Patternmaking: A Comprehensive Reference for Fashion Design

Book Description

Written by a seasoned professional Fashion Designer, this comprehensive reference covers all the technical aspects of developing precise professional patterns for garments. The focus throughout is on the procedures and principles of professional flat patternmaking using Basic Slopes (i.e., Pattern Blocks, Master Patterns, or Foundation Patterns), and on cutting and testing each completed pattern in tissue, pinned on the form completely marked. The exceptionally clear and visually detailed illustrations can easily be understood by readers without having to read the accompanying text. All the patterns diagrammed are shown in the exact stages and sequence of development--from plot to completion--including all necessary markings, such as punch holes, notches, seams, and grain lines. All About Patterns. Introduction to Pattern Making. CAD. Preparing the Form for Measurement. Drafting Basic Slopers from Measurements. All About Slopers. Sub-Sloper Development. Dart Manipulation: Pivot and Slash (Bodices; Skirts; Sleeves; Collars: Concave, Convex, and Straight; Flat and Stand Variations; Sleeve Bodice Combinations: Fitted and Deep Armhole Variations; Shirt; Suit-Coat; Capes and Hoods; Pant--Culotte-Shorts; Jumpsuits; and Dresses). Garment Details--Construction and Finishing (Buttons and Buttonholes; Seam Finishes; Hem Finishes; Buttons, Hooks and Eyes, Snaps; Basting Stitches). Figure Analysis: Bodytypes. Overview of the Fashion Industry. For fashion design students, professional designers, and anyone in the business of fashion design, regardless of their level of expertise.

Customer Reviews:

patternmaking,a reference for fashion design.......2006-03-09

a great book, very informative, little pricey though, but worth it.

Old styles.......2005-05-26

I am disappointed in this book. The patterns are very old styles.
However, it has some useful bacis pattern making information. If you are a beginner, it is helpful.

Thorough and Concise.......2005-02-12

I have not bought the book as of yet but I was privy to certain things that went into the book. Sylvia was my patternmaking teacher. She was working on this book while I was in school and all the students anticipated its release. Sylvia's teaching style is thorough and concise and so is this book. I recommend anyone interested in learning the right way to make patterns should purchase this book.

Patternmaking - explained in simple terms!.......2004-12-13

This is THE pattermaking book that every top fashion school is going to be using. If you are interested in learning about pattermaking this is a great place to start. (Actually the BEST place to start.)
The author has been a patternmaking teacher for a long time, and at all the best schools on the east coast. I was a student of Sylvia's and her method of teaching is very thorough and precise. Patternmaking isn't easy and you have to be a certain mind to understand it sometimes. I know that with the step by step instructions in this book, as well as the extensive illistrations, it is made as simple as possible.
Don't waste your time with other books.
Looking at the other reviews, I feel that they aren't doing the book justice. Maybe they were expecting something more advanced. (Which is coming out in a few years.)
This is a great book to add to your collection.

Used by apparel design college.......2004-11-20

I'm signing up for a pattern-making class in a college, and they use this book for their main reference. I hear it's used by other teachers as well. Not having read the book or taken the course, I cannot comment beyond observing that these teachers and the program director have chosen this book from the entire palette of available pattern-making books.

Patternmaking: A Comprehensive Reference for Fashion Design

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Patternmaking: A Comprehensive Reference for Fashion Design
Sylvia Rosen
Manufacturer: Prentice Hall
ProductGroup: Book
Binding: Paperback
ASIN: B000OHX5QK

Book Description

An adventure featuring the Eighth Doctor with Fitz and Anji. The heroes are used to finding themselves in different times, eras long before or long after the ones into which they were born. But when these eras come equipped with Hilton hotels and luxury theme parks, it's a different matter. In the 1950s, the Good Time Travel Company has discovered time travel in a big way - it's now time tourism, in fact - and they're not about to let go of their profits easily, no matter what some Doctor guy ssays about the fragility of the time/space continuum. But the ensuing paradoxes mean that chaos is swiftly encroaching on the happy day trips to Roman orgies. Something has to be done, before it engulfs the whole of time!

Customer Reviews:

I think rhyme and reason just fell apart........2004-08-09

I'm actually shocked by how much I disliked THE LAST RESORT. Paul Leonard is an author I have a lot of time for. I found something to enjoy in all of his previous NAs/EDAs (yes, even THE DREAMSTONE MOON which is almost universally loathed). Yet outside the first few chapters, I didn't enjoy any of it. There's just not much here to like. Stuff happens. None of it to people we're interested in. Then more stuff happens. Not much of it makes sense. Then the book ends. Readers are left, scratching their heads, wondering why on Earth this book exists. Maybe it doesn't. Maybe I imagined it. Once the scars heal and the memory fades, I doubt I'll ever have any reason to want to go back and prove that this book really was published.

There's a strong beginning to the story. We actually have a plot that fits comfortably into the on-going story-arc; without the Time Lords to enforce the Laws Of Time, dangerous and destructive time travel is appearing. "Destructive", because of the havoc inadvertently unleashed upon the cosmos. Alternative universes are springing up with each instance of time travel (at least, that's what the book says, although unexplained exceptions are made). Any time traveler changing history is now responsible for the existence of two time-streams -- the first being his original time-stream (the unmolested chain of events that led to his time travel), the second being the altered, new time-stream (the new and improved version which may in fact be a paradox). The book's most successful moments involve the comedy potential of having all manner of modern-day icons turning up in human history.

The biggest problem with this book is that it's obvious by about page fifty that this state of affairs can't remain true and there's clearly going to be a reset of one sort or another before the book closes. "But", I hear some of you saying, "Surely what's important is the journey itself, not necessarily what we arrive at." And usually I would agree with that sentiment. But this journey itself is technobabble-laden nonsense. Most of it probably makes logical sense, but it's difficult to care about any of it. We're told that Sabbath's nonsensical plan to fix everything will work, but we aren't told why or given any information that would let us figure it out.

We're told that alternative universes are popping up every time someone (off-screen) makes a change to history. So, how often is this occurring? How many time-streams are created during the first, say, one hundred pages? Does each inconsistency point to a newer history? Are there new universes created without immediately noticeable effects? Are new universes being created with every chapter? Every scene? Every page? Every sentence? As far as I can tell, each of these could be true, but we aren't told why or given any information that would let us figure it out.

So, given that the majority of the book is simply extended padding, is there anything worth reading in the bulk of pages that makes up THE LAST RESORT? Sadly, no. In the past, Leonard has done a reasonably good job of presenting solid characterization. At times, he's done astonishingly well on this point. But not here. His characters simply cannot overcome the "plot" that they're mired in. The only exception is a bright spot in the character of Iyeeye. Leonard is playing to his strengths here. I found her thoughts while in her own environment to be engrossing. The problem is that the story is far too splintered for a deep character like this. She's stuck in something that is impossible to care about and unfortunately the effect is to dull any interest she may have brought.

One of the advantages to creating a whole bunch of identical duplicates is that it allows the author opportunity to kill off characters as many times as he likes without having to bother creating new ones. Oh boy. But yet, maybe seeing exactly how a beloved character may choose to sacrifice himself in one reality would give us further insight into the still-living character in another time-line. It's a nice idea... that only happens once (Anji's journal). The literally thousands of other deaths are just pointless. In the MST3k episode "Time Chasers", a movie which shares the same philosophy of time travel as this novel, one copy of our bespectacled, big-chinned, hockey-haired hero is blown away. "Don't worry, folks", mocks one of the robots wearily, "This movie's got a spare." Oh, you wouldn't believe the amount of times I thought of that line during THE LAST RESORT.

The plot eventually turns back on itself. Maybe. Something inexplicable that occurs near the beginning finally gets a time-travely explanation towards the end although I'm not convinced that the link-up actually matters. It would be more impressive if there was any reason to care by that point or any reason to believe that they were all part of the same universe or time-line or whatever. So something matches up. So what? It's been mere days since I read the book and I'm already struggling to remember why key plot points took place. This novel is the poster child for demonstrating that a convoluted plot is no replacement for a complex one. A complex plot is one in which multiple layers are carefully interweaved -- characterization, plot and tone all work together to enhance the author's chosen themes. A convoluted plot is one in which weird stuff happens just because the author says so. It may all make sense by the end, but it might not. And you might not even be able to tell anyway.

I have absolutely no problem with a storyline that requires me to give it a lot of thought. But I balk when that extra thinking leads only to the discovery of plot-holes, inconsistencies and sloppiness. This is not Paul Leonard's finest hour.

Customer Reviews:

A priceless beginner's (or not beginner's) book!.......2005-09-30

This book has opened my eyes to a greater view of the audition process as an actor. It has also awakened a fire in me to direct. I am planning on directing my first play this coming Fall, and I really feel prepared with this book and the class I'm taking now. A great text for discussion for directing classes.

Engagingly written.

Sobering Testament.......2005-09-01

SENSE OF DIRECTION is a text every director will want to take a look at, even if, years later, some of Ball's advice seems dated (or too expensive-he was not a man to shy away from large budgets and extended rehearsals if he thought them necessary.) In person he could be rather abrasive, to the point of being ridiculous, like Ross Hunter in a caftan. But on the pages of his book, he exhibits a warm, spiritual nature, almost like a priest. Since the days of the Chekhov dynasty, the director has of course assumed near divine proportions in the theater and you get the feeling Ball enjoyed that role, but he is often very courteous towards his actors. He even goes so far as to say that "one of the director's most important qualifications is knowing when NOT to interrupt his actors."

He was a professional director and the book covers every contingency from "first reading to opening night." Some of Ball's advice is not going to help you if you are an amateur. He gives the advice that actors, like cattle, can't hold too many ideas in their heads at one time so he urges the director to come up with a shorthand of small verbs or nouns with which the actor might make himself aware at all times. "Seduce," for example, might be his direction to the actor playing Cleopatra. Sounds elementary, but it works! After all, he was the man who boasted that he discovered Annette Bening.

He notes that often, for the first ten minutes of a play, the audience finds itself uncomfortable, with a marked realization of the artificiality of theater. They are sitting in a dark room and watching a bunch of people all lit up pretending to be real. As directors our job is to make those first ten minutes fly by so that the dream can swamp the audience and take them along with us on our journey. In passages like this one, he writes beautifully. Within a year or two after completing his book he was summarily fired from ACT and not long after that he had left this world for another, behind the curtains of life. Sad ending for what was once a glorious if eccentric career.

Some great stuff.......2005-07-17

William Ball's "Sense of Direction" has some excellent information for those involed in, or thinking about becoming involved in, directing. However, Mr. Ball is coming from the world of professional actors and sometimes his advise is not applicable for directors involved in educational theatre.

An impeccable and indespensable document.......2000-07-26

Mr. William Ball, the former artistic director and founder of The American Conservatory Theatre in San Fransisco, boils down almost forty years of teaching, acting and directing experience into possibly the most effective,educational and practical document about directing. I shudder to use the word text book as that term implies dry academia- an approach which leads to the the death of the theatre- but really this book is indespensable to any theatre director. Ball lays out in a logical, simple and jargon free manner the nuts and bolts of building a balanced right and left brained community which has complete and utter access to the creative impulse. Everything in Ball's book is transferable, practical (sorry about using that term again but it is true)and impeccably rendered. For any theatre director, I strongly suggest purchasing this book as the foundation of any library. Five out of five stars.

Great passion communicated with cool logic.......1999-12-18

A wealth of practical insight. It could serve as a model for all "how to" books: utterly clear, in stark, spare prose that nevertheless conveys enormous passion for the art. I picked it up as part of a workshop at the Yale Drama School, and have reread it many times. It's a kind of checklist of decisions that must be made by the director, from the most profound philosophical ones to the nuts and bolts of costume design. Mr. Ball's voice here is the one that any director would want to provide his actors in rehearsal: calm, clear, thoroughly informed, and obviously in command.

Book Description

Carols floating across no-man's-land on Christmas Eve 1914; solemn choruses, marches, and popular songs responding to the call of propaganda ministries and war charities; opera, keyboard suites, ragtime, and concertos for the left hand--all provided testimony to the unique power of music to chronicle the Great War and to memorialize its battles and fallen heroes in the first post-Armistice decade. In this striking book, Glenn Watkins investigates these variable roles of music primarily from the angle of the Entente nations' perceived threat of German hegemony in matters of intellectual and artistic accomplishment--a principal concern not only for Europe but also for the United States, whose late entrance into the fray prompted a renewed interest in defining America as an emergent world power as well as a fledgling musical culture. He shows that each nation gave "proof through the night"--ringing evidence during the dark hours of the war--not only of its nationalist resolve in the singing of national airs but also of its power to recall home and hearth on distant battlefields and to reflect upon loss long after the guns had been silenced.
Watkins's eloquent narrative argues that twentieth-century Modernism was not launched full force with the advent of the Great War but rather was challenged by a new set of alternatives to the prewar avant-garde. His central focus on music as a cultural marker during the First World War of necessity exposes its relationship to the other arts, national institutions, and international politics. From wartime scores by Debussy and Stravinsky to telling retrospective works by Berg, Ravel, and Britten; from "La Marseillaise" to "The Star-Spangled Banner," from "It's a Long Way to Tipperary" to "Over There," music reflected society's profoundest doubts and aspirations. By turns it challenged or supported the legitimacy of war, chronicled misgivings in miniature and grandiose formats alike, and inevitably expressed its sorrow at the final price exacted by the Great War. Proof through the Night concludes with a consideration of the post-Armistice period when, on the classical music front, memory and distance forged a musical response that was frequently more powerful than in wartime.

Customer Reviews:

A Six Star (******) Triumph of Cultural History.......2004-03-17

There was a period a few years ago when bestseller lists contained more than an occasional book on the First World War. For example, the John Keegan book was a concise military history recounting the politics and battlefield actions of the war. Niall Ferguson's "The Pity of War" set out to explain WWI and offers an iconoclastic view that attempts to show how it was not inevitable. What these and the others really do lack is a sense of the cultures that were torn apart, reshaped and died.

As I was reading "Proof Through The Night" I was shocked how vividly Professor Watkins evokes the cultural issues of the times leading up to the War, the convulsions during the War, and the cultural memory and recounting of these events that echo even today. Most of us know little of that time and we don't understand the roots of present issues. We see the surfaces and strange interactions. We see artifacts from the past, but do not understand their context and react all too anachronistically to them. While we are entitled to reinterpret the past and use what we will and how we wish to use it, there is so much to be gained by at least making an attempt to come to terms with what those who lived meant to say to each other and to us by inheritance. We cheat ourselves of our patrimony by only shallowly understanding the culture of a time.

Professor Watkins surveys cultural issues that were active in Great Britain, France, Italy, Germany - Austria, and the U. S. neighboring to the war years. He does this by demonstrating what was happening in painting, sculpture, drama, popular culture, and above all, music. He takes us deep inside a few pieces such as Ravel's "Tombeau de Couperin"(particularly the Toccata), certain paintings of Otto Dix and the music of Hindemith to the work of Matthias Gruenewald, and Britten's "War Requiem" to the resolution and memory of the Great War even in 1961.

There is so much in this wonderful book that I cannot even begin to list more than a few incidental points. I really do want you to get a copy and immerse yourself in it. Professor Watkins has provided us with so much that I found I had to take my time and read other things to get more background to get full enjoyment from this treasure.

There is a CD that contains 17 tracks of some of the most important pieces he refers to in the book. They are chosen well and you will never hear them the same after reading the deep context this book provides. There are also many wonderful pictures and illustrations in the book. The only wish I have is that at least some of them could have been in color. But you know how it is with "academic" books.

There are also many pages of footnotes (endnotes). Nowadays most footnotes are simply citations of references. Not here. There is a great deal of valuable and enlightening information on these pages and I encourage you to read them.

This book should not be ignored. I believe reading about the culture and the wrenching changes during and after the War will actually tell you more about your life today and its connection to that time than a shelf full of books on battlefield struggles, troop movements, and weapons development. It isn't the usual way to read about War, but it is terrific.

Book Description

This digital document is an article from Notes, published by Music Library Association, Inc. on March 1, 2004. The length of the article is 3095 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Proof Through the Night: Music and the Great War.(Book Review)
Author: Simon Trezise
Publication: Notes (Refereed)
Date: March 1, 2004
Publisher: Music Library Association, Inc.
Volume: 60 Issue: 3 Page: 658(5)

Article Type: Book Review

Distributed by Thomson Gale

Book Description

From the Franklin Mystery to the comic book superheroine Nelvana, Glenn Gould's documentaries, the paintings of Lawren Harris, and Molson beer ads, the idea of the North has been central to the Canadian imagination. Canada and the Idea of North explores the ways in which Canadians have defined themselves as a northern people in their literature, art, music, drama, history, geography, politics, and popular culture. The idea that Canada's culture takes nordicity as a major facet of its self-definition has never before been examined so thoroughly. Sherrill Grace shows how Canadians have always used ideas of Canada-as-North to promote a distinct national identity and national unity. She also presents newly emerging northern voices and shows how they view the long tradition of representations of the North by southern activists, artists, and scholars. With the recent creation of Nunavut, increasing concern about northern ecosystems and social challenges, and renewed attention to Canada's role as a circumpolar nation, Canada and the Idea of North shows that nordicity still plays a central role in Canada's self-definition at the start of the twenty-first century.

The Politics of Automobile Insurance Reform: Ideas, Institutions, and Public Policy in North America (American Governance and Public Policy)

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The Politics of Automobile Insurance Reform: Ideas, Institutions, and Public Policy in North America (American Governance and Public Policy)
Edward L. Lascher
Manufacturer: Georgetown University Press
ProductGroup: Book
Binding: Hardcover

Industry | Automotive | Nonfiction | Subjects | Books

Insurance | Automotive | Nonfiction | Subjects | Books

Public Policy | Government | Nonfiction | Subjects | Books

ASIN: 0878407391

Applied Anthropology in Canada: Understanding Aboriginal Issues

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Applied Anthropology in Canada: Understanding Aboriginal Issues
Edward J. Hedican
Manufacturer: University of Toronto Press
ProductGroup: Book
Binding: Hardcover

History of Ideas | Historical Study | History | Subjects | Books

General | Social Sciences | Nonfiction | Subjects | Books

Geologists and Ideas: A History of North American Geology (Centennial Special Vol 1)

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Geologists and Ideas: A History of North American Geology (Centennial Special Vol 1)
Ellen T. Drake
Manufacturer: Geological Society of Amer
ProductGroup: Book
Binding: Hardcover

General | Earth Sciences | Science | Subjects | Books

The Philosophy of Railways: The Transcontinental Railway Idea in British North America

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The Philosophy of Railways: The Transcontinental Railway Idea in British North America
A.A. den Otter
Manufacturer: University of Toronto Press
ProductGroup: Book
Binding: Hardcover

General | Transportation | Nonfiction | Subjects | Books

Book Description

When, in the late 1980s, the federal government initiated a plan to deregulate the Canadian railway system, lobby groups protested the betrayal of a national mandate. They asserted that the railway was founded to promote a sense of national identity, to provide access to isolated regions of the country, and to ensure a transnational exchange of goods and ideas. In The Philosophy of Railways, A.A. den Otter considers the relationship between nationalism and technology, and shows how the popular rhetoric surrounding the evolution of the Canadian Pacific Railway has mythologized the role of a private corporation and its technology. He questions the notion that the railways were built as an antidote to American manifest destiny, suggesting instead that the widespread adoption of railway transportation as a civilizing mission impelled Canadians to bow to technology's integrating effects, including confederation and closer ties with the United States.

The study begins by looking at the intellectual climate that spawned the Canadian railway idea, revealing that this idea was strongly influenced by a combination of British and American liberalism, a philosophy that saw technology as the means to destroy trade barriers. In fact, during the mid-nineteenth century, Canadians preferred to build transportation links to the American seaboard rather than to Saint John or Halifax, and this created a deep-seated alienation in the country's peripheral regions. Not only does den Otter include the Maritimes in his analysis, but he employs a careful reading of national documents including assembly debates, the private correspondence of major political figures, and newspaper commentary to contextualize the public debate.

By investigating the complex and ambiguous process by which the Canadian railway system both consolidated national identity and facilitated continental integration, The Philosophy of Railways establishes that isolationism, until relatively recently, was not the unilateral stance of those committed to the growth of the railway.

Book Description

This digital document is an article from Arctic, published by Arctic Institute of North America of the University of Calgary on September 1, 2003. The length of the article is 2475 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Canada and the Idea of North.(Book Review)
Author: I.S. MacLaren
Publication: Arctic (Refereed)
Date: September 1, 2003
Publisher: Arctic Institute of North America of the University of Calgary
Volume: 56 Issue: 3 Page: 300(3)

Article Type: Book Review

Distributed by Thomson Gale

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Editorial research reports
Patrick G Marshall
Manufacturer: Congressional Quarterly
ProductGroup: Book
Binding: Unknown Binding

International | Economics | Business & Investing | Subjects | Books

General | International Law | Law | Subjects | Books
ASIN: B00071TV8Y

Book Description

If your childhood friends were Agapito, the bombastic, bilingual lion; Campamocha, the fix-it man; Caracoles, the restaurant owner; Uncle Andy, the shoe seller; Berta and Dyana, the life-size dolls; and Señorita Barrera, then you grew up watching Carrascolendas. This award-winning show, which originally aired on PBS in the 1970s and was subsequently broadcasted throughout the country in the 1980s and 1990s, was the first Spanish and English children's educational television program broadcast to national audiences in the United States. In this engagingly written memoir, creator-producer Aida Barrera describes how the mythical world of Carrascolendas grew out of her real-life experiences as a Mexican American child growing up in the Valley of South Texas. She recalls how she drew on those early experiences to create television programming that specifically addressed the needs of Hispanic children, even as it remained accessible and entertaining to children of other cultural backgrounds. In addition to her personal story, Barrera recounts the long-term struggles for network acceptance and funding that made the production of Carrascolendas something of a miracle. This off-camera story adds an important chapter to the history of Anglo-Mexican cultural politics during the 1970s. Given the fact that Latino characters are still under- and stereotypically represented on network television, Carrascolendas remains an important reminder of what is possible and what has been lost in authentically multicultural television programming.

LOOKING FOR CARRASCOLENDAS : From a Child's World to Award-Winning Television

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LOOKING FOR CARRASCOLENDAS : From a Child's World to Award-Winning Television
Aida, Illustrated by Photos Barrera
Manufacturer: University of Texas Press
ProductGroup: Book
Binding: Paperback
ASIN: B000ORVMOM

Looking for Carrascolendas : From a Child's World to Award-Winning Television (Louann Atkins Temple Women & Culture Ser.)

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Looking for Carrascolendas : From a Child's World to Award-Winning Television (Louann Atkins Temple Women & Culture Ser.)
Aida Barrera
Manufacturer: University of Texas Press
ProductGroup: Book
Binding: Paperback
ASIN: B000ORU2IE

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LOOKING FOR CARRASCOLENDAS: FROM A CHILD'S WORLD TO AWARD-WINNING TELEVISION

Manufacturer: University of Texas Press Austin
ProductGroup: Book
Binding: Paperback
ASIN: B000I9T2OS

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