The fit is nearly perfect on Autumn Splendor now – I made the last adjustments yesterday morning. Â Which means it’s time to adjust the design line in the back, and create the lining pattern. Â The pattern pieces are multiplying rapidly! Â Here is a work-in-progress shot of the patterns in Illustrator:
I have a separate pattern piece for every panel (primarily because I don’t trust myself to remember to flip over pattern pieces where appropriate), and am now working on the lining pattern pieces (the blank sections). Â If you consider that each of the artboards (rectangles in the diagram) requires about 8 feet of printer paper, the fourteen panels will come out to well over 100 feet of paper! Â I’m glad I bought an extra 1000-foot roll of printer paper – I’m going to need it!
Anyway, the lining pieces shouldn’t be too hard, only somewhat tedious. Â The side seams will all be 1/8″ bigger (to allow for movement), and there are adjustments at the shoulder and the hem, plus a pleat for the back. Â Fortunately the one design line (center back) that may be changed won’t affect the lining at all – it will be cut in a single piece, unlike the outside, which is cut from two panels.
I suppose I could skip the lining muslin, but you know me – I don’t like to leave anything to chance. Â I don’t feel I understand drafting the lining well enough to proceed with confidence, so I’m doing a practice version.
Meanwhile, I have been fiddling with the design line in back, with mixed results. Â You may recall that this is the current version:
I felt the curve in back looked unbalanced and awkward. Â So I spent about half an hour fiddling with it this morning. Â Here’s one of my experiments:
This one doesn’t work for me. Â Design-wise, I think it’s valid, but the dark is dominant, and I’d rather have the gold be the defining line. Â The top curve looks like the top of a roller coaster, not like the drift of an autumn leaf.
I fiddled around some more and came up with this:
The line here is very similar to muslin #9, but with somewhat more gentle curves and a little more of the gold panel up top.
I’m not crazy about it, though – it lacks the vivacity and movement of muslin #9. Â In fact, the more I fiddle, the more I like the design line in muslin #9 – so I may just stick with it after all. Â Or at least use it for muslin #11, which will be the one that mocks up the colors.
Meanwhile, I have been weaving away, and am now about 1/3 of the way through another light panel:
That’s the last of my pre-dyed weft, but tomorrow is dye day! Â In one grandiose orgy of dyeing, I am going to dye:
- twelve panels of flannel for muslin #11, hand-painting a range of colors across each panel
- two light panels’ worth of knitted blanks, for weft
- three dark panels’ worth of knitted blanks
- six yards of 60″ cotton broadcloth, for the mermaid jacket class coming up at the end of January.
That is more than a single day’s work – especially if you include the post-dyeing surface design I intend to do on the mermaid-jacket fabric – but fortunately I have nothing else slated for the weekend. Â Next week I will cut and sew the muslin, and after that I will focus on weaving the remaining light/dark panels. Â That should be plenty to keep me busy through the end of the year.