Drafting issues with SB Corpulent Waistcoat System (PCG 19ed.)

[Thom Bennett]

Hi all,  I have finally bitten the bullet and decided to start learning about upper body garments, I 'm getting along with trousers and feel confident in cutting them; well so far. 

I bought a copy of the 19th edition of Pocket Practical Cutting Guide book, I like to have actual books, so I thought I would start by learning these systems as a starting point; I was particularly interested as there are many corpulent drafts.  My problem is, is as it is a pocket book a lot of explanation has been left out, assuming the user has knowledge of the full system.  Below I have highlighted the problem areas of the draft, you will see from my drafting notes image that I have assumed a few things to try and make it work without having to ask for help (ignore points B, C &[size=78%] D).[/size]



I will approach these points as they appear in the draft.

   
• How far is A from 1?
• G to G1 there is this line which appears to be halfway between 0 and 1, I remember reading on other drafts for various tops that this is intact true, but how long is it in order to find the point where the back scye runs?
• How do I find point 23, is this the disproportion which in my case 1/4 of = 1"?
• Point 33, is this placed on a line perpendicular from an imagined straight line from 23 to 30?
• How far up this line is 33 located?
• There is also no mention on how to locate points 35, 38, E and F?  The draft does tell me how far out 35 is from the front line, just not whereon the line.

Here is the draft:





Here are my notes and measurements:






And my measures:


I think that is the lot for now.

[jruley]

I don't have this book, but have noticed in others that the corpulent draft usually appears after the "proportionate" one, and the reader is assumed to be familiar with it.  If this is the case here, walking through the proportionate waistcoat draft first might answer some of your questions.

Hope this helps,

Jim R.

[Thom Bennett]

 Hi Jim, yes, I've looked at that but this seem to be the additions for corpulency, for instance the line G to G1 doesn't exist in the proportional system. Also it doesn't define "A", I did type them both out to help me read them due to my dyslexia. 

Off out for lunch now, will post my draft this afternoon and study the two systems again.

Cheers!

[Thom Bennett]

Here is the standard draft.

[lepus]

This is from the Cutters' Practical Guide, pocket edition, by F.R. Morris, I assume? Portliness is a bit of a mine field, as there are many different types, erect or stooping, with or without larger seats, width distributed equally around or more at sides or front, with bellies sagging or held firm and proud, and so on. Disproportion is waist measure - (chest measure - 4").

• A is found from 1 as the intersection of the smoothly shaped back seam with the line squared from 1.
• G to G1 depends on style, wider or narrower back, back armhole line should run smoothly, check with x-back measurement.
• 33 is front end of pocket opening. Pocket front ends are about 3.25" from front edge but subject to taste and style. Lower pocket front end is is about 3.25" from bottom edge but subject to taste and style. Slant of pockets follows lower edge.
• 23 is found by drawing the front edge, depending on whether the waistcoat is to be worn with the lowest button closed or not and is a style feature.

The draft shows the insertion of the so-called Donlon wedge (after P. Donlon) in order to take some of the surplus away below waist or pocket level.

• From 32 a dart is taken out to 33, approximately at a right angle to bottom edge.
• Pattern is cut from 38 to 33, dart is folded away, this opens 38 to 39.
• Bottom edge and front side seam require reshaping after this. The dart suppresses usually one third to one half the amount of 11 to 21 (or 22 to 24), so I think what is meant in the text is take out at 32 the amount from 22 to 25, not 23. (25 plays no further role in the proceedings; the text remains unchanged in the 20st edition though.)

Take care when applying the waist measure to find 26; waist may be larger and require not taking out an amount from 27 to 29 but adding an amount.

[Thom Bennett]

Hi Lepus, I did think that some of these maybe primarily style lines, I should have thought about my 'across back' measurement for g-g1.  After studying drafts I thought the 'donjon wedge' might be a satisfactory solution to my particular figure due to the way it creates the fullness required.

I'll look at the draft again, many thanks.

[peterle]

Probably you shoud remove your adress and phone number from the posted measurement sheet?

[Thom Bennett]

Thanks Petrel, wasn't thinking, I was in a hurry.

[Schneiderfrei]

He's cheap :0

[Henry Hall]

The draft is the same draft as the one in MTOC, perhaps one or two points are marked differently, but the explanation is more extensive.

[Thom Bennett]

I've noted the similarity now I have typed them both out, I'm a bit dyslexic and reading the continuous lines of text is a bit difficult.

[Greger]

Read a book about dyslexic. The author said to make the print larger, and I think he said to stay away from high contrast because it vibrates. Black and white are opposites, therefore have high contrast. An odd job that I had one time with a printer he would pick yellowish brown paper for the white pages and put a lot of brown in the ink for black print. This makes it easier reading for everyone. If you look at old books many of them are yellowish brown paper and ink that really isn't black, but dark brown. What is so nice about computers we can separate the lines whatever distance we want. Even some types of letters need to be further apart. The spaces between the words can be adjusted. When you are at the table drawing a pattern following directions, if it is something you printed, make it easy reading, instead of cramped. Lay out the pages so it is an easy flow of the eyes. Paper and ink are cheap. A program like Illustrator makes it so easy. I use lots of layers (other companies may have a different name). Print on one layer. Often, numbers on another. Every drawing has it's own layer, or several. And layers for fun, such as playing with shadows of words, drawings, whatever.

[Thom Bennett]

I didn't know about how printers used colour paper and ink blend, that's very interesting Gerger.

[Schneiderfrei]

One strategy for dyslexia is to make the words different colours.

[jruley]

If you look at old books many of them are yellowish brown paper and ink that really isn't black, but dark brown.

I doubt this was done on purpose.  Old paper often fades with a yellowish cast and iron gall ink turns brown with age.  Might be a happy coincidence, though.