This channel focuses on educational tutorials for draping, pattern making, sewing and 3D fashion design using CLO 3D. VHO is a small outerwear business located in Richmond Va and operated by Cate Latham, a current professor in the fashion design department at VCU. Please feel free to reach out with questions or specific tutorial requests :)
@@deradaniels6068 Oh I see, well you would need a cover stitch machine or a serger with a cover stitch function. A cover stitch is the finish on the hem of your tee shirt or swimwear. It finishes the edge of the fabric the same way as the overlock/serger but without trimming allowing the stitch to live further inside the body of the garment. Otherwise, depending on the depth of the hem you need, you could just serge the edge of your fabric and then straight stitch the folded hem in a separate step.
Hi! I see what you mean now, the video cuts off abruptly at the end. Thanks for bringing that to my attention :) But the main parts are still covered. For the Fill Tool, it's super important to make sure an appropriate weight and quilting distance are applied. Without that, there will be no fill effect. Remember to reduce particle distance for a more realistic/smoother appearance. Can you recall what is happening when using the fill tool?
Sergers can't be used for buttonholes. You'll need a machine with a specific buttonhole function, or you can finish buttonholes by hand. Bound buttonholes are particularly lovely, and the other way is hand stitched buttonhole, but take a long time to master.
thank you for a great video. I plan to try this technique soon. I tried another video but the sleeve cap measurement area that they explained (shoulder cap to widest bicep) made my sleeve cap fitting too tall and the sleeve cap was puffy which is not the look I desire. Can you explain how you came up with the 3/8, 3/16, etc., measurements for G H K L M N after you divided the front and back by 4? I appreciate your video. I’m going to watch the rest of them.
Oh, thank you for the kind words. I'm glad you got some use out of it :) This method was developed by Helen Joseph-Armstrong and taken from her pattern making book. It's what we use at University to draft blocks. The measurements used in this method are standardized to work for a "core" sizes, closer to sample sizes 4-6-8-10. So when our sizes get further away from that core, the less these measurements make sense for our patterns. Even if we fall into this size range, its typical to still need tweaks to the first draft. The best thing you can do is to sample your patterns. This is the most valuable information you can get when customizing a garment. While wearing the sample, pinch out the extra material at the top of the cap and transfer that omission to your paper patterns. And likewise, add to places where you need more material. I hope this help. Let me know if you have anymore questions <3
Q: to establish the arm hole measurement (using a rigid ruler,) you measure the shoulder to armpit on the front and separately on the back? That’s how you get the different measurements front and back? Maybe need a friend to help get the back measurement? Just trying to get that part straight. Thank you.
That measurement is just the cap height, which is from the underarm up to shoulder. This is the same for the front and back, so no need to measure again for the back. Remember that cap height is related to the type of fit you desire. You can reduce the cap height if you would like a more casual, active sleeve, and the bicep would need to also get wider.
Hi, to render animation, you have to first apply motion files to your avatar and let your garment motion record. The different poses and movement come from those motion files. Find them in the library under Avatar. Other motion files can be used from Mixamo, but it's more tedious.
Hi this Adaora (previous student😆), this video was very helpful. How would one go about rendering power mesh in the CLO system? I hope this message finds you well.
Aw, hey Adaora! How are you? That makes me so happy you're still working in CLO <3. For the power mesh--if it's just to get an artistic rendering of the outfit, you can use any dense, 4-way stretch knit to get the physical behavior close. For the appearance, the holes in the mesh are so small, I don't think it would be worth creating an opacity map to simulate transparent holes. I would get a good image of a mesh material and use that as the texture map, reduce the opacity of textile in CLO just slightly until it looks right. If you're using this virtual garment to ultimately create a physical garment, you're gonna need to do some testing. Or see if there are any fabric libraries that have already created power mesh with accurate properties. Even then, you want to use all of the trouble shooting steps to ensure a close 1st prototype. (measure the amount of stretch in real world fabric, compare POMs in virtual patterns, use fit-proven blocks) Let me know if you have any questions, you know where to find me :)
how do i set the quilting distance if i have internal lines that are curved and asymetrical going horizontally and vertically? like what value shold you put in that case with a complex drawing of interal lines?
Hey, well it depends on what your desired end result is. If you want to have an even distribution between the two outer lines, then select the two internal lines or pattern outlines > right click > distribute internal lines between segments. That will give you an even distribution for the number of lines you input, and the shapes of the internal lines will gradually blend into the shape of one another. Really smart software :). Maybe you will need to do it incrementally for your specific situation. Or consider the regular Right Click > Offset as Internal line. Hope this helps!!
Oh, I think I may have misread your question. Are you talking about the Quilting Distance when using the Fill Tool? If so, the rule of thumb is to input the biggest interval on the pattern piece. So if you have lines that vary in distance, like 1" 2" and 3" apart, use the 3 as your quilting distance.
yep, i have a square pattern with a V-shaped internal line that starts from the upper right and left corners of the square pattern, so it has no parallel lines to use as a reference. the point of the V is located at the half of the square's height. should i just put the highest distance value from like the point of the V to the right side of the square? hope you can undestand what i mean hahaha @@vanhertenouterwear
Yeah, I think I understand what you're saying. So there is only a singular line in this quilting design, correct? If so, then yes, I would just input half of the square measurement if the point comes to the center. You can always decrease or increase the Quilting Distance for a different puffer effect (less or more stuffing). I would test it and go from there :) @@PhotoSlash
If normals are pointing outside of pillow on all pieces then you can apply same positive pressure value. It just saves you a couple of clicks. You can see that default fabric is white on one side and dark on the other, they should match color continuously along the surface. One trick is to flip normals on one side (right click in 3d -> Flip Normal)
Yeah, good point. Sometimes the information gets overwhelming for beginner CLO students so I tend to introduce the core concepts and build up. But you are totally correct.
So, you're saying after you have the patterns built in CLO and you're ready to produce the physical garment, project the pattern outlines onto fabric, then cut out? I'm sure that's possible but that would take quite a bit of rigging and would be independent of CLO. That concept is sort of similar to what happens with mass production. Rather than using printed patterns, they use software and machinery that cut the pattern shapes directly out of big mattresses of textile layers.
Interesting!!! When creating the pattern is there trimming so that the seams are not visible when the lapel is laying as it should? I loved that the seams aren’t visible on the outside.
Yes, turn of cloth is usually built into the pattern by adding a small amount to the upper pattern or reducing the under pattern, so when the two pieces are forced together, the smaller one pulls the bigger over to the other side . The seam will roll naturally toward the smaller pattern, but understitching and ironing help a lot too :)
Ooof, I wouldn't, but you could test it if the sequins are not particularly thick/hard. There are so many areas for the sequins to get lodged. If you're making a high end garment with quality sequin material, I would baste the material together and prep the seam allowance by removing unwanted sequins. Then after normal lock stitching, you could overlock the edges if needed. Also, if it is on a knit base material, it likely won't ravel, and therefore doesn't need a serged edge. Just remove the loose sequins in the seam allowance after stitching together.
Thank you so much for this video! When I export my tile to Spoonflower I have a white hairline at the seam that I can't get rid of. I made sure I had no border on my rectangles when I made. I also made sure it was 4 inches and pixel perfect starting at a 0,0 origin on the artboard. Any way to fixe that?
That white border is so frustrating, but at least you caught it before ordering yardage! So, there are a couple reasons why a white border shows up, but if you are a detailed/concise worker, it's likely that you need to check your settings during export. Try opening your .ai file back up in Illustrator and when you export, look for the "Anti-aliasing" drop down menu. Choose "art optimized" and save again. See if this works, let me know if it doesn't! :)
