Knitwear Production Planning

Session 1-3
Introduction : Evolution of Apparel Industry
Nature of Apparel….(1)
□ Timing of Product change
□ Consumers constantly seek new and different variations
□ Fashion change related to color, styling, fabric, silhouette &
performance
□ Seasonal change results in modification of products available on
the market according to the time of the year
□ Combination of fashion change & seasonal change makes
apparel business the most change intensive business
□ Some firms produce 5 product lines ayear: some introduce
styles on monthly or weekly basis
□ Timing is critical
Nature of Apparel….(2)
□ Quality
□ The essential nature of something, aninherent or distinguishing
characteristic or property, superiority, excellence or aperceived
level of value
□ Quality features
□ Vary according to individual person or organization
□ Perceived quality: composite of intrinsic & extrinsic cues of quality
□ Intrinsic quality is created during product development and production.
Dependent on styling, fit, materials and assembly methods
□ Intrinsic cuesrelate to the innate and essential parts or inherent nature
of the garment
□ Extrinsic cues originate from outside of the product. Prices, brand names,
reputation of retailers, visual merchandising techniques and advertising
are common extrinsic cues
Nature of Apparel….(3)
□ Price
□ Low-end, budget, moderate, better, bridge and designer
□ Low-End & Budget price: retailers like Wal-Mart, Kmart,
Target & Bigbazaar. Low prices are achieved through less
expensive fabrics, lesser detailing, less-rigid quality standards,
producing in low labor cost countries
□ Moderate price: Own core customers & fringe customers
from budget and better price ranges
□ Better, bridge & designer price: High end apparel,
upscale quality, unique fabrics and trims, complex
construction, brand name & styling
Structure of the Apparel Industry
Level 1 Textiles & Trims Manufacturers

Level 2 Apparel Retail Product

Apparel Contractors
Manufacturers Development

Level 3 Manufacturer-Owned retailers Catalog retailers

Manufacturer outlets Department Store Retailers
Internet Retailers
Mass Retailers
Specialty Retailers
Warehouse/wholesale clubs
Retailer Outlets

Level 4 Consumers
Basic Business Concepts Applied to the Apparel
Industry
□ Proprietorship
□ Partnership
□ Corporation & stockholders
□ Cooperative
□ Franchise
□ Publically owned Vs. Privately owned
Essentials of Business
□ Growth
□ To achieve growth
□ Internal growth by increasing sales of established product lines
□ Vertical integration : either a merger or a acquisition
□ Horizontal integration through amerger with acompetitor
□ Profits are the vehicle of growth
□ Market : sale potential for aparticular type of good
□ Market share: afirm’s percentage of the total sales in a
market
□ Market power : ability of afirm to control price and
quantity of products in the market
Globalization of Apparel Manufacturing
□ Globalization: viewing multiple sites in the world as
markets and/or sources for producing or acquiring
merchandise
□ International Trade : Exchange of goods by firms
located in different nations
□ Tariff: tax on goods that are exported or imported,
sometimes called as duty
□ Embargo : stops trading between nations all together
□ Export minus import equals the trade balance
□ Trade deficit is the negative trade balance
Sectors of the clothing industry
□ Waterproof underwear □ Foundation garments
□ Men's tailored outerwear □ Lingerie and pyjamas
□ Women’s tailored □ Children’s wear
outerwear □ Work clothes and
□ Casual clothing and uniforms
sportswear □ knitwear
□ Shirts
□ Blouses
□ Dresses
□ Underwear
Garment types
□ Garment types are determined by: Style variation &
Frequency
1) Staple product : Continuous production with occasional
changes in color, cloth & cut. Eg: men's underwear
2) Semi-styled product : Basic type of garment with minor
variations from style to style. Eg: Men’s shirts
3) Styled product: Based on one type of garment but with
substantial and frequent styling changes. Eg:Women’s
dresses
4) Fashion product : Extreme and abrupt changes in design
and fabric from one style to another
Product types & Organization
□ Unit size
□ Production run
□ Operator skills
□ Salary levels
□ Engineering
□ Marketing and design
The organization of a clothing factory
□ Design department
□ Marketing department
□ Finance department
□ Purchasing department
□ Production department
□ Operations department
Design department
□ Forecasting
□ Designing
□ Collection planning
□ Pattern making
□ Technology
□ Production of sample garments
□ Pattern grading
Marketing department
□ Marketing
□ Marketing calendar
□ Product pricing
□ Price evaluation
□ Bracketing prices
□ product planning
□ Merchandising & distribution
□ Sales
□ Promotion
□ Market research
□ Selling
□ Sales forecasting and budgeting
Finance department
□ Providing management information
□ Budgeting
□ Garment costing
□ Administration
Purchasing department
□ Information
□ Suppliers
□ Prices
□ Progressing
□ Verification
□ Speculative buying
□ Storekeeping
□ Stock management
□ One time orders
□ Stock level orders
□ Purchase orders
Production department
□ Output of the factory
□ Garment quality
□ Working methods and technology
□ Materials and trim purchasing : might be done by
purchase itself. But material inspection, inward and
consumption entries will be done by production
department
□ Labor recruitment and training
Production Process Flow
Production process flow
□ Material Receipt
□ Material inspection
□ Marker making
□ Spreading
□ Cutting
□ Bundling & ticketing
□ Sewing
□ Parts section
□ Assembly
□ Finishing
□ packaging
MARKER MAKING
MARKER
MARKER
MARKER
□ A marker is the diagram of a precise arrangement of
pattern pieces for aspecific style and the sizes to be cut
from a single spread.

□ Marker making is the process of determining the most

efficient layout of pattern pieces for aspecified style,
fabric and distribution of sizes.

□ The process of arranging pattern pieces in the most

efficient manner requires time, skill and concentration.
MARKER
MARKER MAKING

□ Marker making can be broken down into two steps.

□ Marker planning or the placement of pattern pieces to
meet technical requirements and the needs of material
economy.
□ Marker production, which may include
(a) drawing the marker plan directly on to fabric.
(b)Drawing it on to a paper marker by pen or automatic
plotter.
(c)Recording pattern piece information on the paper
marker or on the fabric without actually drawing pattern
lines on it.
MARKER MAKING
□ Where a paper marker is used, it is normally stabilized on
the top ply of the lay by stapling or by ironing so that an
adhesive backing on the paper may lightly stick to the
surface of the fabric.
MARKER MAKING

□ The paper marker is cut along with the fabric plies, and
thus destroyed.

□ Since a marker may be required for use more than once,

this method needs an economical way of duplicating to
provide copies.

□ Where marking is done directly on to the fabric, it must

be repeated for each spread of fabric.
MARKER MAKING
□ The best marker makers can be expected to achieve
utilizations one to four %higher than the average.

□ Computerized marker-making systems can assist, but

rarely replace skilled people.

□ The planner proceeds by first positioning the larger

pattern pieces in arelationship and then fitting the smaller
pieces into the gaps.
MARKER MAKING
□ Since most of the pieces are irregular and often tapered,
the skill lies in discovering those edges which fit together
most neatly, and placing side by side across the marker
those pieces that fill the width most nearly.

□ The planner will then try anumber of pattern placements,

selecting the one that gives the shortest marker.
 MARKER MAKING
□ The work of the marker planner is subject to a number
of constraints relating to:
(a) Nature of the fabric & the desired result in the finished
garment.
(b) Requirements of quality in cutting.

(c) Requirements of production planning.

NATURE OF FABRIC
Pattern Alignment in relation to the grain of the
fabric:
□ Pattern pieces normally carry a grain line.
□ When the pattern pieces are laid down the piece of cloth,
the grain line should lie parallel to the line of warp in a
woven fabric or the wales in a knitted fabric.

□ When the pattern pieces are laid across the piece, the
grain line should lie parallel to the weft or course
direction.
NATURE OF FABRIC
□ In bias cutting, which is often used in large pattern pieces
as well as in small pattern pieces, the grain lines will be at
45° to the warp.

□ The designer or pattern cutter may define atolerance

that allows the marker planner to swing the grain line a
small amount from parallel.
NATURE OF FABRIC
□ If the marker planner lays down a pattern outside the
stated rules for grain lines, the finished garment will not
hang and drape correctly when worn.

□ This requirement to follow grain lines restricts the

freedom of the marker planner in choosing how to lay
the patterns in the marker.
NATURE OF FABRIC
Symmetry and asymmetry:
□ When the fabrics are turned round through 180° and
retain the same appearance , they are called ‘two way’ or
‘symmetrical’.
□ They don’t require any special action on the part of the
marker planner.
□ In case of asymmetric fabrics, if afabric ply is turned
around, it does not retain the same appearance.
NATURE OF FABRIC
□ These fabrics have a surface pile or nap or a print design
which includes arecognizable object which canonly be
used one way up.

□ The marker planner must ensure that the top ends of the
pattern pieces, as they will be worn in the garment, all
face the same way.
□ This is likely to be less economical than other markers.
REQUIREMENTS OF QUALITY IN CUTTING
□ The placements of the pattern pieces in the marker must
give freedom of knife movement and should not restrict
the path of the knife so that it leads to inaccurate cutting.

□ A blade, which has width, cannot turn a perfect right

angle in the middle of a pattern piece and space must
always be allowed for aknife to turn such corners.

□ The amount of space that must be left will depend on the

actual cutting method employed.
REQUIREMENTS OF QUALITY IN CUTTING

□ A pattern count must always be made at the completion

of the planning of a marker to check that the complete
number of patterns has been included.

□ For example, a12-garment trouser marker, where each

garment may have 16 pattern pieces, signifies acomplete
marker of 192 pattern pieces.
REQUIREMENTS OF QUALITY IN CUTTING
□ In sorting and bundling amulti-size lay after cutting,
correct labeling of cut garment parts is essential for the
operators to identify the parts which make up whole
garment sizes.

□ It is the responsibility of the marker planner to code

every pattern piece with its size as the marker is planned.
REQUIREMENTS OF PRODUCTION PLANNING

□ When an order is placed for quantity of garments, it

normally specifies a quantity of each size and color.

□ The requirements of production planning and control will

be to supply the sewing room with an adequate amount
of cut garments at sufficiently frequent intervals.

□ For agiven quantity of garments, ahigh lay rather than a

low lay gives a ,lower cutting labour cost per garment.
REQUIREMENTS OF PRODUCTION PLANNING
□ The planning of two shorter markers may not take more
time than the planning of one long marker.

□ Shorter markers are easier for the planner to work on, a

more tightly packed and efficient marker could result.
REQUIREMENTS OF PRODUCTION PLANNING
□ The mixing of sizes in a marker is to be encouraged
because when more sizes are included in amarker, the
greater is the scope for fabric savings.

□ The limitations for this process are shorter length of

cutting tables, shorter length of fabric which leads to
shade variation when mixed with another lot.
REQUIREMENTS OF PRODUCTION PLANNING
□ In many sewing rooms the operators work on bundles of
garments of same size, style and colour.

□ Small number of plies of one colour spread in alay lead

to small bundles and increased costs of handling those
bundles.

□ An alternative to this is the use of single size markers on

a stepped lay.
REQUIREMENTS OF PRODUCTION PLANNING
□ If it is required to cut 95 singles of asize 14 dress and 65
singles of a size 12 dress, all in the same colour,
□ two markers would be made with one containing the size
12 pattern pieces and the other containing the size 14
pattern pieces.
□ 65 plies of the fabric would be spread to alength to
include both markers.
REQUIREMENTS OF PRODUCTION PLANNING
□ On the top of this, at one end, further 30 plies of a length
to fit the size 14 marker are spread.
□ The marker containing the size 12 patterns would be
placed on top of the 65 plies and the marker containing
the size 14 patterns on top of the 95 plies.
□ Advantages are greater fabric savings, lower total cost,
although more time taken.
METHODS OF MARKER PLANNING
MANUAL METHOD
□ Manually produced markers may be created by arranging
full-size pattern pieces on marker paper or directly on
the top ply of fabric in a spread.

□ This method is still be used where companies make only

short or single garment markers(customized tailoring).

□ The planner canseethe whole of the plan relatively

easily.
MANUAL METHOD

□ The planner works by moving around the full-size

patterns until a satisfactory plan is obtained.

□ Pattern pieces are traced using a pencil or tailor’s chalk.

□ Manual methods of marker making are time-consuming

and require a great deal of space.

□ Full-size pieces must be manipulated, adjusted and

readjusted on normal fabric widths.
MANUAL METHOD
□ Manually made markers are also subject to errors and
inconsistencies that may occur in
□ grain variations,
□ poor line definition,
□ placement and alignment of pieces and
□ omission of pieces.

□ Accuracy of amanually made marker depends on the skill

of the individual who laid out the marker and traced it.
MANUAL METHOD

□ Sometimes this planning is done directly on the fabric to

be cut and the pattern shapes marked in immediately.

□ More commonly, a paper marker is used for cutting.

□ In this case the pattern lines and style and size

information are usually drawn on ‘spot and cross’ paper
to ensure adherence to grain lines.
MANUAL METHOD

□ A satisfactorily fine line is easier to achieve than when

marking directly on to fabric as apencil or aballpoint pen
can be used.

□ Multiple copies of the paper marker are normally needed.

□ These copies can either be made when the marker plan is

first drawn, or the master marker can be reproduced as
needed, by a variety of methods.
MANUAL METHOD

□ Carbon duplicating is used when small numbers of

copies are to be made as the original is drawn.

□ Double sided carbon paper or special NCR-type(no

carbon required) paper can be used.

□ In either case, six to eight copies can be made without

too great deterioration in the fineness of the line.
MANUAL METHOD
□ In spirit duplicating or hectograph carbon system,
the master marker is drawn on paper with a layer of
special hectograph paper underneath it.

□ This paper transfers a blue line on to the back of the

master as it is drawn.

□ The master is then used to make one copy at atime in a

duplicating machine.
MANUAL METHOD
□ The machine uses alcohol to wet aplain white paper
which is then passed with the master between two
rollers, transferring the lines onto the copy.

□ The diazo photographic method makes as many copies

of the marker as are needed,
□ one at a time, following the drawing of a master marker.
MANUAL METHOD
□ The master marker and a light-sensitive paper are passed
under high intensity ultraviolet light.

□ The lines and other markings on the master marker

prevent exposure of the light-sensitive paper which forms
the copy.

□ Then the light-sensitive paper is developed using ammonia

vapour and the lines remain visible.
□ These copying methods were used widely in the 1970’s,
but have been steadily overtaken by computerized
plotting.
COMPUTERIZED METHOD

□ After computerized marker planning, markers are

plotted out as required.

□ This procedure has proved far more versatile than other

methods.
Miniaturization or Mini Marker
COMPUTERIZED METHOD
□ Plotting is the process of drawing or printing pattern
pieces or markers on paper so that they can be reviewed
or cut.
□ Computer-driven plotters may draw pattern pieces,
graded nest of patterns and/or markers with complete
annotation(comments or instructions), depending on the
needs of the apparel firm.
Graded nest of patterns
Marker Plotter
COMPUTERIZED METHOD
□ New multi-head jet plotters are much faster and can print
variable line density and width, text identification
information and bar codes.

□ Plotting may be the bottleneck(a problem that delays a

process) in the preproduction processes if a firm runs a
lot of copies.

□ Firms using computerized cutters may not need paper

markers to guide the cutting process and therefore may
only print identification information for bundles.
COMPUTERIZED MARKER MAKING
□ It is more accurate and provides the greatest opportunity
for pattern manipulation, marker efficiency, reuse of
previously made markers and shortest response time.

□ Production patterns may be developed on the computer

and/or digitized or scanned into the computer.

□ In addition, parameters for markers are entered into the

computer from cutting orders.
COMPUTERIZED MARKER MAKING
□ These might include style numbers, size distribution and
fabric width.
□ Technicians manipulate pattern images on computer
screens and experiment with various configurations to
determine the best material utilization for the marker.

□ Protective devices are built into the programs to ensure

grain alignment and prevent overlapping or omission of
pieces or other errors.
COMPUTERIZED MARKER MAKING
□ Once markers have been planned and stored, they can be
printed or recalled and modified for new cutting orders.

□ With new marker-making software, markers can be

automatically created.

□ A computer can develop up to seven different markers

according to the criteria set by atechnician.
COMPUTERIZED MARKER MAKING

□ Automated marker making may be used to determine

yardage requirements and fabric costs for designs prior to
line adoption.

□ With automatic marker making, a50-piece marker canbe

generated on the computer screen in less than a minute.

□ Computerized marker planning is an integrated system.

COMPUTERIZED MARKER MAKING
□ It includes digitizing or scanning of full-size patterns into
the computer, facilities for pattern adaption and the
meansto generate all the sizes required, by inputting
appropriate grade rules.

□ The planner uses a visual display unit(VDU) with

keyboard, tablet and data pen, mouse.
COMPUTERIZED MARKER MAKING

□ Methods and equipment vary slightly between

manufacturers.

□ The planner specifies the exact make-up of the marker

plan: the width of the fabric, the pattern pieces to be
used, the sizes to be included and all constraints to be
applied, including any matching of checks.

□ The system produces a marker plan automatically or

interactively.
COMPUTERIZED MARKER MAKING
□ Automatic marker planning involves calling up data,
defining the placement of pieces in markers previously
planned.

□ The marker that gives the highest marker utilization, is

selected from a series of markers.

□ There is no guarantee that the best marker plan will be

achieved, but this is an automatic method of achieving
a plan which can then be screened by the operator.
COMPUTERIZED MARKER MAKING
□ Interactive marker planning is more common and is the
process by which the operator plans markers by
interacting directly with the system through a VDU
screen.

□ All the pattern pieces are displayed in miniature at the

top of the screen.
□ In the middle of the screen are two horizontal lines
defining the marker width and a vertical line at the left
representing the beginning of the marker.
COMPUTERIZED MARKER MAKING
□ At the bottom of the screen is a written marker
identification, with marker length utilization constantly
updated during the planning process.

□ A data pen(or mouse), tablet and computer keyboard are

used to manipulate the pattern pieces.
Digitizer

This unit consists of a digitizing work table and a free floating cursor which are
used to convert shapes into the format understood by the computer
COMPUTERIZED MARKER MAKING
□ The tablet represents the display screen and consist of a
grid of fine wires immediately below the surface.

□ When using adata pen, the pen is touched on the surface

of the tablet and registers a position on the grid which
shows as a position on the screen.
COMPUTERIZED MARKER MAKING

□ A combination of movements of the pen and commands

through the key board enable the pattern pieces to be
moved about the screen and positioned in the marker.

□ The system finally positions the pattern pieces precisely

according to the marking rules specified.

□ This process enables the planner to produce a trial

marker very rapidly and accurately.
COMPUTERIZED MARKER MAKING
□ It also enables the planner to run through the feasible
placements of pattern pieces more quickly than with
non-computerized systems.

□ After selecting the most economical marker plan devised in

the time available,
□ the computer will provide an accurate piece count,

□ calculate the marker plan efficiency percentage and the total

length of the pattern peripheries(outside boundaries).
COMPUTERIZED MARKER MAKING

□ When the marker plan is complete it will be stored in a

marker plan file for future reference.

□ The quality of computerized marker planning is more

consistent than that of manual methods,
□ because instructions regarding grain lines are always
followed, the placement of pattern pieces is precise with
no overlapping and the pattern count is automatic - a
boon in complex markers.
COMPUTERIZED MARKER MAKING
□ Even though the capital cost is comparatively more for a
computerized marker planning system,

□ due to its advantages like pattern development and

grading facility and ability to reproduce many copies of
marker using plotter,

□ it is used in a large scale, in medium and large industries.

COMPUTERIZED MARKER MAKING
□ It is possible to feed the marker plan to a computer-
controlled cutting knife.

□ This knife does not require the pattern shapes to be

drawn on paper.

□ However, for the cut work to be sectioned off correctly

into garment parts and sizes, there is a need to identify
the size code of each garment part the knife cuts.
COMPUTERIZED MARKER MAKING
□ In such cases, the plotter will not actually draw the
pattern outlines, but will write only the size codes in the
correct positions on the marker and mark a corner
reference point which gives an initial position to the knife.

□ Sometimes, adhesive labels are attached to the top ply of

fabric to give the information necessary to section
garment parts into bundles(Top ply labeling system).
COMPUTERIZED MARKER MAKING
□ This saves both time of plotting and the cost of plotter
and paper.
□ The labels carry bar-coded or alphanumeric information.
TYPE OF MARKERS
TYPE OF MARKERS

□ Markers may be open or closed depending on the form in

which the fabric is presented for cutting.

□ Rolled woven fabrics are open and flat when spread.

□ Markers for this type of spread require full-pattern pieces

for each part to be cut.

□ Markers made with full-pattern pieces are called open

markers.
TYPE OF MARKERS
□ Tubular knit fabrics are closed on both edges and
therefore require pattern pieces that utilize the folds.

□ Markers made with half-pattern pieces for laying along the

folds of the tube are called closed markers.

□ Garment parts must be symmetrical if half-pattern pieces

are used.
TYPE OF MARKERS
□ Marker makers must also consider the
symmetry(side-to-side) and directionality(end-to-end)
differences in fabrics.
□ Symmetric fabrics are the same side to side.

□ Asymmetric fabrics, such as border prints are different

side to side.

□ Nondirectional fabrics are the same end to end.

□ Directional fabrics are different end to end.
 TYPE OF MARKERS

□ Examples for directional fabrics include knits, napped

fabrics, and prints with flowers all growing in one
direction.
□ The marker mode is defined by the symmetry and
directionality of the fabric.
□ There are three types of marker modes:
(a) Nap-Either-Way(N/E/W)
(b) Nap-One-Way(N/O/W)
(c) Nap-Up-and-Down(N/U/D)
TYPE OF MARKERS- called
Nap-Either-Way(N/E/W).
□ The term nap is used to indicate the fabric is directional -
it is different end to end.

□ The nap of afabric is created by its structure(corduroy),

a finish or a directional print.

□ With symmetric and nondirectional fabrics, pattern pieces

can be placed on a marker with only consideration for
grain line.
□ This marker mode is called Nap-Either-Way(N/E/W).
□ Pieces are placed for best fabric utilization.
TYPE OF MARKERS- Nap-One-Way(N/O/W).

□ With asymmetrical and directional fabrics, the orientation

of pattern pieces is extremely important to the
consistency and quality of the product.
□ These fabrics require all pattern pieces to be placed on a
marker in only one direction.
□ This is called Nap-One-Way(N/O/W).
□ With this type of layout, pattern pieces do not interlock
as closely.
□ It usually requires more fabric and reduces fabric
utilization.
TYPE OF MARKERS- Nap-Up-and-Down(N/U/D).
□ On some directional fabrics, such ascorduroy, it may be
possible for all the pattern pieces of one size to be placed
in one direction and another size placed in the opposite
direction.
□ This is called Nap-Up-and-Down(N/U/D).
□ With this type of marker, the nap of corduroy jeans may
run down for size 7 and up for a size 9.
TYPE OF MARKERS
□ The critical factor is that the nap must run in same
direction in all the pieces of one garment.

□ Napped fabric like corduroy will appear shaded if the

pieces in one garment have the nap running in different
directions.

□ Generally, N/U/D yields abetter utilization of fabric than

N/O/W.
TYPE OF MARKERS
□ A marker is made for aspecific style, fabric and number
of sizes.

□ The length of the marker determines the length of the lay

that will be spread.

□ Completed markers are sent to the cutting room

electronically or in hard copy for the spreading and
cutting processes.
MARKER EFFICIENCY
MARKER EFFICIENCY
□ Marker planners measure their success by the utilization
of the marker plan created.
□ Marker efficiency is determined by fabric utilization, the
percentage of the total fabric that is actually used in
garment parts.

□ Marker utilization=(Area of patterns in the

/
marker plan) (Total area of the marker)x100.

□ Area not used in garment parts is waste.

MARKER QUALITY
□ Accuracy is amajor factor in marker quality.
□ Information needed for each pattern piece includes size,
style number and piece name or number.
□ Lines must be accurate, consistent, fine, smooth and a
precise image of production pattern.
MARKER QUALITY
□ Computerized marker making is more precise and
eliminates many of the mistakes that occur with
hand-drawn markers.
□ It is time saving, accurate, consistent, pieces not omitted
and pieces always on grain.
□ Depending on quality standards, pieces may be
overlapped slightly or have corners rounded in an effort
to conserve fabric.
□ This often cause problems when the operators try to
align two corresponding pieces for sewing.
MARKER QUALITY
□ Omission of even the smallest piece from the marker can
create a major problems and recutting.
□ A missing piece may not become apparent until the
garment parts are prepared for sewing .
□ By this time, it is difficult to find the specific pattern piece
and identical fabric to recut the piece.
MARKER QUALITY
□ Scrapsmay have been discarded or remaining fabric may
be of a different dye lot.
□ If the fabric can be found, special handling and separate
cutting are required.
□ This is a common problem with manual markers.
□ Planning the knife path for cutting is an important quality
consideration.
MARKER QUALITY
□ There must be space for the cutting knife to maneuver(A
deliberate coordinated movement requiring dexterity and
skill), without cutting into adjoining pieces.
□ It is easyto cut straight into the lay but to turn and
change directions requires space in the marker and this
should happen without damaging other pieces.
□ In manual cutting, the position of the cutting operator is
very important.
DIMENSIONS OF MARKERS
□ Markers are made to fit the cuttable widths of fabrics.
□ Cuttable width is the usable portion of the fabric width.
□ Selvages are often not usable and on printed fabric, the
design often begins an inch or so beyond the selvage.
□ These portions are not usable in garments.
DIMENSIONS OF MARKERS
□ Markers may be produced in sections or blocks or be
continuous.
□ Blocked or sectioned markers contain all of the
pattern pieces for one style in one or two sizes.
□ Sections may be used separately or joined together to
form an extended multisize marker.
DIMENSIONS OF MARKERS
□ Blocked or sectioned markers are easier to visualize, plot
and handle but they may not produce the best utilization
of fabric.
□ Sectioned markers may be used to adjust the volume
requirements for various sizes.
□ High-volume blocks can be placed on one end of the
marker and low-volume blocks can be placed at the other
end so that the fabric can be spread according to the
volume needed for each block.
DIMENSIONS OF MARKERS
□ Blocking keeps garment parts for one size in close
proximity, which facilitates bundling and handling.
□ Sectioned markers are advantageous if there is
end-to-end shade variations of the fabric.
□ A stepped spread for a sectioned marker may consists
of plies of varied length, spread at different heights.
DIMENSIONS OF MARKERS
□ The most frequently used configuration for a stepped
spread consists of agroup of plies that are spread the full
length of the marker and another group of plies beginning
at the section line.
□ Stepped spreads are used to adjust the quantity of piece
goods to the number of garments to be cut from each
section of the marker.
DIMENSIONS OF MARKERS
□ Continuous markers contain all the pattern pieces for all
sizes included in a single cutting.
□ They may be lengthy and often require more juggling of
pattern pieces.
□ Pattern pieces are grouped by their size and shape rather
than by garment size.
□ They often have better utilization because there is more
flexibility in grouping and maneuvering large pieces and
small pieces.
DIMENSIONS OF MARKERS-- Splices
□ Splices are needed when flaws are removed, a roll
change is made or a short length of fabric is used.

□ Splice marks are planned into continuous markers to

avoid excessive fabric waste and incomplete pieces.

□ Splice marks are points in amarker where fabrics canbe

cut and the next piece overlapped to maintain a
continuous spread.
DIMENSIONS OF MARKERS
□ Splice marks may be one inch or several inches,
depending on the overlap needed to accommodate the
pattern pieces in the area of the splice.

□ The rectangular box indicates the amount of overlap

needed.
□ The lower ply should be cut at the end of the box and
the new ply of fabric should be aligned with the beginning
of the box.