click on colour required – Drag and Drop
into Colour square in visual effects box/OK
(Figure 8.38). figure 8.37

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 To Save the visual – Left click on the Save
function then Left click on the visual.
Enter a new name in the box/OK
(Figure 8.39).
The visual will be saved in the left-hand
browser column.
Now Select all Seams to have the seam
effect and Drag and Drop onto lines on
garment.
The same methods can be applied to any of
the stitch functions or lace/piping or any other
preferred visual.
Motif/embroidery/drawstring/buttons/zips,
etc – effects can be added to the mannequin
using the Notion Visual Effects. Look in the
figure 8.38
figure 8.39
196 CHAPTER 8 3D ADVANCED
35111.indb 196
Content Library (next to browse) to find
derived elements – buttons/logos-embroidery/
zips.
Although a number of effects are stored in
the library – you can still create your own and
save as a png file – (remember to make the
background transparent before exporting the
file).
Note: Do NOT save the file as a jpeg
– this will not retain the transparency.
Some Visual Effects available (Figure 8.40),
Buttons and Top stitching applied to waistcoat
(Figure 8.41).
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figure 8.41
FITTING
We have looked previously at the garment on
the Mannequin for visual purposes – adding
visual effects/colours/fabrics, etc. However,
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figure 8.40
once the garment has been successfully simu-
lated we can also check the Fit of the Prototype.
The tools used for this are primarily
viewing tools – enabling you to define the
type of changes you can make and then going
back to the 2D pattern to make an adjust-
ment. Amendments can be tried out quickly
and cancelled if necessary before redoing the
2D Pattern and finally validating the change
in 3D.
The system provides a wide range of check-
ing tools – here we will look at the most
commonly used.
Click on the Fitting icon found in the
Working Toolbar.
TO CHECK THE EASE
This tool is useful to compare the body’s
circumference to the garment.
In the Ease submenu (bottom of the
Command Bar) Left click on the Colourization
of Ease icon (Figure 8.42), by default the system
applies to all pieces, click OK.
To Exit the function – click again on the
Colourization of Ease icon.
The Colour Scale is displayed (Figure
8.43).
197
20/08/2018 11:31

figure 8.42
The garment is shown in colours from
White to Blue to Red, Red meaning the fit is
too tight – if this is the case, it may be neces-
sary to go back to pattern and amend.
When the Symmetry option is ticked
(default setting) the system automatically
198 CHAPTER 8 3D ADVANCED
35111.indb 198
figure 8.43
displays the maximum values detected on the
Prototype.
You can also select a section (Figure 8.44)
– e.g. Bust from the Measure Ease box – click
on Tape measure – ease amounts is displayed
in box – OK.
Red line will be displayed on Mannequin –
to delete line click on Projected Number
and Delete on keyboard.
TO VIEW THE EASE
To quickly view the ease around the body you
can also use the Opacity tool (as discussed
earlier in Fabric Effects). Go to Design
icon on the Working Toolbar – click on the
Select tool and click on Mannequin. Then
click on Opacity and slide until the required
transparency is achieved (Figure 8.45).
20/08/2018 11:31
 figure 8.44

figure 8.45

Alternatively, you can display several or

individual pieces in Transparency by using the
Hide icon (top right buttons) with the Hide
by Transparency function (Figure 8.46).
Click on the Small Arrow to the right
of Hide – then on Hide by Transparency
and click on the Pieces you require on the
Mannequin (Figure 8.47). Only the pieces
selected will be transparent.
To turn off Transparency – go to the Show
icon (next to Hide). figure 8.46

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 TO CHECK THE BALANCE
This is useful to define the height difference
between two sides of the garment, e.g. to level
a hem.
In the Upright/Balance Submenu (bottom
of the Command Bar) Left click on the
Horizontal Balance icon (Figure 8.49).

figure 8.47

figure 8.48

Click small arrow to the right – click on

Show Pieces (Figure 8.48).
The Hide and Show functions can be
useful to view some or all pieces with or
without Mannequin if required. figure 8.49

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 Turn Mannequin to side view – Hold Shift
and click on the Highest point of the hem, a
Red Line shows the correct level (Figure 8.50).
A second line shows the place where the
height difference is greatest.
This can be measured Lines/Measurements
– click on Line Measurement.
The Red line is also displayed on the 2D
Pattern view on the right-hand side screen
(Figure 8.51).
To Delete the line (or if you want to change
it) go to Lines/Measurements – Select the
Line Click on Modification/Delete Line.
This line can also be transferred to the
actual Modaris 2D Pattern and there the
alteration can be made.
TO TRANSFER LINES TO
PATTERN
Left click Selector tool and click on Red lines
either on Pattern view or Mannequin.
Properties Bar opens – tick Print
(Figure 8.52).

figure 8.50 figure 8.52

figure 8.51

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 figure 8.53

Open Modaris 2D Pattern – ∼F1/Prints DRAWING ON

Display – Garment Fitting – Press Tab to
select Variant. MANNEQUIN
Enter – line is shown on pattern Click on the Alteration icon found in the
(Figure 8.53). Working Toolbar.
The white lines shown on pattern are only
a guide and not functional – you must now TIP: If icons are greyed out – click top
draw over them in F1/Semi Circular to Selector arrow and click background on
complete amendments. Mannequin view.
Once adjustments have been made to
pattern – revalidate in 3D.
Lines/Measurements – To draw a Line
either select (left click) Multi-Line for a
TIP: If Lines do not show on 2D Pattern straight line or Smooth curve for a curve
– check connection is not lost. – Go to (Figure 8.54). (These are the two most used
Garment and click Synchronize. tools for drawing.)

DRAWING LINES
Lines can be drawn on the Mannequin – a
good way to determine style lines/positions or
any alterations required prior to completing
the pattern. It is also possible to draw lines
directly onto the pattern view in 3D and use as
a guide for alterations. figure 8.54

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 figure 8.55

Left click on Mannequin and draw required

line – once you start to draw – the Modification
tools are activated and here you can adjust and
amend your lines (Figure 8.55).
Practise and experiment here.
The lines will also appear on the pattern
view. Click on End line when finished.
Each new line is numbered next to its
appropriate icon (Figure 8.56).
Lines can be customized – Click on the
name (e.g. Curve 01) and open Properties
Bar – change the line properties as required in
the Lines Attributes (Figure 8.57).
To Delete a line – Click on the line Name
(Figure 8.56) and then on Delete Line icon in figure 8.57
Modification sub menu.

OTHER TOOLS IN LINES/

MEASUREMENTS
2 Points Tape Measure – This allows you to
draw a curve between two points – as if using
a tape measure (Figure 8.58).
Plane Tape Measure – This is used to
draw a circumference on the Mannequin by
positioning a cutting plane (as if by measuring
with a tape measure). The line drawn is kept
figure 8.56 level.

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 In the Plane Tape Measure box select
the axis of Movement/Rotation and use the
slider to create the desired effect.
Then click OK to create the circumference
line (Figure 8.59).
Useful for changing lengths/or for an
asymmetrical hemline.
Distance – This tool lets you draw a
straight line between two points.
It can be useful if you want to know the
distance between two bust darts for example,
or two seam lines.
figure 8.58
figure 8.59
204 CHAPTER 8 3D ADVANCED
35111.indb 204
All of the above functions add the line to
the list on the left of the screen in Lines/
Measurements (Figure 8.56).
TO MEASURE LINES
All drawn lines can be measured – click on the
Name of the line in the list (Figure 8.56) –
then click on the Line Measurement icon in
Measurement Tools sub menu (Figure 8.60).
Box automatically opens with measurement
details (Figure 8.61).
OK to finish.
To Measure a Seam – Any Seam on the
garment can be measured.
Click on Measure Part of Seam icon in
Measurement Tools – as above (Figure 8.62)
– click near a seam on the Mannequin.
figure 8.60
figure 8.61
20/08/2018 11:32
 figure 8.62

Box automatically opens with measurement

details (Figure 8.61).
OK to finish.
All the above methods for drawing lines on
the Mannequin allows the lines to be trans-
ferred onto the pattern. In the same way figure 8.63
– Follow instructions as before – To Transfer
Lines to Pattern – (Figures 8.52 and 8.53).
Click on the Alteration icon found in the
Working Toolbar.
Remember: These lines are only guide Click on the Fitting sub-menu to access
lines.
Alteration tools (Figure 8.63).

TIP: Good practice to use this process

at the beginning when making design
decisions to determine where lines/seams
need to go. Play around with different ideas
– Screen shot for development/reference.
ALTERATIONS
Once you have checked the Fit of the
Prototype and drawn the required alteration
lines onto the Mannequin, as above (Drawing
on Mannequin) (Figure 8.55), you can test
in 3D, whether the amendments achieve the
desired effect prior to changing the pattern.
Remember: These processes are just to
test out ideas and it is always necessary
to go back to the Modaris 2D pattern and
make the necessary adjustments to the
final production pattern.
TO CUT A LINE
This tool enables you to cut a line you have
drawn.
Select the line from list – the line goes
Green and the Cut Lines icon is activated
(Figure 8.64).
Click on Cut Lines (scissors) – Assembly/
Simulate.
Go to Garment Relaxation or Fall and
Click on Fall. The garment will gradually
separate. (If process is going slowly – check
Mesh is not too low (Figure 8.65).)
If you change your mind about the cut – it
is possible to re-join.
To undo cut – Select cut line from list
(diagram of scissors).
Click on Delete Cut (Figure 8.66).
It may be necessary to allow some Relaxation
time before going back to Simulate. Again,
quicker results if Mesh is high.

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 figure 8.64

figure 8.65

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 Draw the dart in position – two separate
lines. It may be necessary to adjust the
lines – use the Modification tools in Lines/
Measurements.
(Often easier to do this in the 2D pattern
view – right-hand screen.)
Select both lines from the list – (hold Ctrl)
click Create Dart from the Pinch sub-menu
(Figure 8.67).
The dart lines are displayed with black
and white dots either end to check they
match.
Click Validate Dart (Figure 8.68).
If you change your mind – click on Cancel
Dart – (next to Validate Dart).
As before – Assembly/Simulate – Go to
figure 8.66 Garment Relaxation or Fall and click on
Fall (Figure 8.69).
To Delete Dart – Click on the Dart
number from list – the Delete Dart icon is
PINCH activated – Click on Delete Dart (Figure 8.70).
This tool enables you to Pinch the fabric The characteristic points for the ends of
after drawing lines to simulate the effect of a the dart are deleted, but the drawn line is still
dart. shown on the mannequin.

figure 8.67

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 figure 8.68

The drawn Lines can be deleted – Select first

then Lines/Measurements – Modification –
Delete Line.

Remember: This is only a guide – The dart

needs to be positioned correctly on the
2D Pattern.

Follow instructions as before –

To Transfer Lines To Pattern (Figures
8.52 and 8.53) – transfer the dart lines
onto pattern and then make modifications as
figure 8.69 required.

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 figure 8.70

UNSTITCH/RE-STITCH
This tool enables you to unstitch a seam
(or part of a seam) and can be useful to
troubleshoot if, for example, the garment is
pulling or not sitting correctly.

TO UNSTITCH A SEAM
Click on Unstitch (Figure 8.71).
Click on a Seam line and hold down
mouse button while dragging along part
to unstitch (the path selected turns Red) –
press Enter to confirm – line goes Black
(Figure 8.72).
figure 8.71
Assembly/Simulate/Fall – WAIT (Figure
8.73). This process can be slow.
You can unstitch a whole seam – Click
on Unstitch/hold Ctrl while clicking on

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 figure 8.72

figure 8.73

seam – release the mouse button. The system

automatically unstitches the whole length of
seam.
To Re Stitch a Seam – Click on Re-
Stitch – hold Ctrl and click on seam line
(Black line).
Release mouse button.
TO MAKE MODIFICATIONS
TO PATTERN VIEW
We have looked at modification made directly
onto the Mannequin. It is also possible to
adjust the 2D Pattern view in 3D. It is useful
to make changes directly to the Pattern view

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 (similar to amending the actual pattern) and
then assessing the Simulation before going
back to the Modaris 2D Pattern and altering
for production.
Drawing on Pattern
Click on the Geometry sub-menu (Figure
8.74) to access the tools required for making
alterations to the pattern view (right-hand
screen).
(If Geometry is not highlighted click on
background of Pattern view.)
Fix Point
This tool is equivalent to the Pin tool in
Modaris 2D, and used to hold down part of
the Pattern while making adjustments to other
parts.
Click on the Fix Point icon then on the
Points to be pinned in the 2D window. (To
Remove Pin – click again.)
the box is controlled by pressing the Tab
key – dx/dy/dl – same as in 2D.
Move Handle
You can change the shape of the curves using
the handles on this tool – Click on Move
Handle and click the handles to move.
Move Curve
Click on the Move Curve icon and then the
line to be moved (use Fix Point for parts not
to be moved first.) Again the Values can be
entered in the box – confirm each value by
pressing Enter
All icons – (Figure 8.75).
Pattern amended for a longer length
(Figure 8.76).

Move Point
This tool allows you to move any point in the
2D window.
Click on the Move Point icon and move
the point in the direction to be moved – enter
the movement values in box/Enter. Use
Down Arrow on keyboard – the movement in

figure 8.74 figure 8.75

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 figure 8.76

This process is very beneficial when learn-

ing and trying out alterations – if necessary
cancelling and re-doing before validating
in 3D.
figure 8.77

When alterations are complete – click on
Update Mesh (Figure 8.77). The system
amends the pattern view.
To confirm the final result – go to
Assembly/Simulate and Fall (Figure 8.78).
Remember: This is a visual aid and once
the design is approved – you must go
back to Modaris 2D and finalize the
production pattern.

figure 8.78

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 The system automatically sends the
Geometry information to Modaris 2D –
so the Properties Bar information is not
required as before. It is still necessary to go
back to the Modaris 2D Pattern, however, and
activate Prints Display to see the alteration
lines.
First make sure the system is
Synchronized – go to Garment in the
Working Toolbar – press Synchronize.
Exercise 12
Apply Fitting/Alterations and Visual Effects
Open Exercise 11. mtg (the 3D version. mtg
File).– File/Save 3D as (Exercise 12).
Go to Garment – Browse – Yellow Folder –
search for Folder containing the 2D Pattern
– Exercise 11.mdl.
The appropriate Files are displayed in the
Left-hand column.
Click on the 2D Pattern File (Exercise 11).
Click on Synchronize.
The 2D Pattern will now open automatic-
ally (Chapter 6: Saving and Opening from
3D).
Remember: The 3D and 2D must be
Synchronized in order for the system to
recognize and apply the Alterations.
Refer to the previous instructions and carry
out the following tasks:
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35111.indb 213
(Connection can sometimes be lost here –
so check if not working.)
∼F1/Prints Display Garment Fitting –
Press Tab to select Variant/Enter – lines are
shown on pattern.
Remember: Lines are only a guide – draw
over in F1/Semi Circular and complete
production Pattern.
Check Mechanical Properties and make
sure Fabric is suitable – Jersey;
Fitting – Check the level of the hem –
Upright Balance and make adjustments
(Horizontal Balance). Correction line shows
on Pattern view – Transfer to 2D;
Modify Pattern in 2D.
TIP: If Lines do not show on 2D Pattern
– check connection is not lost – Go to
Garment and Synchronize.
Alteration – Modify Length of garment (in 3D
Pattern View)– make into a dress length.
Modify Neckline. Geometry/Move Point –
amend Pattern in 3D – Update Mesh.
Visual Effects – Add a Stitch Effect. Seam/
Visual Effect.
FILE/SAVE
▲
213
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 ▲

figure 8.79

figure 8.80

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 LEARNING OUTCOMES
In this chapter you will have learnt:
• to understand and apply more advanced
3D applications;
• to be able to assemble and Simulate two
separate garments onto the same
Mannequin;
• to be able to apply more advanced Visual
Effects – Fabric/Seam/Notions;
• to be able to understand the importance
of and utilize the Fitting tools –
Ease/Balance/Drawing/Measuring
Lines;
• to be able to Transfer the Fitting
Lines from 3D to 2D, and then make
All screenshots of Lectra Modaris® are copyright
35111.indb 215
modifications to the 2D pattern before
re-validating in 3D;
• to understand the importance of the
Alteration tools and how this process can
quickly and easily help to inform
decisions early on in the design process;
• to be able to apply Alterations directly on
the Mannequin in 3D and then return to
2D pattern to update.
Exercise 12 – You will be able to open the.
mtg File – Save as a new style and then Select
relevant 2D pattern and Synchronize prior to
adding Fitting/Alterations/Visual Effects to
your garment from the given brief.
215
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 CHAPTER 9 Advanced
Workshops
LEARNING OBJECTIVES
● To complete the following workshops from 2D Pattern to
3D Prototype – incorporating pieces for waistbands, yokes,
pockets, collars, cuffs and pleats. These components
include applying important and more advanced functions
which will broaden knowledge and skills of the subject
● To discover different challenges in the construction,
preparation and assembly of the following workshops
from sketch to Prototype, exploring the importance of
using 3D to realize a design
● To decide on your preferred way of working and in some
cases with limited instruction, make decisions on the best
way to achieve certain results. If you cannot remember
which function to use – just go back through the previous
chapters and refresh
● You can decide whether to follow the 2D pattern through
from Sketch to Prototyping, or if you want to brush up on
3D skills, just work from the completed Pattern and
follow the guidelines for assembly in 3D
● Workshop 6 – JEAN_BLOCK. To complete a Basic Jean with
new challenges in 2D and 3D construction for pockets/
yoke/waistband/ticket pocket/belt loops
● Workshop 7 – SKIRT_BLOCK and TROUSER_BLOCK. To
understand and apply Pleats in Skirt/Trouser shapes. The
Sewing Desk in particular offers up advanced techniques
and new skills to accomplish
● Workshop 8 – SHIRT_BLOCK. To complete a Basic Shirt
with two piece collar/cuff/yoke, offering new techniques
in both 2D and 3D
● Workshop 9 – DRAPE. A chance to discover an alternative
216
technique and apply the Drape method digitally

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 We are now ready to move on to more
advanced digital methods for Pattern
modification. We will still be working with
fundamental garment shapes – I have included
pieces that incorporate Patterns for waist-
bands, yokes, pockets, collars, cuffs, pleats.
These components include applying import-
ant and more advanced functions which will
broaden your knowledge and skills of the
subject. You will discover different challenges
in the construction, preparation and assembly
of these elements and will be able to adapt the
shapes to suit your own original designs.
From sketch to prototype, we will explore
more fully the importance of using 3D to
realize our design. For this purpose, I have
included a completed Pattern for each of the
workshops, which can be used to practise and
improve skills in 3D. However, I believe it is
very important for the Modaris student to gain
skills in 2D pattern manipulation prior to
proceeding to the prototype stage. It is also
essential to gain more skills and discover differ-
ent techniques for interpreting a sketch into
reality. To this end, I have also added instruc-
tion for the 2D Pattern manipulation for each
style. However, I have limited the instruction
in some cases so that you can decide on the best
way to achieve certain results. If you cannot
remember which function to use – just go back
through the previous chapters and refresh.
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35111.indb 217
You can decide whether to follow the
2D Pattern through from Sketch to
Prototyping, or if you want to brush up on
3D skills, just work from the completed
pattern and follow the guidelines for assembly
in 3D.
I would highly recommend starting from
scratch with the 2D Pattern to improve know-
ledge and skills. The workshops offer an
opportunity to explore new challenges in
2D as well as advanced Desk of Stitches tech-
niques (Pleats), leading to the application of
Visual Effects in 3D.
NOTE: I have referred back to earlier
chapters for some of the repeated
processes, but have gone into more detail
if the process is new or needs further
explanation.
Blocks and Patterns for Workshops 6–8 are
available to download and include:
Workshop 6: JEAN_BLOCK Pattern
JEAN
Workshop 7: SKIRT_BLOCK Pattern
SKIRT_PLEAT TROUSER_BLOCK
Pattern TROUSER_PLEAT
Workshop 8: SHIRT_BLOCK Pattern
SHIRT.
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 Workshop 6
Basic Jean

The denim jean is an important creation in Basic Jean (Figure 9.1).

fashion history.

A basic jean pattern can be reinvented into

whatever shape and fit that fashion dictates.
So as a starting point, we will take a straight
leg, classic shape (Figure 9.1) and concen-
trate on constructing pattern pieces for
integral shapes such as pockets, back yoke,
waistband from which different adaptations
can be evolved according to the current trend.
Widths of leg, different body lengths, shape
and fit of the jean are all possible variations
from the block that can be applied.

In the following workshop we will look at

constructing a structured pocket – the pieces
that make up the pocket – bag/bearer/facing.
Instruction will be included for creating a back
yoke, waistband, ticket pocket, belt loops and
back pockets. figure 9.1

Create a new Model and insert a Block from File/Insert Model – Choose a suitable
Library: block – suggest JEAN_BLOCK
File/New – Name Pattern (JEANS) Load Files/Close (Figure 9.2).

BACK JEAN BLOCK

FRONT JEAN BLOCK

figure 9.2

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 SET ACCESS PATHS
(Chapter 1)
NOTE: The trouser block sits on the
waistline. It is usual to have a slightly
lowered waist for a jean, but again, this is
entirely dictated by the desired design. If
starting from a basic trouser block – make
amendments to rise and leg prior to
starting on pockets, etc. Obviously, to
achieve a good fitting jean, it will be
necessary to try out several fits until
the desired effect is achieved. This is
where 3D prototyping will help to visual-
ize the shape and fit prior to making the
first toile.
If a lowered waist is required use
F1/Parallel.
Draw in lines the required amount from
waistline. (Remember to F3/Adjust 2
Lines to make sure there are no gaps.)
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STRUCTURED POCKET
Pocket bags can be various shapes – it is usual
for a jeans pocket bag to be the shape indic-
ated (Figure 9.3).
Bring up Front Pattern – Draw lines for
Pocket Mouth position and Pocket Bag.
F1/Semi Circular (Figure 9.3).
For a jeans pocket it is also usual to have a
Pocket Bearer – this is cut in denim and sits
on top of the Pocket Bag.
For the Pocket Bearer:
F1/Parallel Click on Pocket Mouth line
and drag mouse away (notice in box if + or –
and type in value accordingly) – approx. 3 cm
from the edge of pocket mouth (Figure 9.4).
TIP: It can be useful to add text to a line
(Chapter 4: Adding Text) – Edit/Text on
Line (make sure Text on Lines is ticked in
Display menu) click on line and type.
figure 9.3
219
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 figure 9.4

figure 9.5

figure 9.6

Cut out Pieces – Pocket Bag/Pocket
Facing/Pocket Bearer (Figure 9.5).
Select any lines/points/notches prior to
cutting out. (Right Click and drag a box
around.)
F4/Cut or F4/Seam.
F4/Seam
F3/Adjust 2 Lines Adjust lines.
TIP: If the Extraction does not work it is
because the points meeting the lines are
not attached F3/Attach
F3/Attach. Click on points
Zoom in here.
Cut out Front Body piece (Figure 9.6).
TIP: To keep drawn lines on piece (so
pocket bag position can be notched) Right
Click and drag a box around area first prior
to using the Extraction tool.
Make sure to add Notches on Pocket Bag
and Body piece for location of pocket facing.
It is usual for a jeans style to join the Pocket
Bag and Pocket Facing pieces and cut in one
(this can eliminate bulk and piece can be cut in
a lightweight pocketing fabric).

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figure 9.7
F2/X Sym Flip the pocket bag piece and
join to facing F5/Join – Remember to add
Notches – add text for Fold Line.
Final Pocket Bag + Facing (Figure 9.7).
Pocket bearer (Figure 9.8).
FLY FASTENING – FACING
Bring up the Front Body.
Decide zip length and on the Front Rise
Seam place a Type 2 Point – 2 cm longer
than zip length. (This will be the where the
stitch line starts.)
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figure 9.8
A parallel line from the seam will give you a
guide.
F1/Parallel Click on Front Rise Seam
line – enter value (usually approx. 3.5 cm).
Enter.
F1/Semi Circular Draw in the fly shape
(remember to hold Shift for curve points).
F3/Reshape Re-shape points as required
until a suitable curved line is achieved.
Add Notch for zip position (Figure 9.9).
F4/Cut or F4/Seam.
F4/Seam
Cut out shape for Fly Facing (select Notch
for zip position prior to cutting Check for
gaps) (Figure 9.10).
221
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 figure 9.9

figure 9.10

FLY ZIP GUARD The Fly Zip Guard is 1.5 cm longer than
the Fly Facing.
Sheet/Copy Fly Facing.
F3/Pin and F3/Move Add this amount
Straighten shape on curved edge.
(Figure 9.12).
F2/Rotation 2 pts (Figure 9.11).
The Zip Guard piece can have issues with
F5/Sym 2 Pts Click on Line to Mirror
points when mirrored, especially when Seam
(curved edge) from Left to Right.
Allowance is added. To correct this, Zoom in
It will be necessary to cut out the Piece again.
and check all Points are attached and Replace
F3/Deletion Straighten up shape by
and Refresh Piece.
Deleting centre Point.
F4/Seam Hold Shift and Left and Right
F1/Ali 2 pts To straighten top of fly guard
Click inside the Piece.
(waist seam) make outer lines parallel.

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 figure 9.11

figure 9.12

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 BACK YOKE Cut out Back Body piece (without yoke). If
dart is slightly longer than required yoke
Bring up Back Pattern piece.
depth (Figure 9.13) Delete end point of
Draw required shape (Figure 9.13) – cut
dart and adjust body piece to fit yoke
out each piece.
(Figure 9.15).
F4/Cut or F4/Seam and take out dart (join
Cut out Back Yoke – (Figure 9.14).
pieces together).
F8/Marry Yoke piece to Body piece
F5/Join It may be necessary to smooth off
(Figure 9.15).
the line slightly (where the joined points
F3/Reshape Add Notches onto back body
meet). Add Curve points and re-shape.
to correspond with yoke (Figure 9.15).
F3/Reshape Add two Notches
(Figure 9.14).

figure 9.13

figure 9.14

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 figure 9.15

figure 9.16

BACK PATCH POCKET Cut out Pocket piece –make sure all corner
points of pocket shape are Type 2 prior to
Bring up Lower Back Body piece.
cutting out shape.
F1/Semi Circular Draw on required
F3/Section Click on points (Figure
pocket shape (Figure 9.16).
9.17).
F4/Cut or F4/Seam.
F4/Seam

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 figure 9.17
figure 9.18
TIP: Sometimes you may have made a
pocket shape and decided the size was
not quite right – use the shrinkage tool
to re-size. F3/Shrinkage Click in Centre
of pattern and enter a percentage.
Enter – (this could be useful for double
pockets).
WAISTBAND
Waistbands for jeans are usually cut singular
and seamed.
Front and back waist measurements are
needed to make a rectangle.
You can measure and record pieces in
Chart Manager (Chapter 4: To Create a
Measurement Chart).This is a good example
of how to use the Chart.
226 CHAPTER 9 ADVANCED WORKSHOPS
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F8/Length Measure Measure CF to Side
Seam and CB to Side Seam – add together
for CF to CB measurement, and then ×2 for
Total Waist measurement (Figure 9.18).
You can use these measurements as an alterna-
tive method to add Notches for side seam
position on waistband.
Sheet/New Sheet
F2/Rectangle Type in values for Total
Waist in box + 3 cm Height.
F4/Seam to Extract piece.
Add CF Wrap to one end of rectangle –
3.5 cm (width of Fly extension).
F3/Pin Ends and F3/Move Notch.
Draw in Straight Line for CF.
Using Chart Manager (Figure 9.18) add in
points and Notches for side seam and CB
positions (Figure 9.19).
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BELT LOOPS
Belt loops can vary in construction methods;
sometimes a continuous strip is required,
usually three times the finished width. Here
we construct a rectangle treble the width
of the required loop. For a 1.2 cm finished
width belt loop the rectangle would be 3.6 cm
wide.
Sheet/New Sheet
F2/Rectangle Draw shape approx. 4 cm ×
3.6 cm.
TICKET POCKET
A Small ticket pocket can also be added. Bring
up Pocket Bearer and draw on shape as
required.
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figure 9.19
figure 9.20
Add notches to bearer piece for sewing
position.
Extract the piece.
Add Grain line (Figure 9.20).
Pattern Pieces are now complete
(Figure 9.21).
It is not necessary to keep the drawn lines
(as indicated) for pocket or fly positions, but if
you find this helpful you can decide.
Finally, check all Notches are placed
correctly – especially for pocket positions.
Make sure all Grain Lines are added.
Name all Pieces.
If not proceeding to 3D – add Seam
Allowance/Check all Notches/Grain Lines/
Name Pieces/Quantity to Cut to complete
the pattern for Production. Remember you
can proceed to 3D with or without seam
allowance – your choice.
227
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 figure 9.21
figure 9.22
A NOTE ON SEAM
ALLOWANCE
There are different thoughts on seam allowance
for Fly fastenings – but if a Stepped allowance
is required for front Rise (Figure 9.22) follow
instructions below – otherwise it is suggested to
have a 1.5 cm seam allowance for Fly Facing
(except waist edge, 1 cm) and Front Rise.
228 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 228
STEPPED SEAM
Add 1 cm to front rise seam.
F1/Developed Add a point at the position
of step (click on an existing point then click
New point position).
Click on line.
White diamond shape appears on line.
F4/Add Corner Click on Developed
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 point (the point designating the step)
F4/Piece Seam Click anywhere on the Line
of the seam to have the larger value.
Down Arrow – In box enter new value
(1.5 cm).
TIP: If you just need an indication of
pocket positions for a quick visual – you
can show them as drawn lines without
attaching pocket pieces.
Back Pocket and Ticket Pocket can be
∼F1/Set as 3D or alternatively, proceed to
stitch pockets into position.

VARIANT
Make a Variant – add all Pattern pieces
and check Single and Paired pieces are POCKET BEARER
entered in correct boxes (Chapter 4: To To make the structured pocket easier to
Create a Variant; and Chapter 5: Variant assemble it is simpler to stitch the Pocket
for 3D). Mouth of the Bearer to the Pocket mouth of
Because it is usual to have 5 Belt Loops – Front leg.
it is suggested to add 2 × Pairs (for Front The Pocket mouth position must be drawn
and Side) and 1 × Single (for CB Loop) onto the Pocket bearer piece (use the original
This means going back to the Pattern and Lines drawn on pattern) (Figure 9.23).
Sheet/Copy the Belt Loop piece – so
there are 3 separate named Pattern Pieces.
At first it seemed likely that 1 Pattern
piece ×5 Singles would be the answer, but
when launching the 3D simulation this did
not appear to work, and prevented the
simulation.
This is a good example of how trouble
shooting is sometimes necessary. If a process is
not working, it will be necessary to try differ-
ent methods until a satisfactory conclusion is
reached.

3D PATTERN
PREPARATION
It is not necessary to include all the pieces for
3D simulation.
Go to the Variant and uncheck the pieces
not required in the 3D column (at end of
box). Pieces to exclude are – Pocket Bag/Fly
Facing/Zip Guard/. figure 9.23

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 Either: Cut piece out again from Pocket
TIP: If you find you do not have the Bearer (Figure 9.23) – remember to Select
original line for Pocket mouth drawn on
All first – Right click and drag a box.
the piece – F1/Duplicate Click on Line to
Or:
copy (from Pocket bag piece) and drag
F1/Duplicate line as above.
across to position required on Pocket
Bearer piece.
3D Substitute Piece as above (Figure
9.24).

The Ticket Pocket position is also

required on this piece. Duplicate the Line as WAISTBAND
above. The extension for the Fly added to the
It’s a good idea to do a final check that all Waistband piece is not required for the stitch-
lines are in correct positions. ing process – the waistband will be stitched
F8/Marry . together on the CF seam.
Always Zoom in to piece for accuracy 3D Substitute Piece as above (Figure
(Figure 9.23). 9.25).
It is also very important to include a Notch
on side seam for the Back Yoke location
(Figure 9.23).
The Stitch Line for the Ticket pocket
position should be set as 3D.
∼F1/Set as 3D Click lines required – in
the box select Unchanged Fold/Enter
(Figure 9.23).
Display/3D Substitute Piece.
F4/Cut or F4/Seam .
Hold Alt on keyboard – Left and Right
click inside the piece required (Figure 9.23).

TICKET POCKET
Because the Ticket Pocket only shows a small
amount on top of the Pocket bearer it is neces-
sary to stop the line where it meets the pocket
mouth – so this line needs to be added to the
piece. figure 9.24

figure 9.25

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 BELT LOOP F3/Section each point.
∼F1/Set as 3D Click lines required – in the
Belt loop needs to be the actual size without
box select Unchanged Fold/Enter Line goes
allowance for turning for 3D purposes
Yellow.
(Figure 9.26).

SET AS 3D BODY PIECES

A Line to stitch the loop to on the Body
∼F1/Set as 3D Click on the following Lines
Pieces (Front Leg and Back Yoke) is required
and in the box select Unchanged Fold/Enter
2 cm down from the waist seam.
– Line goes Yellow.
Bring up Front Leg piece.
Fly Stitch line.
F1/Add Point from CF to first loop
Back Pocket position.
position (8.5 cm).
Ticket Pocket position.
F1/Relative Point Click on point.
Down arrow in box dx – 2 cm – dy – 0
TIP: Once in the 3D It is possible to go
(dl and rotation blank).
back to pattern and add or change these
A point is placed on piece.
lines later if required.
Draw a straight line between points.
F1/Straight Click on point.
Down arrow.
BELT LOOP POSITIONS In box – dx – 0 dy – 1.2 cm (dl and rotation
Waistband
blank).
Decide where the Belt loops are to be
∼F1/Set as 3D Click on new Line – in the
positioned.
box select Unchanged Fold/Enter Line goes
F1/Add Point onto waistband – 1.2 cm
Yellow (Figure 9.27).
wide (width of loop).
In this example on the front the first loop is
8.5 cm from CF.
From Back Side seam to next loop is – 4 cm
and one loop central to CB.

figure 9.26 figure 9.27

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 Do the same on the Back Yoke piece.
Add straight line from CB – 0.6 cm (half of
loop width).
Add straight line 4 cm from Back side
seam – 1.2 cm.
As above set lines as 3D, as above.

ASSEMBLY- DESK OF
STITCHES
Break down the Phases to as many as you
need. You can stitch all the pieces in one Phase
if you find this preferable, but if you are getting
confused – just add as many Phases as you feel
comfortable with. Phase/Add Phase – opens
a new sheet for next selection of pieces. figure 9.28

Remember: The Highlighted Phase is

the one the pieces will be added to.
Four Phases are suggested for this style.
∼F1/Create Piece to Stitch
Multiple Piece to Stitch (Chapter 5:
Create Piece to Stitch).
Front/Back/Back Yoke/Pocket Bearer.
For paired pieces make sure the pieces are
in the correct direction (all from same side of
the body).
Click on pieces (Do Not hold Ctrl for
paired pieces) automatically enters single
pieces into Desk of Stitches.
Open Desk of stitches and position pieces
for stitching (Figure 9.28).
TIP: Remember to Zoom in on area prior
to stitching – it is easier to click on the
correct points. Also, as the trouser is a
long shape – use the full Stop on the
keyboard to move around the screen see
‘To stitch Seams’ (Chapter 5).
Stitch/Add Stitch – Stitch together.
Back Yoke.
Front pocket mouth.
Outside leg seam/Inside leg seam
(Figure 9.28).
Remember: Add Define Points Facing
Each Other for Back Yoke to Front Notch
position (Figure 9.29); see ‘Define Points
Facing Each Other’ (Chapter 5).
TIP: It is easier to achieve the correct
seam locations in 3D when Notches are
applied and identified (Define Points
Facing Each other) to relevant positions.
For this style – with two seams close
together (yoke seam/front pocket seam)
the system needs to know the correct
sewing position other wise it may try to
match the yoke and bottom of pocket
seams – causing a fitting problem when
simulated.

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 figure 9.29

figure 9.30

Phase/Add Phase Back Rise seam.

Single Piece to Stitch – Back to pattern and
select Single pieces to stitch (Hold Ctrl).
Front/Back/Back Yoke/Pocket Bearer.
Add Waistband (but only One piece
required for waistband) (Figure 9.30).
TIP: If you accidentaly choose the wrong
amount of pieces (e.g. two waistbands) –
the pieces will show as Red – just
Edit/Delete click on pieces and go back to
Create Piece to Stitch and add again.
Stitch together.
Front Rise seam.
Waistband (Figure 9.31).
If the Waisband causes confusion – split it
up into sections (Notches are needed here
to identify Side Seam and CB positions)
Stitch from CF to Side seam then Side
seam to CB. Repeat for the other side
(Figure 9.31).
Add Define Points Facing – suggest CF/
CB/Side seam.
Phase/Add Phase.
Stitch together (Figure 9.32).
Back pocket.
Ticket pocket.

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 figure 9.31

figure 9.32

BELT LOOPS Proceed to stitch together as Figure 9.33.

Finally in Desk of Stitches – It is suggested to
In 3D the Belt Loops can affect the simulation
change the Belt Loops/Ticket Pocket/Back
of the waistband (as mentioned in Variant
Pocket to different Layers. See Note on Layer
section).
management later (Chapter 5: Layers).
In order to achieve a satisfactory conclu-
This means that Layer 1 (all the body
sion for the Belt Loops, it is necessary to
pieces) can be assembled and re assembled
create 3 separate Pattern pieces (2 × Pairs and
separately.
1 × Single) and when adding to Desk of
Edit/Edit.
Stitches place them accordingly.
Click inside the pattern piece.
∼F1/Create Piece to Stitch Add into
Box opens.
Desk of Stitches – A Pair for Front
Change Layer column to 2 For Ticket
position.
Pocket and Back Pockets.
A Pair for Side position and A Single
3 For Belt Loops (Figure 9.34.).
for CB.

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3D SIMULATION
F1/Check Fitting .
Select Variant – Enter.
3D environment opens (Figure 9.35).
For this example Manual Pre-Positioning
is suggested.
Assembly/Simulation – Pre-Positioning
– Manual Pre-Positioning.
A reminder: Make sure Manipulation by
Pair is ticked (for paired pieces).
Click on – Move and Align on Mannequin
Segmentation (Mannequin symbol).
Click on a piece in the 2D view and posi-
tion on Mannequin.
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35111.indb 235
figure 9.33
figure 9.34
Use Up and Down arrow keys on
keyboards to turn pieces around.
Click again to place pieces (Figure 9.36).
Add Curvature to All pieces.
Set Curvature Parameter (30–50%
depending on size of piece).
Pieces curve around the body.
Activate the Lines function so that you can
see the pieces are in the right position.
Press L on keyboard (Figure 9.36).
Move the pieces around in Manipulation
tool bar and use the three functions to
re-position.
Refer to 3D Prototyping (Chapter 6:
Assembly/Assemble+).
When happy with positioning:
Assembly/Simulate.
235
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 figure 9.35

figure 9.36

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 Check Mesh – make sure on a high number
– 3 or 4 for initial simulation.
If pieces go wrong, either:
Select individual pieces with top Selector
tool (piece goes pink).
Or:
Disassemble Selection (bottom orange
arrow symbol).
You can also Disassemble Layer – takes all
away.
Pieces can be added a few at a time and
then Simulated.
Practise here to find the best way of achiev-
ing the results you want.
WAISTBAND
It is usually more successful if added to the back
view first and then curved around the body.
Change the Curvature to Crossline 80%
(Figure 9.37).
Note: The Fly Stitch Line is on both
sides – this can be adjusted later when
we add a stitch Effect to one side – then
de-activate the Lines function – so only
one side will show the stitch.
Belt Loops/Back Pocket and Ticket
Pocket
figure 9.37
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35111.indb 237
All of these pieces can be added with
Manual Pre-Positioning as above.
Or in Layer Management activate Mount
Next Layer (Chapter 6).
Note: Layer 1 needs to assemble first
prior to subsequent Layers. Often a better
result is achieved by assembling a few
pieces at a time.
This is useful if you have previously
simulated your garment – on opening 3D
go to Automatic Pre-Positioning/
Assemble Layer (the system remembers
the previous positioning).
Layer 1 will assemble – Check Pieces
(sometimes adjustment required before
simulating) – Simulate.
In Layer Management – Mount Next
Layer – subsequent layers assemble.
TIP: If subsequent Layers do Not
assemble correctly in Layer Management –
Use Manual Pre-Positioning instead.
Activate the Panel function (Press P on
keyboard).
This is very useful, particularly for a style
like this with multiple panels, pockets, etc. It is
easier to see if the pieces are in the correct
position (Figure 9.38).
figure 9.38
237
20/08/2018 11:33
 figure 9.39
Once happy that all pieces are complete –
change Mesh to a lower number – remember
the higher the number the easier the simula-
tion – but the lower number gives a more
realistic appearence. So finalize with 1.5.
TIP: Look at a lower Mesh for smaller
pieces. – Belt Loops/Pocket/Waistband
can be modified.
Select Pieces – Properties Bar –
change Required Mesh to 0.5.
For further details, see Chapter 6:
Mesh.
Add gravity – Fall/Relaxation.
Check Mechanical Properties.
Choosing the correct Fabric Type (a denim
with stretch – elastane in this case) is import-
ant for a realistic simulation (Chapter 6:
Mechanical Properties).
Add a Mechanical Property to waistband
– Stiffen (Figure 9.39).
Select Waistband piece – in Fabric Type
box – change number to 2.
Click on Stiffen icon – slide bar to achieve
desired effect. OK/Simulate (see Chapter 6:
Stiffening).
238 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 238
FINALIZING THE
PROTOTYPE
Adding Visual Effects to your garment gives
it a more realistic appearance.
For this style – visuals such as Weave/Top
Stitching/Rivet application will all help to
make the prototype to look as realistic as
possible.
Click on the Design icon in the working
toolbar and open Material Visual Effects.
Choose a fabric from the library – here I
have chosen a denim and changed the colour
in the Visual Effect box (Figure 9.40).
Select Fabric from Catalog – Click and
drag onto Mannequin.
Click on Select tool in Garment
Modification Tools.
Click on Mannequin.
Visual Effect box opens.
Change colour if required and adjust
Background to the desired effect. Diffusion/
Opacity/Brightness (Figure 9.40).
It is also possible, of course, to apply a fabric
you have scanned – save the image as a
jpeg/png and Browse (yellow icon) for file
location containing the image – Select from
list – drag and drop onto the Mannequin.
20/08/2018 11:33
 figure 9.40

TIP: Remember to Save any new Fabric/

Colour – Click on Save icon – Click on
Fabric. Add a new Name in box. It is
saved to the Left menu.

To Add Top Stitching

From Seam Visual Effect select a top
stitching – here I have suggested – Double_
Top Stitching_Jeans.
Click and drag onto a seam.
It is preferable to adjust the stitch size first
and then Save so that you can then apply the
same stitch to all seams.
To re-size stitching Click on Move icon.
Hold Ctrl and scroll with mouse until
desired effect is achieved (Figure 9.41).
To Change the Colour of the stitch.
Click on Select icon (Figure 9.41).
Click on Stitch line.
Open Season Palette or Pantone Book and
choose a new colour.
Drag and drop into colour square.
OK. figure 9.41

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 Save the new stitch.
Click on the Save icon (Figure 9.41).
Click on stitch line – In box – enter a file.
The file is saved in the list to the left with
.ves.
To manage the position of the stitching.
Click on Seam Value tool (Figure 9.41).
Click on the Stitch Line.
Enter a value in the box (distance from edge
of piece to stitching). For this example 1.5.
OK.
Once the stitch has been added – it will also be
displayed on the pattern view (Figure 9.42).
To add Button/Rivets.
Notion Visual Effect
Buttons can be selected from the Catalog –
under Buttons.
As before select and drag and drop on to
the Mannequin.
figure 9.42
240 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 240
It is advisable to Zoom in for correct
positioning.
Select Button once positioned. Box opens
(Figure 9.43).
Change size by clicking on Width or
Height box (it will be proportionately
recalculated).
If you need to change both width and
height – click on the Link symbol to the side
of value boxes.
Again Save as above.
To complete the visuals – add rivets (a
button can be used for this and resizes or use
an image of your own) (Figure 9.43).
TIP: Remember if using your own file to
have a Transparent background and save
file as a .png. DO NOT save as a. jpeg
(transparency will not be kept).
Completed visuals (Figure 9.44).
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 figure 9.43

figure 9.44

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 Workshop 7
Pleats – Skirt and Trouser

The function for creating pleats in Modaris 2D
is called ‘Effective Pleat’ and can be used to
place a pleat anywhere on your garment. It is
suggested to construct the pattern shape first
ready for pleat insertion.
This workshop looks at inserting pleats into a
skirt and trouser at the waist.
Skirt with Pleats at Waist (Figure 9.45)

Point to remember: Add seam

allowance After the pleat has been
created (this function does not retain
the seam allowance).

figure 9.45

Skirt with 4 pleats at front waist – no fullness File/New – Name Pattern (SKIRT_
at hem. PLEATS).
Create a new Model and insert a Block File/Insert Model – Choose a suitable
from Library. block suggest SKIRT_BLOCK.
Load Files/Close (Figure 9.46).

BACK SKIRT BLOCK

FRONT SKIRT BLOCK

figure 9.46

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 SET ACCESS PATHS
(See page 6)
FRONT
The Front dart value can be taken out at the
side seam – or half of this if more ease around
waist is needed.
F3/Reshape at side seam.
PLEATS
To check the Notch positions for Pleat.
F5/Effective Pleat .
Click on the Folded Corner of the
Function and select Keep Seam Line.
Click on Fold Notches a new box opens.
Click on Notches in first diagram – change
to green and red (Figure 9.47).
F1/Add Point Add a point at waist edge
for position of first pleat in this example 5.5
cm, and Notch.
F5/Effective Pleat Click on Notch for
first pleat (tap space bar to change direction of
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the pleat if required) – drag mouse to end
(hem) of pattern but Do Not click again.
Down Arrow to enter values in box as
below (Figure 9.48).
The different options to choose are as follows:
Depth from Edge Begin – Depth of Pleat
– in this example – (2).
Depth from Edge End – Depth of Pleat at
hem (0) (in this example 0 as no fullness
required at hem for this style – but can be the
same as Begin if fullness of pleat required all
the way through to hem).
Quantity – how many Pleats (2).
Step Repeat Begin – Distance between
Pleats (3) (if only one pleat required enter 0
here).
Step Repeat End – As above (0).
Stop Mark Dist. – If you want the Pleat
stitched down a certain distance from edge
(0).
Stop Mark Shift – The distance to be sewn
down (across) from the stop mark (0).
When values have been entered – Click
end of line (on hem line) (Figure 9.49).
figure 9.47
243
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 figure 9.48
figure 9.49
Note: If using Stop Marks – They are
only added to the Flat Pattern – white
outline (FPattern located on the Status
Bar at bottom of screen).
Click on FPattern. F4/Imp. Pce
Click on each Point – to make them
visible on your pattern (it will be neces-
sary to zoom in here).
BACK
The Back pattern remains as the block with 2
darts. For this style – CB seam – Cut one pair.
244 CHAPTER 9 ADVANCED WORKSHOPS
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If pleats were required for back – follow
instructions for Front.
Waistband
Construct a waistband – see notes in Chapter 9:
Workshop 6. Jeans.
F8/Length Measure Measure CF to Side
Seam and CB to Side Seam.
Add All measurements to Chart (Chapter 9:
Workshop 6. Jeans).
Important – This needs to be the measure-
ment of the waist Without the pleats – (measure
the pattern before pleats were constructed.
Remember to measure between the darts.
20/08/2018 11:33
 Add together for CF to CB measurement,
and then ×2 for Total Waist measurement. You
can use these measurements to add Notches
for Side Seam/CF position on waistband.
Sheet/New Sheet
F2/Rectangle Type in values in box.
F4/Seam to Extract Piece.
Add in points and Notches for side seam and
CF positions (Chapter 9: Workshop 6. Jeans).
3D PATTERN
PREPARATION
∼F1/Set as 3D The Front piece will need to
be mirrored, but first it is recommended to
mark in pleat Fold positions and Set as 3D.
Preparing Pleats and Stitching in Desk of
Stitches can pose quite a challenge, take time
here and refer to instructions.
Important for 3D – 4 Points required
for each Pleat. This means marking 4 posi-
tions on the pattern for each pleat, 2 of which
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need to be Drawn Lines (the lines that Fold)
and then these Lines are Set as 3D.
The choice here is explained below – but to
make this process easier to understand – I would
suggest taking a piece of paper and folding the
pleat as you require and marking right side and
wrong side on the paper. The Fold Lines either
Meet together with Right sides together or
Wrong sides together. This determine which
side is selected (either Wrong side/Wrong
side Fold or Right side/Right side Fold).
Pattern Preparation
F1/Straight Draw Lines on Pattern for the
Fold Positions Only.
∼F1/Set as 3D Click on these Fold Lines
(Figure 9.50).
Tab choose Wrong side/Wrong side fold or
Right side/Right side fold.
As discussed above, this depends on the
Direction of the fold. The Folds either Meet
together on the Wrong Side of fabric or
Meet together on the Right Side of fabric
(Figure 9.51).
Pleat Direction
figure 9.50
245
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 Wrong side wrong side

right side right side

figure 9.51

figure 9.52

When Set as 3D is activated – lines will be Back

Yellow.
F5/Sym 2 Pts The Front piece can now
be mirrored.
Right click and drag a box around piece
first (to select all lines) (Figure 9.52).
The Back piece needs to be prepared for
stitching darts.
Display/3D Substitute Piece.
Generate the Substitute Piece.
Hold Alt on keyboard.

TIP: Note the hemline needs to have a
smoother line – Add a Curve Point
F3/Reshape for a better finish.
Waistband
The Waistband needs Notches placed for
stitching position of pleats – it is important to
be accurate when positioning – Zoom in and
either by:

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 F8/Length Measure Add notches –
measure between points;
or:
F8/Marry Pieces together.
IMPORTANT: For Each Pleat there are 4
Points on the piece that Includes the
Pleat (skirt front). The piece Receiving the
Pleat (waistband) needs to be marked
with 2 Points – for Pleat position
(Figures 9.53 and 9.54).
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TIP: I have staggered the length of the
pleat lines (Figure 9.53) this will give a
closer appearance to the sketch. You can
decide the length of the lines.
Final Waistband with Pleat/Side seam and
CF positions marked (Figure 9.54).
NOTE: Marking the Pleat positions on
both Front and Waistband need careful
consideration.
Take time here for accuracy – if this
process is not correct – the required
results will not be achieved in 3D.
figure 9.53
figure 9.54
247
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 VARIANT
Make a Variant – add all Pattern pieces and
check Single and Paired pieces are entered in
correct boxes (Chapter 4: To Create a Variant;
and Chapter 5: Variant for 3D).
ASSEMBLY – DESK OF
STITCHES
Desk of stitches can be done in one Phase (or
2 if you prefer). Turn pattern pieces to make it
easier to see stitching direction.
As the Pleats may at first cause confusion –
if they are stitched on a separate Phase –
it will be easier to see if corrections are
needed. The two Phases will have the same
figure 9.55
figure 9.56
248 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 248
components – Waistband/Front/Back – but
different Seams stitched on each Piece.
F1/Create Piece to Stitch The first
Phase – Single Piece for Waistband and
Front.
Hold Ctrl for Pair for Back.
Stitch everything except the Front Pleats.
CB Seam/Back Darts/Side Seams/Back Waist
Seam to Waistband – (CB to Side Seam)
(Figure 9.55).
Phase/Add Phase – repeat the process for
the same Pieces into the Phase as above.
This time Stitch as follows:
Stitch all the non-pleated parts of the
waist seam first.
So – Side Seam to First Pleat position –
then Gap and CF Gap (Figure 9.56).
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 figure 9.57

Then Stitch the whole of the Pleat (4 notch

points – Left Click on 1 Right Click on 4) to
the 2 corresponding notches on the waistband
(Figure 9.57).

TIP: Because the front piece is a mirrored

piece – the notches for pleat positions on
one side may not show in desk of stitches
(Chapter 7: Workshop 2).
It is necessary to go back to 2D pattern
and F4/Imp.Pce – click on notches required.

Lastly Stitch/Define Points Facing Each

Other in a Cross – the 2 Yellow lines (Set as
3D) on skirt with the 2 Notch Points on
Waistband.
This is required so that the system knows
to fold the Pleat in this position. Left click one
end – Right click the other (Figure 9.58).
As discussed previously – the Pleat process
can provide quite a challenge – take time to
understand the correct procedure and always
zoom in for increased accuracy. figure 9.58

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 Once mastered – this process can be applied
for Tucks or Folds throughout a Pattern.
In the next Workshop – Shirt – we will add
Tucks to the Sleeve Pattern into a Cuff – the
same process will be applied as above.
3D SIMULATION
F1/Check 3D Fitting
Select Variant – Enter – 3D environment
opens.
Assembly/Simulation.
Manual Pre-Positioning is suggested.
Click on Pattern Pieces and place on
Mannequin – use Up and Down arrows on
keyboard to position piece and then click
again (Figure 9.59).
It is suggested to Assemble and Simulate
the Front and Back Pieces first.
Back – Manipulation by Pair.
Front – untick Manipulation by Pair.
Add Curvature to Front and back panels
30–50%.
Check Mesh is on a high number 3 or 4.
figure 9.59
250 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 250
Back to Pre-Positioning.
Add Waistband – use L on keyboard to see
the Stitch Lines and Up and Down arrows on
keyboard to turn piece until it is in correct
position.
TIP: As the Seam on the Waistband is at
CB – it is advisable to start positioning the
waitband piece at the Front of garment
and curve round to the back.
Apply curvature on Crossline – 60%
(Figure 9.60).
Assemble/Simulate
In Assembly click on Fall until required effect
is achieved – sometimes it may be necessary to
use Pull Fabric to help position Pleats –
remember to activate Simulate for this
(Figure 9.61).
When happy with results lower Mesh to
1.5 – Simulate.
As previously discussed, it is also possible to
look at a lower Mesh for a Seam line – to help
with appearance of Pleats (Chapter 6: Mesh).
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 figure 9.60

figure 9.61

Select Seam Line – Properties Bar change Mechanical Properties

Required Mesh to 0.5. Enter.
Go back to Refine-Mesh – Check 1.5/OK.
Simulate.
TIP: This is only a suggestion and if the
first Simulation provides a good appear-
ance for the Pleats it is best to leave as is.
With experience you will decide the most
appropriate and effective method to use
to achieve the best results.
Fabric Type – Select 1 – click on Select
Material icon – Search for a suitable
fabric.
For this example a Wool Crepe was
selected.
OK/Simulate.
Apply a Mechanical Property to waist-
band. Add Stiffen.
Select Waistband piece – in Fabric Type
box – change number to 2.

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 figure 9.62

Click on Stiffen icon – slide bar to achieve
desired effect.
OK/Simulate (Chapter 6: Fabric).
Material Visual Effects
Select colours – Season Palette or Pantone
Book.
Apply a Fabric visual in Design/Material
Visual Effects.
Look closely at the final simulation and
make any adjustments to pattern if necessary
– again the decision is yours.
Go back to 2D and finalize Production
Pattern – add Seam Allowance/Check all
Notches/Grain Lines/Name Pieces/
Quantity to Cut (Chapter 4).

Tip: Change the look of the garment by

applying different fabic types – a more
draped effect or stiffer look can be
achieved by trying different fabric compos-
itions. This is a good time to try out
different effects.

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 The second Style in this workshop is for a narrow ankle. This time the zip is in the side
loose fit Trouser with 2 pleats at waist and seam (Figure 9.63).

Pleated Front Trouser (Figure 9.63)

figure 9.63

Create a new Model and insert a Block from File/Insert Model – Choose a suitable block
Library. – suggest LOOSE_FIT_TROU_BLOCK.
File/New – Name Pattern (TROUSER_ Load Files/Close (Figure 9.64).
PLEATS).

FRONT TROUSER BLOCK

BACK TROUSER BLOCK

figure 9.64

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 SET ACCESS PATHS
(CHAPTER 1)
As for skirt Pleats – it is suggested to take out
front waist dart before planning first pleat
position. The Trouser Block used in this exer-
cise has a baggy fit and high waist; it is
suggested to lower waist 1–2 cm.
FRONT PLEATS
F1/Add Point Add a Point at waist edge for
position of first pleat (7 cm).
Notch.
F5/Effective Pleat Click on the Folded
Corner and select Keep Seam Line and Fold
Notches a new box opens. Click on Notches
in first diagram – green and red (see notes for
Skirt).
Still in F5/Effective Pleat Click on
Notch for first pleat (tap space bar to change
direction of the pleat) – drag mouse to end of
pattern but Do Not click again.
Down Arrow to enter values in box as
below (see notes for skirt, Figure 9.48).
figure 9.65
254 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 254
Tip: If you don’t want to keep the original
piece when you activate Effective Pleat
– Hold Shift as you click on the point for
pleat position – the piece will be replaced
with the new pleated pattern.
This time we still have 2 × 2 cm Pleats, and
a Step Repeat (distance in between pleats) of
4 cm (Figure 9.65).
If you want to try a Stitched Down Pleat
Effect – add a Stop Mark Dist. (distance
stitched down) of approx. 2 cm.
Practise here – input different values to
achieve different effects. Omit the Stop Mark
Dist for an unstitched finish.
When values have been entered – Click
end of line (on hem line).
Make adjustments to ankle width – here the
pattern is decreased by 2 cm each side.
Activate PRINT (Bottom Status bar) to
see length before and after adjustment
(Figure 9.66).
Remember to reduce the Back piece also.
Draw in lines for Pleats – here the lines are
6 cm in length.
20/08/2018 11:34

TIP: To keep the lines straight F1/Ali 2 Pts
Click on point at Waist then point at End
of line (this will align the second point to
the first).
Set lines as 3D.
Remember: Refer to Pleat placement
instruction for more detail (see previous
notes for Skirt – 3D Pattern Preparation;
and Figures 9.50 and 9.51).
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figure 9.66
figure 9.67
As previously mentioned – the Stop Mark
Dist Points only show on the Flat Pattern view.
FPattern (Status bar – bottom of screen).
To make visible on the piece.
F4/Imp.Pce Zoom in and click exactly
on each point (Figure 9.67).
This stitched down effect for the pleat can
be used on any garment.
WAISTBAND
For a waistband with side seam zip – position
as below (for notch placement). Remember it
255
20/08/2018 11:34
 figure 9.68
is usual to place the zip to the left-hand side
(as worn).
TIP: It is a really good idea to use Chart
Manager (Chapter 4: Create
Measurement Chart) this will help to
accurately mark points on waistband.
F8/Length Measure Add to Chart and
then use these values to place Points on
Waistband.
F1/Add Point Add Points to Waistband –
start from Side Seam to CB and then measure
Front piece from Side Seam to Pleat position
(Figure 9.68).
Line up pieces as in diagram to make it easy
to check.
(To move pieces around screen – press
END on keyboard click on a piece pick up
and move.)
The lines where the pleat is stitched down
need to be drawn in and set as 3D.
F1/Straight
∼F1/Set as 3D Unchanged Fold
(Figure 9.69).
256 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 256
VARIANT
Make a Variant – add all Pattern pieces and
check Single and Paired pieces are entered in
correct boxes (Chapter 4: To Create a Variant;
and Chapter 5: Variant for 3D).
3D SUBSTITUTE PIECE
Back Piece – Darts.
Generate the Substitute Piece.
Hold Alt on keyboard.
ASSEMBLY – DESK OF
STITCHES
F1/Create Piece to Stitch
Again, decide how many Phases you are
comfortable with – 3 are suggested as follows:
Multiple Piece to Stitch (left click on pieces)
for Front/Back Leg Seams –
Stitch Back Darts/Outside leg/Inside
Leg
Stitch ‘Pleats stitched down’ (if using)
(Figure 9.70).
20/08/2018 11:34
 figure 9.69

figure 9.70

Phase/Add Phase Stitch the Front ‘Gaps’ (between pleats) to

Single Piece to stitch (Hold Ctrl for a
Pair) – For Front and Back pieces.
For Waistband – click without holding
Ctrl for Single Piece.
Stitch Front and Back Rise seams.
Stitch Back Pieces to Waistband.
Waistband (Figure 9.71).
Phase/Add Phase
Single Piece to Stitch – (Hold Ctrl for a
Pair) Front and back Pieces.
Single piece for Waistband.

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 figure 9.71

figure 9.72

Stitch Front Pleats to Waistband Apply Curvature.

(Figure 9.72).
Remember: Refer to Pleat stitching
instruction for more detail (see Skirt,
Figure 9.57).
Stitch/Define Points Facing Each Other
in a Cross (see Skirt, Figure 9.58).
3D SIMULATION
F1/Check 3D Fitting Select Variant – Enter
– 3D environment opens.
Assembly/Simulation Pre-Positioning –
Manual Pre-Positioning is suggested.
Click on pattern pieces and place on
Mannequin (Figure 9.73).
Up and Down arrows on keyboard to posi-
tion piece and then click again.
Place Pieces on Mannequin as previously
suggested – Front and back then Simulate.
Waistband Positioning – use
Manipulation tools to position Waistband –
move around with the coloured arrows
(Figure 9.74). Remember – this time the
Waistband fastens at the Side seam.
Make sure the Mesh is on 3 to start simu-
lation but for pleat appearance the Mesh
needs to be lowered to 1.5. It may be neces-
sary to use Pull Fabric in order to achieve the
Pleat direction (make sure you are in Fall for
this process).
TIP: Pleats can sometime present quite a
challenge to Simulate – if one side is
looking better than the other – remember
you can Lock an area and continue to
work on another piece until the desired
effect is achieved (see Chapter 6).

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 figure 9.73

Add Mechanical Properties/Stiffen for

waistband (see Skirt Waistband notes).

TIP: If you decide the fit is not quite right –

the leg needs to be a bit slimmer or wider
– go back to the 2D pattern and make
adjustments. Alternatively, to quickly view
an alteration, this can be done in the 3D
view (Chapter 8) and then the amendments
finalized in the 2D pattern.

Once the silhouette is finalized – go back

to 2D Pattern and complete – Make any
adjustments and add Seam Allowance/Check
all Notches/Grain Lines/Name Pieces
Quantity to Cut and finalize Production
Pattern.
For further Visual Effects – Add Fabric
and colour/weave choice (Figure 9.76).
Practise with different pleat positions – if
the fullness is required through the leg – the
figure 9.74
process is the same as above, but add the same
value in Depth Edge End.
Pleats can be added to any pattern piece
and different values entered for Begin/End
according to the effect required. Practise here
to see what can be achieved.

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 figure 9.75

figure 9.76

Workshop 8
Basic Shirt

A basic shirt is a useful exercise to undertake
as the pattern offers several components
including – yoke/collar with stand/grown on
placket/cuff and placket/button wrap – all of
which can sometimes present a challenge
and need the same consideration as in manual
pattern cutting (Figure 9.77).
The block used in this example is a relaxed
fit – with a lower armhole and wider
shoulder and sleeve. The shape and fit of the
shirt can be changed according to the style
required.
Basic Shirt (Figure 9.78)
▲

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 ▲

figure 9.77

Create a new Model and insert a Block from File/Insert Model – Choose a suitable
Library. block – SHIRT_BLOCK – Load Files/Close
SHIRT_BLOCK. (Figure 9.78).
File/New – Name Pattern (SHIRT).

FRONT SHIRT BACK SHIRT

BLOCK BLOCK

SLEEVE SHIRT
BLOCK

figure 9.78

SET ACCESS PATHS BUTTON WRAP/GROWN

(CHAPTER 1)
Decide the length of the shirt and proceed to
curve the hemline as in sketch.
F1/Semi Circular or F1/Bezier Do the
same for both Front and Back pieces.
ON FACING/PLACKET
Add a Button Wrap at CF (according to style –
this example 1.5 cm) (Chapter 7 Workshop 5).
There are different options for Front
Placket – here this suggestion is a grown on
version. 3 cm wide.

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 If another method is preferred – proceed
accordingly.
FRONT
F1/Parallel Click on CF line and drag to
position – Down Arrow – enter 1.5 (for Wrap)
in Distance box.
Enter.
F3/Adjust 2 Lines (to fill in gaps).
F3/Attach Click on new End Points.
F4/Seam To Extract the Piece.
F1/Straight Draw a Straight Line for CF.
TIP: Name this Line CF – Edit/Text on
Line (text only visible when Cut Piece is
activated (Status Bar)).
figure 9.79
figure 9.81
262 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 262
F5/Sym 2 Pts Mirror the Piece on Wrap
Line and draw in Lines for Facing/Placket
positions (Figure 9.79).
Zoom in and adjust Lines as necessary.
F4/Seam To Extract Piece required
(select Internal Lines first – Right Click and
drag a box around Lines) (Figure 9.80).
F2/Notch Add Notches to top and hem
Lines for CF position and add Notches to
top and bottom Lines.
Use Edit/Text on line to mark in Fold
Line position (Figure 9.81) (Chapter 4).
figure 9.80
20/08/2018 11:34
 BUTTON POSITIONS
We have added Button Positions and
Buttonhole Positions in previous exercises.
Apply the Positions as previous instruction.
F1/Developed Series (Chapter 7)
(Figure 9.82).
If you decide to mark in Buttonhole
Positions to Stitch (instead of CF Line).
These can be marked in as an alternative.
YOKE
Draw Lines on Front and Back Pieces for
Yoke seams.
F1/Straight
Extract Lower panels. Remember for
Front piece to Select all Internal Lines prior
to using the Function (Right Click and drag a
box around the whole piece – to Select all).
Mirror the Back piece F5/Sym 2Pts
(Figure 9.83).

figure 9.82

LOWER BACK

LOWER FRONT

figure 9.83

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figure 9.84
figure 9.85
TIP: Name the new Lower Front piece –
Pieces can all look the same here.
F4/Seam Cut out the Front and Back Yoke
pieces and F5/Join the Yoke seams together
(one of the pieces needs to be flipped in order
to join the correct lines).
F2/Y Sym Click each end of one seam line
and then the other.
F5/Sym 2Pts Mirror piece and add Grain
Line. F4/Axis Add Notches to shoulder
positions (Figure 9.84). (If no 3D is required
– add Seam allowance prior to Mirroring.)
COLLAR CREATION
The collar is usually the focal point of a shirt,
and requires skill in developing a good shape
and fit. It may be that a collar is modelled on
the dress stand – this can then be digitized
264 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 264
YOKE
into the pattern. Or there may already be a
suitable tried and tested collar in the library –
or from a previous style that you would like to
use again. File/Insert Model.
It is also possible to create a collar shape
from measurements on screen (as you may
have done in flat pattern cutting). This method
is described below for this exercise.
Start by constructing Half the collar stand
(Figure 9.85).
Sheet/New Sheet.
F8/Length Measure Measure the neck-
line from CB to CF (Chapter 4).
F2/Rectangle Draw a rectangle using
CB to CF Neck measurement + Wrap
(1.5 cm). Enter value in Width box and 3 cm
(or preferred height of stand) in Height
box.
F1/Semi Circular or F1/Bezier Shape
the Front section of stand as preferred
(Figure 9.85). The topline of the stand can be
20/08/2018 11:34
 straight or curved (as in manual pattern
cutting).
Extract the Stand Pattern Piece (make
sure points are attached).
F1/Duplicate Click on Top Line of Stand
and drag away – Press X on Keyboard to Flip
the Line and reposition (Figure 9.86).
F1/Straight Draw a vertical Line for CB
of Collar from Stand.
F1/Semi Circular to draw in the rest of
the Collar shape (Figure 9.87).
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Extract the Collar Shape
F5/Sym2 Pts Mirror piece on CB line.
F4/Cut Hold Shift as you Click (replaces
piece). Piece needs to be Cut out again in
order to activate the Merge function.
F3/Merge Merge Type 2 points at CB of
Collar.
F4/Axis Add Grain Line (Figure 9.88).
F8/Marry Check the pieces fit together –
Collar to Stand. Check the Stand piece fits
the neckline – either measure the pieces or
figure 9.86
figure 9.87
265
20/08/2018 11:35

figure 9.88
figure 9.89
preferably use F8/Marry/Move marriages/
Pivot/Walking Pieces . This is a good way to
check/add notches at all the correct points
(see Notes in Chapter 7: Workshop 3).
TIP: When several Pieces are Married
together (In this case – Yoke/Lower Front/
Collar Stand) and Walking Pcs is activated
– press Space Bar if necessary to select
the right line for ‘Walking’.
Add Notches for CF position/Collar
location/Front Yoke position.
Add GrainLine – Finished Stand piece
(Figure 9.89).
SLEEVE, PLACKET
AND CUFF
For this style the sleeve is a more relaxed fit.
A Placket is attached to the sleeve and is
10 cm long. The Sleeve also has 2 small tucks
into the cuff. The cuff is 7 cm deep.
266 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 266
COLLAR
COLLAR STAND
These are the measurements used for this
example but are obviously determined by the
style you are creating and can be subject to
style variations.
SLEEVE
Reduce the length of the sleeve according to
the cuff depth – Remember: adjustments may
be needed for sleeve length after fitting.
F3/Pin/Move (Chapter 3: Piece
Modification).
The Sleeve needs to be increased in
width at the hem to allow for the Pleats/
Tucks – here the pleats are 2.5 cm × 2 – as
above F3/Pin/Move add 2.5 cm to each side
at hem.
F1/Straight Draw on slit 0.5 cm longer
than the finished Placket length (10.5 cm) and
approx 6 cm from the back side seam.
Add Notches either side of this line for
seam allowance 0.5 cm.
Add notches for Pleat/Tuck positions
(Figure 9.90).
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 SLEEVE

figure 9.90

10 cm

2.5 cm
SLEEVE PLACKET

figure 9.91

SLEEVE PLACKET (as in manual pattern cutting) and apply the

measurements accordingly (Figure 9.91).
F2/Rectangle Draw to measurements – see
diagram.
F1/Straight In this example the placket is
a traditional shape. CUFF
There are different methods of placket F2/Rectangle Sleeve width (excluding tucks)
assembly – decide on your preferred method × 7 cm deep.

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 It is important to add Notches to cuff Pattern pieces for interfacing as required.
piece for Pleat/Tuck positions and a Notch Check Check all Notches/Grain Lines/
for Sleeve Side Seam location (Figure 9.92). Name Pieces Quantity to Cut
F8/Marry the two pieces together and (Chapter 4).
check that notch positions match. Final Pattern Pieces (Figure 9.93) – Pattern
F8/Move Marriages and F8/Add Mark pieces are shown with added Seam allowance
to mark both pieces for notch positions. – Remember, you can proceed to 3D with or
If completing a production pattern at this without Seam Allowance.
stage – Add Seam Allowance and make

CUFF

figure 9.92

figure 9.93

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 VARIANT
Continue with the Variant – add all Pattern
pieces and check Single and Paired pieces are
entered in correct boxes (Chapter 4: To Create
a Variant; and Chapter 5: Variant for 3D).
3D PATTERN
PREPARATION
Front piece – 3D Substitute Piece
(Chapter 5: 3D Substitute Piece) (Figure 9.94).
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The same applies for Sleeve Piece:
F1/Semi Circular Draw in a Box for the
slit.
Generate the Substitute Piece.
Hold Alt on keyboard (Figure 9.95).
CF Line needs to be Set as 3D in
order to be stitched together – or, if
preferred, Buttonhole Positions can be
stitched individually instead (Chapter 7:
Workshop 5).
∼F1/Set as 3D Click on Line in Box
Select Unchanged Fold.
figure 9.94
figure 9.95
269
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 figure 9.96
figure 9.97
Enter.
Pleat/Tuck positions need to be marked
on Sleeve piece for 3D (Figure 9.95).
Each Pleat/Tuck needs 4 points and lines
marking on piece – and the 2 Fold lines
setting as 3D.
F1/Straight Mark in Fold lines
∼F1/Set as 3D In 3D Type box change
lines to Right side/Right side and Wrong
side/Wrong side – according to the direction
of the pleat/tuck.
This is exactly the same process as we
looked at for Pleats in Workshop 7 (see
Set lines as 3D – Refer to Pleat placement
instruction for more detail (see previous notes
for Skirt – 3D Pattern Preparation, and
Figures 9.50 and 9.51).
The Collar needs a Line Set as 3D
to determine the fold over the stand
position.
F1/Parallel Click on Seam Line and drag
away – approx 1 cm.
F3/Reshape To reshape either end of
line.
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Proceed to Set as 3D as above – but this
time from the dropdown menu choose Right
Side/Right Side fold (Figure 9.96).
The Collar Stand also needs a line for CF
wrap position.
F1/Straight Draw a vertical Line.
∼F1/Set as 3D Click on Line and in
3D Type box choose Unchanged Fold
(Figure 9.97).
The Sleeve Placket piece can be omitted
for 3D and if an indication of placket position
is required Draw onto the Sleeve piece
F1/Semi Circular and then set lines – Set
as 3D.
If the Placket needs to be shown – make a
new pattern piece for this and proceed to
stitch to sleeve in Desk of Stitches.
ASSEMBLY – DESK OF
STITCHES
F1/Create Piece to Stitch
Two Phases are suggested for this style
(Figure 9.98).
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Single Piece to Stitch
Single pieces – Front/Back/Back Yoke/Sleeve/
Cuff.
Phase/Add Phase
Single pieces – Front/Back Yoke/Collar/
Collar Stand.
The Second Phase is to stitch the collar to
the Collar Stand and then the Stand to the
Neckline.
Remember to Zoom in here to make sure
correct Points and Lines are selected for
stitching.
Add Define Points Facing Each Other
(see Figure 9.58) to match notches
(Figure 9.98).
Sleeve to Cuff Stitching
The Sleeve to cuff stitching needs careful
consideration.
Take time with stitching here and again –
Zoom in to the area you are stitching.
There are several order of stitching
methods that can be applied – to avoid confu-
sion it is preferable to stitch the ‘Gaps’
Sleeve to cuff first, and then the ‘Pleat’
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figure 9.98
sections, just the 4 points on Sleeve to the
2 points on Cuff last. (This is the same prin-
ciple as applied previously in Workshop 8:
Skirt – Figure 9.57.)
See Figure 9.99 for Cuff to Sleeve detail.
Tip: If you get confused with the stitch
lines – Edit/Move – pick up the Blue
thread and move to a different position.
This can sometimes help to see which
pieces are stitched more clearly.
Stitch from Opening position on Sleeve to
First Pleat.
Stitch Gap between Pleats.
Stitch from End of last Pleat to Side
Seam and Stitch Side Seam back to Opening
position.
These are all the Gaps – Non Pleated
parts.
Finally stitch the Pleats on sleeve (4 Points)
to the corresponding 2 Points (Notches)
on cuff.
Finish with Stitch/Define Points Facing
Each Other in a Cross – The 2 Fold Lines on
Sleeve to the 2 Points on Cuff (Figure 9.99).
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 figure 9.99

3D SIMULATION
F1/Check 3D Fitting
Assembly/Simulation
Pre-Positioning – Manual Pre-Positioning
is suggested (Chapter 6).
A suggestion for this assembly would be to
start with Collar and Stand – this seems to be
the easiest solution to achieve the correct
position.
Add Curvature – on Crossline 30%
(Figure 9.100).
For ease of collar simulation, the Show figure 9.100
Hair can be Unticked in the Collision
Management Command Bar menu. Alternatively, another solution would be –
Assemble the rest of the Front and Back first assemble the body pieces in Manual
pieces – remember to activate stitch lines by Pre-Positioning.
pressing L on the keyboard for Lines and P Go back to Desk of Stitches and Change
for Panels (Figure 9.101). Collar and Stand to Layer 2 (Edit/Click
Apply Curvature to Sleeves – 80% – on Piece in box change Layer Number/
Simulate with Mesh on 3. Enter).

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 figure 9.101

figure 9.102

Change Cuff to Layer 3.

Back to 3D – once the body pieces are TIP: Panels can be Locked if necessary
while other pieces are simulating. This is
sitting correctly.
especially useful when collar is sitting
Assembly/Simulation.
correctly, but other parts still need to be
Layer Management.
adjusted (Figure 9.102).
Mount Next Layer – Layer 2 (Collar and Click to Hide/Click to Show icons –
strand) will assemble. located in the General Toolbar (top right).
Then Mount Next Layer again – Cuff will Click on Lock and then on the piece to
assemble. lock – turns dark grey. Click on Unlock
Use the Pull Fabric tool to aid collar simu- and on the piece again when finished
lation if necessary – and finally Lower Mesh (Chapter 6).
to 1.5.

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 figure 9.103

In Mechanical Properties – choose an Enter/Simulate. Right click in either

appropriate fabric –Try out different fabric window – tick Show Mesh to see the different
qualities – appearances. Right click again and untick to
Prints/checks or stripes. finish (Chapter 6: Material Visual Effects).
The Collar and Cuffs can also be Stiffened When happy with simulation – try some
– Mechanical Properties Change Fabric Visual Effects – add buttons and top stitch-
Type/Stiffen – slide the bar to achieve the ing, change colour and fabric visual (Chapter 8:
required effect (Chapter 6: Stiffening). Diffusion/Opacity/Brightness) (Figures 9.103
and 9.104).
TIP: After changing a Fabric Type the
piece(s) concerned turn a different colour.
To revert these pieces back to body fabric/
colour – in Materials Visual Effect box
– Click on Save icon then Click on Fabric
(on Mannequin) in box type in a Name/OK
– saves to Left-hand column. You can now
Drag and Drop where required – in this
example, Collar and Cuff.

To help with appearance of collar and cuffs

– Re-Mesh these pieces.
Select the piece to be changed – Properties
Bar – change Required Mesh to 0.5. figure 9.104

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 Workshop 9
Drape
As a designer and creative pattern cutter, the
first choice for realizing an idea is often to
drape directly onto the dress stand. As a
starting point, students engage in manual
pattern workshops experimenting with differ-
ent shapes. For example, rectangles, circles,
triangles can be stitched together in different
ways and draped on the mannequin. This is a
really good challenge, leading to a different
way of producing patterns. Sometimes a
single drape can form the basis for many
designs.
To begin the drape journey – stitch together
two large squares or rectangles and then add
Create a new Model.
File/New – Name Pattern (DRAPE).
SET ACCESS PATHS
(CHAPTER 1)
Sheet/New Sheet
F2/Rectangle In box add values – 100 cm ×
100 cm.
Enter.
F4/Seam Cut out two squares.
F2/Circle Place circles as required for
neck/wrist/hem.
Enter the below values in box.
Radius for the following was used to calcu-
late the circles:
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circles for the head, arms and body to go
through. Practice and experimentation can
produce some interesting shapes.
In this final workshop, we look at replicat-
ing this manual pattern cutting exercise using
digital techniques.
Two large Squares will be constructed (in
this example 100 cm × 100 cm).
Take measurements for Neck/Wrist/
Hem.
Circles for these measurements will be
placed onto the shapes. The shape will be
stitched in Desk of Stitches and Simulated on
the Mannequin.
Neck – 7 cm
Wrist – 4 cm
Hem – 16 cm.
TIP: The circles can be placed at random;
with experience you will know that some
positions work out better than others –
practise here.
F4/Internal Cut Activate Curve Points –
Left click on Points around shape (in a
clockwise direction) and Right click on last
point (Figure 9.105).
Shapes are cut out.
Add a Variant – Single Pieces.
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 figure 9.105

ASSEMBLY – DESK OF Slip on Points – Neck/Waist or Hip/Left

STITCHES
∼F1/Create Piece to Stitch Click on pieces
– automatically enters single pieces into Desk
of Stitches.
Open Desk of stitches and position pieces
for stitching and stitch together.
See stitching diagram (Left and Right click
on the corresponding numbers) (Figure 9.106).
3D SIMULATION
∼F1/Check 3D Fitting
Select Variant – Enter.
3D environment opens.
It may be easier for the simulation to
include:
and Right armhole.
This is a good example of how the Slip on
Point method can be invaluable for some
shapes, as the system needs to know which are
the correct entry points on the garment for
the body to go through.
We are still working with a simple shape
here, but as your designs progress, it is worth
remembering that experience will inform
which process produces the required results.
The same applies for spiral cutting – it is
very difficult to Simulate, for example a
spiral cut trouser, without the aid of Slip on
Points.
If using this method go to Assembly
Simulation – Assemble+

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 1 5 3

2 6 4

2 6 4

1 5 3

figure 9.106

Wait until the shape starts to unfold and
then Fall.
Wait – this can take a while to unfold
(Figure 9.107).
The bar at the bottom right of the screen
will be Green when finished.
Alternatively – Manual Pre-Positioning/
Simulate. If this method is preferred, it will
be necessary to use the Manipulation tools to
angle and move the pieces.
Once the garment has unfolded – go to
Fall.
Simulate/Pull Fabric may also be required
in order to place the garment correctly. –
Remember to have a high Mesh (Figure
9. 108).

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 figure 9.107
figure 9.108
Once the garment is positioned on the
Mannequin, you can go back to the pattern
and add Slip on Points (Wrist position is
recommended) if this is necessary.
Decide which method of assembly you prefer
– both should produce the same results.
Sometimes a mixture of both may be necessary.
It may help to utilize the Panels function
(press P on keyboard) and the Lines (L) in
order to see where the pieces are sitting
(Figure 9.109).
Lower the Mesh to 1.5 when best shape is
achieved.
278 CHAPTER 9 ADVANCED WORKSHOPS
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Go to Mechanical Properties and add a
suitable fabric.
Again, try different qualities/weights of
Fabric and see the different effects that can be
achieved.
The shape created will depend on how the
circles are placed. Once the garment is on
the Mannequin you can go back and forth
between Pattern and Mannequin and change
positions of lines/points until the desired
effect is achieved.
Remember this is only a starting point for
your design.
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 figure 9.109

figure 9.110

Play around with colour/print/fabric

choices and add Visual Effects. Remember: Once the line is positioned –
Select line and Tick Print in Properties Bar.
A suggestion could be to add more folds –
Go back to 2D pattern.
one method to achieve this effect would be by
F1/Prints Display – choose Variant in
∼F1/Prints
drawing on a line and applying an Elastic
Garment Fitting box.
Seam Effect (Figure 9.110). Enter.
Draw over new line in F1/Semi
Alteration/Lines/Measurements (Chapter 8: Circular .
Other Tools in Lines/Measurements).

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 TIP: If lines do not appear on pattern
check, connection is not lost – In
Garment – click on appropriate pattern in
Browser and click Synchronize.
∼F1/Set as 3D Click on line – in box
choose Unchanged Fold.
Enter.
Back to 3D – Select line.
Properties Bar – change effect to Elastic
– decide percentage and back to Simulate. –
Remember Mesh should be 1.5 (for most
realistic results for Elastic, pleats and gathers)
Fall (Figure 9.111).
figure 9.111
figure 9.112
280 CHAPTER 9 ADVANCED WORKSHOPS
35111.indb 280
TIP: An Elastic Visual Effect can be
added to any line – this is an easy way to
visualize a pleated or folded effect.
Sometimes it takes a while for the effect
to complete – remember keep an eye on
the Green Bar (Bottom right of screen).
Use F3/Reshape or F3/Move to move the
circles around the piece if required.
Experiment with different positions/
drawing lines on mannequin/moving
points – utilize the Visual Effects function
and apply colour/prints/seam effects (Figure
9.112).
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 DRAPE/SCALE sleeve – these pieces can then be digitized into
an already existing pattern.
To finalize this section on drape – a note on
Once a draped style has been completed,
applying Scale.
mark up the calico/fabric in the usual way
The half scale dress stand can be a valuable
(while the garment is still on the stand).
tool (Figure 9.113).
Take the garment apart and ‘true’ as many
When learning draping techniques, it can
seams as possible/notch all seams/add grain
be very useful to realize design ideas in small
lines, etc.
scale; reducing the need for vast quantities
It will be necessary to write on points of
of fabric. This method is most effective in
reference, such as – shoulder/neck/armhole
informing design decisions. Sometimes only
CF/CB and of course grain lines.
part of a style is draped – maybe a collar or

figure 9.113

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 figure 9.114
The toile can now be digitized into the
system.
Prepare the toile prior to digitizing (just as
you would a paper pattern (Chapter 2)).
Mark on corner points 2/Curve Points
C/Notches 6.
After digitizing open pattern in Modaris
and follow steps below.
As this function replaces the existing piece
– it’s a good idea to copy your pattern
piece first so that you have the original to go
back to.
Sheet/Copy Click on piece.
It is useful to name some Lines on your
pattern as points of reference – e.g. Neckline/
Shoulder/Armhole, etc. (Figure 9.114).
F8/Length Measure These can then be
measured and double checked on final piece
to make sure correct. (Always add CF and CB
to your pieces.)
To Add Text to pattern –
Either:
Edit/Edit Text on Line – click on a Line
and type in name (this places text on a line).
Or:
282 CHAPTER 9 ADVANCED WORKSHOPS
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F4/Axis Folded corner.
Special Axis – Left click and draw a line
anywhere on the piece (purple).
Edit/Edit – type in Text.
Enter (this places text anywhere on
pattern).
F3/Move To move text around – drag
purple line to a new position.
Text is not visible until you click on Cut
Piece – bottom bar.
Remember to Click off Cut Piece to
continue.
TO APPLY SCALE
Check Settings – Make sure the Length Unit
is set to cm and Scale unit is set to % Scale.
Parameters (top bar) Length Unit/cm
(Figure 9.115).
Parameters/Scale Unit – tick % scale
(Figure 9.115).
F3/Shrinkage Click in Centre of pattern
– in box– enter values in X and Y – if ½ scale
to full scale is required enter 200 in both
boxes.
Enter (Figure 9.116).
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figure 9.116
Now that pattern has increased in size, it is
a good idea to do another check and measure
seam lines.
F8/Length Measure Measure Lines and
make sure that they are twice the size of
original pattern (Figure 9.117).
Apply any modifications and complete
pattern.
Proceed to 3D and complete Production
Pattern.
Seam Allowance/Check all Notches.
Grain Lines/Name pieces/Quantity to
Cut.
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figure 9.115
figure 9.117
With all of these tools at your disposal,
experiment and see what innovative outcomes
can be achieved.
To conclude – I have selected some images
of student work using the drape technique.
The patterns for all the following creations
were completed using Modaris Classic and 3D.
283
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 figure 9.118
Keryanne Cervan

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 figure 9.119
Charlotte Treadwell

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 figure 9.120
Kristian Østvik

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 LEARNING OUTCOMES
In this chapter you will have learnt: Workshop 6: Basic Jean – You will have
gained knowledge of the complexities
• to be able to complete the following
of components required and how to
workshops from sketch to 3D Prototype,
successfully apply them
and have broadened your skills and
Workshop 7: Skirt and Trouser with
knowledge of both 2D and 3D
Pleats – You will have leant new skills
solutions;
and techniques in the application of
• to have tackled the challenges in the
Pleats both in the construction of the
construction, preparation and assembly
2D Pattern and the Sewing Desk to
of the following workshops and
the realization of the Prototype
recognized the importance of using
Workshop 8: Basic Shirt – You will
3D to realize a design.
again have learnt the complexities
• to come closer to discovering your
of these components and be able to
preferred way of working, whilst
use these techniques in further
recognizing the many different
practice
alternatives that can be employed to
Workshop 9: Drape – You will have
achieve the end results.
experimented and produced some
• to have created Patterns and Simulated
innovative results by draping on the
Prototypes for the following workshops:
digital Mannequin.

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 CHAPTER 10 Quick Reference
Guide
● This final Chapter is an alphabetical guide to some of
the most frequently used functions for both 2D and 3D
in Modaris Classic. It provides a quick reminder for a
process which you can then find in more detail if required,
in the previous chapters

288

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 ALIGN (Points) CHECKING
To align a point directly with another To Check Pieces fit together
F1/Ali 2Pts F8/Marry
Click on the Point to stay still Click on centre of one piece and then the other
Click on the point to move F8/Move Marriages
Three points can also be aligned Click on a point of one piece and place in position
Pivot – If you need to move the angle of the piece –
ASSEMBLY left click inside the piece and drag
To Stitch Seams together in Desk of Stitches Walking pieces
Stitch/Add Stitch Position pieces together, Left click where lines touch.
Make sure you stitch the seams in the same direction Move mouse to follow line
(i.e. if you start at the armhole edge towards the Right click to stop
neck – do the same on the corresponding seam – Left click to start again
otherwise the seam will be twisted) F8/Divorce to separate pieces
Left click one end of the seam, Right click the other
end CIRCLES
Left click the corresponding seam, Right click the Sheet/New sheet
other end F2/Circle
Left click away Type in Radius – Circumference ÷ 6.28
Enter
ASSEMBLY IN 3D
COPY
(using Slip on Points in Desk of Stitches)
To Copy a line on 2D pattern
From the top menu (Working Toolbar) click on –
F1/Duplicate
Assembly/Simulation
Click line to copy and move across to new position
Assemble+
(can click X on keyboard to flip line if necessary)
Alternative assembly in 3D, see Pre-Positioning
F3/Reshape if required – check points are attached
Sheet/Copy – If you want to copy a pattern piece and
BUTTON POSITION
save the original
Button Positions on 2D pattern
F1/Developed Series CREATE PIECE TO STITCH
Add the Position for the Top button To send piece to the Assembly stage in Desk of Stitches
F1/Developed – Click on CF Neck Point and enter ∼F1/Create Piece to Stitch
value in box (distance down from CF Neck Point Click on Pattern piece for a Pair – Hold Ctrl
for top button) For a Single piece – Single click
Click on CF Line
F1/Developed Series – Click on top button CURVATURE
position Curve pattern pieces to fit around the body when
In box add Step value (spaces in between each using Pre-Positioning in 3D assembly
button) Select a piece first (Select tool) – Curvature icon is
Left click on Line – to add the Point – drag mouse for activated
as many Points as you need Enter an amount in Parameters % box (usually
Click to finish 20–80)

BUTTONS CUT or EXTRACT

To add buttons in 3D To cut out a shape
Notions/Visual Effects F4/Cut
Left click and right click inside piece (goes green)

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 Page down to see piece (it doesn’t come up until you Left click Frac.scale/% scale (don’t worry that the
page down) long white line attached to the pivoting function
F4/Seam – If Seam Allowance is added. (Use Seam if goes also)
working with Flat Pattern) Left click in the Ratio box and type in 50 (for example)
If this function does not work – check there are no Enter – only half the dart amount is moved
Gaps in the pattern – points not attached
*When pivoting a dart on a pattern that already
Zoom in to check
has seam allowances–
Use this function – If a pattern piece goes wrong Make sure keep seam line is ticked in the box that
it is best to cut out again to refresh opens from folded corner
F5/Pivoting Dart
To Cut a Piece in Half (that has been mirrored)
F5/Cut 2 Pts – Left Click either end of mirrored To Extract the dart in preparation for Desk of
line Stitches and 3D
Hold Alt + F4/Seam/Cut
CUT OUT A HOLE Left then Right click inside the piece
To extract a shape from pattern piece To extract the contour dart
F4/Internal cut Hold Alt – F4/Internal Cut – Left click on each
Go around piece in a clockwise direction and Left point and Right click the last point
click on corner points
To Stitch a Dart in Desk of Stitches
Right click on Starting Point to finish
Left click End Right click Point of Desk of Stitches
one dart line then – repeat for other line
DARTS
Left click End Right click Point – Left click away
To Pivot a Dart
Add a point for new position of dart – F1/Add Point
DELETE
F5/Pivoting Dart
To Delete a move in 2D or 3D
Click on Bust point
Ctrl + Z
Click Fixed point
Click Moving point To Delete a point or line on Pattern
Click New Opening point F3/Deletion
Click Fixed point again Click on point (click on Selection top right after
Delete points left behind from previous position function has completed)
(change type 2 to 1 – merge and delete)
To Delete a curved line
F3/Deletion
To Fold the Dart
Hold down Shift and click on line
F5/Dart Cap
Click on folded corner – Fold notches – Click on No To Delete or change seam allowance
mark – scroll to 35 – (Dart cap mark is set to F4/Line seam
2.5 cm position of mark from bust point)* (In most Click on line to change – change value or
cases this has been previously set so this process Del. line seam val. (to delete) – click on line
may not be necessary)
To Delete a sheet
Click on Point of dart
Sheet/Delete
Click Side of dart for direction of underfold
Move cursor over sheet and click
Click Other Side of dart
(Hold Shift down to permanently deletes pattern – no
To Pivot Half a dart or a percent of a dart –
‘ghost’)
F5/Pivoting Dart
Proceed as for pivoting Dart – When you get to the If you accidentally Delete a sheet
new dart position – in box Ctrl + Z

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 DIVIDE A LINE
F1/Sequence Division
Click either end of line to divide
In the box type in Division number (e.g. for 4 parts
type in 5 divisions)
Sliders appear at calculated intervals
F3/Insert Point – Click on slider – to change to
(type 1 points if required
DRAWING LINES
Drawing Internal Lines on 2D pattern
F1/Straight (hold Ctrl for a straight line)
F1/Semi-circular – for a curved line
Left click to start – Left click for straight point – Left
click + Shift for curve point – Right click to finish
Parallel lines
F1/Parallel – click line and drag mouse in direction
to go – (notice if pos. or neg. in box and apply
accordingly)
Down arrow and enter value
Enter
F3/Adjust 2 lines Zoom in to adjust lines (can
lengthen or shorten) do Not click Point, click
Line to lengthen and then Line to go to (this can
also be used to get rid of red diamonds on end of
lines)
Drawing Lines on Mannequin in 3D
Click on the Alteration icon in Working Toolbar
Lines/Measurements – select Multi – Line or for a
curve – Smooth curve
Left click on Mannequin and draw required line
Modification tools are activated – adjust and amend
r lines
Click on End line when finished
The lines will also appear on the pattern view
DUPLICATE
To Duplicate a line
F1/Duplicate
Click on Line and drag away
To Flip – press X on keyboard. (Q and W can be used
to change position as required.)
FACINGS
To take a Dart out for a facing
F1/Straight – Draw in dart lines on piece
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F1/Parallel – Click on line to be parallel to – in box
type in amount (remember to check if positive or
negative value is required)
Do the same again for the other side of dart line
F3/Adjust 2 lines
Zoom in and check there are no gaps
F4/Cut – cut each piece out either side of dart
F5/Join – click on end points of piece to move and
then click either end of piece to join to
F3/Merge and Delete – to tidy up
Adding a Facing
Bring up front piece (or piece to be faced)
F1/Parallel – To add a button wrap
Click on line – Down arrow – enter value in box
Enter
F3/Adjust 2 lines – Zoom in
Cut out whole pattern piece F4/Cut
F1/Add point – To mark in CF Click top and bottom
of line
F2/Notch
Separate Facing – F1/Add a Point at shoulder and
hem (enter value in box)
F1/Semi Circular – draw in facing shape
F4/Cut – to cut out facing
Grown on facing – do the same then
F5/Sym 2 Pts. select facing line hold Shift – left
click top and bottom of button wrap line – piece is
mirrored
F4/Cut to cut out piece required (leaving surplus
behind)
To Exclude a Facing in Preparation for Desk of
Stitches and 3D
3D Substitute Piece
To copy front piece without facing
Display/tick 3D substitute piece
F4/Seam or F4/Cut – hold down Alt – Left then
Right click inside of piece to copy
Piece turns purple
(to turn piece back to blue – un tick in Display menu).
The ‘substitute piece’ is on top of the original piece
To Delete a Substitute Piece
Press Delete on keyboard and Click inside the Piece
FLARE/FULLNESS
F1/Add Point – Add point(s) on hemline where you
want to open up pattern
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 2 Methods: Press Space Bar to select all other lines
F3/Pin Ends (can pin other points if required) RELEASE mouse button
PUT PRINT ON
F3/Stretch – click on point to pivot from (e.g. on JOIN
waistline) and then click on point to open up To Join two pieces
to (point(s) just made on hemline) – pattern F5/Join
opens up Click on end points of piece to move and then click
In box– type in amount to open in dl either end of piece to join to
Enter and Left click Tidy up join in F3/Merge and Delete
F2 rotate 2 points If CF is out of alignment (click
from left to right) LENGTHEN (Pin and Move)
To Split the pattern – adds fullness into sections To Lengthen (or Shorten) a LINE (following
F3/Section – click on X point(s) at hem convert to direction of line)
type 2 points Activate Print
F3/Detach to split – click on point again F3/Pin (either ends or any points required)
F3/Stretch as before – this time it creates a gap in the Move
pattern Click on Point at end of line
F3/Reshape – to fill in gaps Box opens – use Down arrow key
F3/Attach click on point again, then Merge click on No values in X and Y and rot
point again Down arrow to dl
Type in amount (do Not press enter)
Move mouse around until exactly on line
GRAIN LINES
Left click on line
F4/Axis
Folded corner – Grain line axis DF (this must be To Lengthen (or Shorten) a PATTERN PIECE
ticked) Activate Print
Hold Ctrl – Left click and drag a line – Left click F3/Pin Ends
other end of line Move
Click on Line to lengthen (Not point)
INSERT PATTERN PIECES Leave mouse use up and down arrow in box – type in
To make a different style from an existing X and Y values
pattern – (Rot/dl have to be Blank)
File – New – name new pattern Click on new Line (do Not press enter first)
File – Insert Model – Browse for pattern or block – Remove Pin
click on pieces you want to use To Lengthen or Shorten a Line (to touch another
Click on arrow (loads onto right hand screen) line)
Load Files F3/Adjust 2 lines
Close Click on line to lengthen (Do Not click point)
Click line to go to (zoom in to make sure lines are
INTERNAL CUT attached)
F4/Internal Cut F3/Reshape can also be used to Lengthen or Shorten
In a clockwise direction Left click on all Points Line a line – no need to Pin
goes Yellow Click on a point and move to new position
Finish with Right click (on start point)
To Delete the cut out LOCK PIECES IN 3D
Activate – Cut Piece Lock a piece or pieces and continue to work on
F3/Deletion – click on a Line and HOLD mouse another area
button Click to Hide/Click to Show icons – located on the
(Line turns blue) General Toolbar

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 Click on Lock and then on the piece to lock – turns MIRROR
dark grey F5/Sym 2 Points
Click on Unlock and on the piece again when finished Folded corner
Tick Mirror Piece (if dependency is required)
MAKE A LEFT FROM A RIGHT Select all internal lines to transfer first
Sheet/Copy sheet Click on Line to Mirror from Left to Right
F2/X sym
Edit NAMING
Edit Naming pieces
Name piece Display
Check Title block is ticked
MANIPULATION TOOLS in 3D
Edit/Edit
Move/Rotate/Move and Rotate
Double click on names in box and type in names
Click on either of the Blue Icons. Select a piece first
Enter
Use the Arrows on the grid that appears to change
direction of the piece Special Axis (To add Text anywhere on Piece)
F4/Axis
MARRY Click on folded corner
See Checking Pieces Special axis
Note: If you want to work on Married pieces as one Hold control and draw a line on sheet (purple) where
pattern you want to place the text
Sheet/Copy – click anywhere on the Married pieces Edit
Click again – Just the white outline (Flat Pattern) of Edit
all joined pieces is copied Click on purple line and type text
When finished modifications – Enter
F4/Cut or Seam to return to Blue pattern pieces Line disappears – activate Cut Piece to see

MEASURE To Save a Selection of Pieces under a new name

To Measure a Line Sheet/Sheet select
Display un tick Hide Measure Left click pieces you want to save
F8/Length Measure Right click in a grey area
Click on line and drag mouse away File/Save Selection – check the folder you’re saving
Click again on inside of line into
(Press Space Bar to select a different Line) Type new name
SAVE
MESH (for 3D) Right click to deselect pieces
Right click in either window (but not on the Then go to new model – File – Open Model
Mannequin or Pattern) Also see Text on Line
Select Show Mesh from menu box
The Larger the Mesh – the Faster the Simulation – NOTCH
but the appearance is not so realistic To add a notch
The Smaller the Mesh – the Slower the Simulation F2/Notch
but a more refined appearance Click on point
It is recommended to start with a Higher Mesh – (if you add a notch and its not at 90° go to F2/
3 or 4 Orientation, click on notch and drag around)
Refine Mesh to 1.5 to achieve a more realistic result
after garment is positioned PARALLEL
Assembly/Simulation/Refine Mesh For a parallel line
Change number OK/Simulate F1/Parallel

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 Click on line to copy and drag away (notice in box if Click on existing point
positive or negative direction) Hold down Shift key
F3/Adjust 2 lines – adjust lines if they don’t meet Left click on line
(zoom in) Activate “Curve Points” at bottom of screen to
View
PLEATS in 2D Re shape
Effective Pleat F3/Re shape
Add Pleats before Seam Allowance as this function Click on point and drag to better position
takes off the seam line Click again
F1/Add Point for first pleat position
F5/Effective Pleat – click on folded corner/fold To Change a Type 2 Point to a Type 1
notches – make sure notches are Red F3/Merge
Click on point of first pleat – drag mouse – Do Not Click on point
click again Delete if required
Enter values in box To Change a Type 1 Point to a Type 2
Left click end of line F3/Section click on point
Box Pleat
Add a point for position as above PRE-POSITIONING
F5/Effective Pleat – Hold Ctrl (keep held down) In 2D (Modaris Pattern) – ∼F1/Check 3D Fitting
click on Point for pleat Choose Variant – automatically opens 3D
Enter values in box – Step Repeat = 0 environment
Enter – (allows mouse to move) – press space bar for Open Assembly/Simulation menu and click on
either inverted pleat, or outward facing pleat Pre-Positioning
Manual Pre-Positioning
PLEATS in 3D Make sure Manipulation by Pair is ticked (for Paired
Pleats need to be marked with Four Points Pieces)
F1/Straight – For the two Fold positions draw Click on Mannequin icon
straight lines Click on 2D View Pattern Piece – and drag Piece
∼F1/Set as 3D – click on the two Straight Lines and onto Mannequin
in box select either Wrong side Wrong side or Left click again to position
Right side Right side – one line will be right sides Automatic Pre-Positioning can be used to assemble
together the other will be wrong sides together – Layers
(pleat a piece of paper to help identify correct folds)
Enter – line goes Yellow PRINTS DISPLAY
To Transfer Drawn Lines on Mannequin in 3D
onto 2D Pattern
POINTS
In 3D – Select drawn (Red) lines either on Pattern
To add a point
view or Mannequin view
F1/Add Point
Properties Bar opens – tick Print
Click on an existing point
Open Modaris 2D Pattern –
In box – use down arrow
∼F1/Prints Display
Make sure dx and dy are blank
Garment Fitting box – Press Tab to select Variant
Type in Length
Enter – line is shown on pattern
Left click anywhere on line

To Add a Curve Point (to reshape) RECTANGLE

As above F2/Rectangle – click and draw a box – leave mouse
F1/Add Point and enter values in box
Enter

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 SEAM ALLOWANCES Sheet/Sheet Sel. – Left click pieces you want to save
F4/Line seam – right click in grey area
Hold shift File/Save Selection. Name new pattern
Right click all lines with same seam allowance value.
To work on a Selection of Pieces within your
(Or drag a box around the whole piece if all are the
pattern (useful if your pattern has a lot of pieces)
same)
Sheet/Sheet Sel. Click on pieces you want to
Left click 1 of selected lines
work on
Down arrow key
Right click away from the black line that surrounds
Enter value
you pieces
Down arrow
Press 7 – (ignore box)
Enter value again
Left Click one of your selection
Down arrow again
Just those pieces will be displayed
Right click to deselect
Home in as usual
F4/Industrialisation (top of menu)
J to go back to selection and 8 to go back to all pattern
Exchange
pieces
Left click centre of piece
To Select Just the White outline
To fold Hems or seam allowance (if required, do
To work on a piece it is sometimes better to get rid of
this after adding s/a)
the blue pattern piece and work just on the white
F4/Change Corner
outline (ghost)
Click Folded corner
Sheet Delete and click on the piece (but do not hold
Select Next or Previous symmetry
shift)
Click on hem line corner
F4/Cut or Seam to return to blue pattern piece –
(Do this after adding seam allowance)
when you have finished modifications
This can be changed back to how it was – go to folded
corner
SET AS 3D
Intersection
To prepare a line for 3D stitching
Click on point
∼F1/Set as 3D – click on line
To Delete or Change seam allowance In box choose from options either Unchanged Fold
F4/Delete seam value for a stitch line or
Click on line to change Right side Right side or Wrong side Wrong side
for a pleat or folded piece
If pattern has been digitised including seam
allowance
Seam allowance line needs to be added to the inside of SIMULATION (3D – Tools)
the pattern Assembly/Simulation
Select all lines Garment is assembled on Mannequin in Relax mode
F4/Line seam – add s/a as usual then instead of (puffed up)
Exchange – click on Use Pull Fabric in this mode
Seam Creation Change to Fall (gravity) to complete simulation
Left click centre of piece Fall for Gathers/Elastic/Pleats
Delete outer line and any points (it may be necessary
to attach points at corners) SIZES
Zoom in to check To change a size range (e.g. from 10/12/14 to s/m/l)
Display/Title Block
SELECTION On the Model Identification Sheet (picture block)
To save a selection of pieces under a new name double click with the cursor over the Size Range

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 Size range file opens. Choose new size range STITCH
Enter In Desk of Stitches – pieces are stitched together
Ctrl + A – click on all sheets (to select) Stitch/Add Stitch
F7/Rename Sizes Left Click one end of line – Right click the other end
Click Centre of Model Identification Sheet – size if line
range will become visible next to cursor Left Click away
Click Centre of any individual sheet – they will all A Blue thread joins the seam line
change
Check all pieces are the same size range STRAIGHTEN
If some sheets have not changed CF or CB (or any line you want to place on a
F7/Rep.EVT Horizontal Axis)
Click Model Identification Sheet on top of Size F2/Rotation 2Pts – click from Left to Right on Axis
Range – then on unchanged sheet on top of Size line
Range (To Straighten hem line use F1/Ali 2 Pts)
To Work on a Different Size
SUBSTITUTE PIECE (3D)
If Pattern is graded
To generate a 3D Substitute piece – when part of the
Open pattern and select a sheet – Make sure PRINT
Production Piece needs to be removed for 3D
is on
F4/Seam
Display Title block
Hold Alt – Left the Right Click inside the Piece
F7/Basic Size Slide
The Substitute Piece is displayed in Purple on top of
Click on the Size you want – displayed on the Model
the production Piece
Sheet
Go to Display and tick – 3D Substitute Piece
Ctrl + A to select all pattern pieces
For an Internal Cut (contour Dart)
Rename Sizes – click on the Model Sheet and click
F4/Internal Cut
one of pattern pieces
Hold Alt – as above
You must make sure that PRINT is on in order to see
the size selected
TEXT ON LINE
The new Base size is shown as white
To add Text directly onto a line
Edit/Text on Line – click on line and start to type –
SLIDERS
to centralise text press space bar a few times first
F1/Slider – click on line and click again – oval shapes
Enter
appear – can be changed to Type 1 points to
Text will be visible when Cut Piece is activated
proceed
(Bottom Bar)
F3/Insert point – click on slider – change to X
Sliders are required in Desk of Stitches if using Slip
TRANSFER LINES FROM 3D TO 2D
on Points and no Point is present on line
Draw lines on Mannequin or Pattern view
In 3D Left click Top Selector tool and click on Red
SLIP ON POINTS
lines either on Pattern view or Mannequin view
Points that are aligned to the Mannequin in order to
Properties Bar opens – Tick Print
correctly place the garment
Go Back to Modaris 2D Pattern
These points Must be added in Desk of Stitches if the
∼F1/Prints Display/Garment Fitting
Assemble+ method is used for simulation
Tab to select Variant
Stitch/Add Slip on Points
Enter – line is shown on pattern
Click on Point or Slider
In menu – select correct position The white lines shown on pattern are only a guide and
Enter not functional – you must now draw over them in
F1/Semi Circular to complete amendments

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 VISUAL EFFECTS (3D) Seam Visual Effects – For Top stitching effects –
All used to apply a visual to mannequin piping etc
Activate Design Icon
Choose from Catalog selection ZOOM
Material Visual Effects – Allows fabric to be changed Zoom in whenever you cannot see a point clearly
to add colour/print Press Enter and drag a box around area or –
Notion Visual Effects – For adding Buttons/ Use middle mouse button and scroll in and out
drawstring/zips

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