Clear Instructions?Yes! This would make a great first pattern for a beginner bra maker. Choosing which size to make based on the instructions is pretty simple. The instructions provide lots of extra tips and the formatting and diagrams are really clear.
Watson Bra Pattern Pdf Free
Accurate materials list ?Yes the quantities given are fair, although I think the amount of powernet is overly generous. The width of elastics and notions required are different between the 2 sets of pattern sizes.
Matching set potential?View C requires a stretch lace so that would be very easy to use in making matching briefs. The other views require a stable fabric such as tulle or satin so you would need to work out how to incorporate a woven fabric into underwear. A couple of my favourite patterns for this are the Grace by Ohhh Lulu or the Marie by Evie la Luve. Hopefully Rubies Bras second pattern is one for a matching bottom to the Sahaara - hint, hint! Variation possibilities?With the three different views and the longline adaption you could certainly create a number of different looking bras. I'm not sure with the two piece, triangular cup that you could create many pattern hacks for more variety but there are plenty of creative people out there who may prove me wrong.Conclusion:I think this is a pattern that nicely fills a gap in the market. This style of bra/bralette is usually created for stretch fabrics so having a pattern that uses stable wovens is a nice addition to my pattern collection. This, plus the size inclusivity, makes it a great pattern.
I found that the pattern gave me fairly perky (for their size), slightly pointy breasts. The final bra was definitely supportive. I know that Anne will also support via email if you purchase/use her patterns.
One of the most popular bra patterns of the past year has been the Cloth Habit Watson bra, which is a soft bra with no underwires. Not designed to provide a significant amount of bust support, the Watson is available only in sizes up to 40D, although the smaller band sizes do have some larger cup size options. Granted, most of us with larger cup sizes prefer more support than the Watson provides, but I know that there are definitely times when wearing a light support bra around the house would be nice. I did manage to find two soft bra patterns that are available in large size ranges.
This is a great round-up. Wondered if anyone who has bra-making experience can comment on the cup size up / band size down grading ie that the cup on eg a 36b is the same as a 34c? I ask because I am a UK 34 H (which I guess must be a US 34J as we in the UK have ff and gg sizes) and wondered if I could use a 38H cup pattern with a 34 band?
I just checked her etsy shop, and found two patterns that meet that description (CUPL16 and EFG40), and another in smaller cup range that is made for 38 to 44 band sizes (BHL15). Her blog ( ) also offers a lot of information/tutorials related to lingerie making.
I'm on the hunt for garment testers in the following sizes: 30-32" and 50"-58" full bust circumference. If you're keen to test knit some garment patterns, give me a yell. I do all my testing on Slack, a free platform, and it works really well. You'll be knitting my draft patterns and checking for errors and improvements to fit so good attention to detail is essential. You don't have to be an expert knitter, but do need to be comfortable working to a deadline.
Last summer, I downloaded the Watson Bra from Cloth Habit and got started. I was a bit hesitant to try this pattern due to the limited size range, but as a small busted curvy lady, I figured I could make it work. After some mostly failed muslins, I abandoned the project in favor of shinier things.
As the condition of my current bras continued to decline to an embarrassing state, I decided to revisit the pattern a couple of weeks ago. I realized the secret (for me) would be foam. It took two more foam muslins, but I think I finally nailed the fit. After getting a satisfactory fit in a stretch fabric, the only modification I had to make for the foam was to add a little volume to the inner cup by slashing and spreading.
I used the same gray bamboo jersey and fold over elastic to make a matching pair of undies from the Soma Swimsuit from Papercut Patterns. If you can believe it, this is a size medium and it fits great. Papercut Patterns run REALLY large and this fabric has more stretch than swimwear fabric would. This is my new everyday undie pattern.
I hope to encourage bramaking to anyone willing to sew and if you do, I recommend starting with this pattern. I need to make-up for the bra-making challenge because I did miss a week so I should be making two more in the next couple of days. What do you think? Willing to try?
I love hearing from readers of my blog so please feel free to leave a comment letting me know what you thought about this post/make! Any hints or tips to improve my sewing are always much appreciated too!
On the theoretical end, the paper makes several strong proposals about the structure of phonological features and the nature of phonological contrast. First, it makes the claim that features are emergent, phonologically grounded, and language-specific; and does so by articulating representations within the highly abstract Parallel Structures Model. Second, it substantiates the related claim that rhotics can be better defined by their distributional and phonological patternings than by specific phonetic characteristics. And third, it proposes that a strong structuralist position on phonemic contrast is sufficient for describing the representational categories of a language or language variety.
Hyper-variation in R spans virtually every aspect of its articulation (Lindau 1985; Ladefoged & Maddieson 1996). In terms of manner of articulation, all non-stops are possible: from trills and taps/flaps to fricatives, approximants, and even vowels. In terms of place, R can be either coronal, articulated by the front part of the tongue against the dental/alveolar or post-alveolar region, or dorsal, articulated by the tongue dorsum against the velum or uvula. And while most R-sounds are voiced, voiceless allophones are commonplace, and voiceless phonemes are not unknown either. Such variation is present across languages as well as across dialects of the same language. Also within a single variety, it is usual to find free and phonologically-conditioned allophony for the usual single R-phoneme (Wiese 2011), or less usually two or more contrasting R phonemes (Maddieson 1984).
In most Arabic dialects, the rhotic is realized as a voiced dental/alveolar tap or trill (Younes 1994; Watson 2002). The singleton R is often a tap [ɾ], a single short apical closure, whereas the geminated R is a trill [r]. According to Ladefoged & Maddieson (1996: 219), this is generally the case for languages that regularly distinguish between singleton and geminated consonants, such as Italian and most varieties of Arabic. Arabic trills are found where the templatic pattern dictates a geminate in morphologically and semantically predictable classes. And phonotactically, they arise only where geminates are licensed: in intervocalic and final post-vocalic positions. Taps have no such restrictions. And it is reasonable, therefore, to treat the trills as geminated taps instead of independent phonemes, in parallel with other doubled consonants.1 For simplicity, I will use [r] for the single tap and [rr] for the geminate.
The last pattern comes from loanword phonology, and is exclusive to MCA. In French loanwords borrowed into MCA, the French rhotic /ʁ/ is systematically interpreted as an alveolar tap /r, rˤ/ (5a), despite the fact that MCA has a phonetically equivalent velar-uvular fricative phoneme /ʁ/ (Paradis & LaCharité 2001; Lahrouchi 2018). Meanwhile, when Arabic words containing /ʁ/ are borrowed into French, they do not appear with the French rhotic /ʁ/, but more willingly with a velar stop /ɡ/, as exemplified in (5b).
These assimilations are common across Arabic dialects. They are described both briefly in grammars and extensively in some studies of segmental assimilation, e.g. Abumdas (1985) and Elramli (2012) on Libyan Arabic. The process verifies that trigger /r, rˤ/ and target /l, n/ are all coronal sonorant segments. (Another indication of the sonorancy of /r, rˤ/ in MCA is the loanword pattern in Section 4.1). Let us assign a combination of C-manner [open] and V-manner [closed] for the natural class of sonorants in the PSM (see Morén 2006: 1210). These features correspond to liquids and nasals being continuants (open) and vowel-like (sonorous). Thus, coronal sonorant assimilation takes place when the trigger and target merge their C-place [coronal] and their manner features to avoid multiple OCP violations.
In summary, it has been shown that [r] and [rˤ] are realizations of one phoneme in this group, and that this phoneme is underlyingly emphatic, despite two types of patterning. On the one hand, /rˤ/ patterns with other emphatic coronals in its distribution and in inducing leftward and rightward ES. On the other, it partially differs from those emphatics due to its vulnerability to be de-emphaticized and to its more limited ES domain. I proposed that /rˤ/ has the representation in Figure 4, with C-place [coronal] and V-place [dorsal] plus C-manner [open] and V-manner [closed]. This is the same as emphatic /rˤ/ for Type-I dialects (Figure 3). When de-emphaticized under various conditions, the V-place node is delinked. After the emphatic-R dialects, we examine dialects with a single, plain /r/ phoneme.
Overall, then, this section has given distributional evidence of a single R phoneme in Type-III dialects, mainly by showing that its [r] and [rˤ] realizations are phonologically predictable. The labialization pattern has additionally shown that R behaves more like velar-uvular than emphatic triggers. The next section explores a different type of evidence. 2ff7e9595c
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