I’ve been able to finally Make rather than Find files so my pattern book is getting the massive edit it desperately needs. But I had to uninstall the latest Inkscape to go back to what I used before all heck broke loose with my hard drives. The UI is just so different. The old UI though means I’m able to use muscle memory to refamiliarise myself with it all to simplify my shapes to make it even easier to use the newer version.

I had added seam allowances to each bodice shape but I’m going to remove all them all again. One of the biggest problems with including them is that they really need to be approached as fulfilling different roles at different times. I’m not even a fan of including notches for corners, because I only cut these after I’ve got the bodice fitted. I’d rather have an annoying bunch of fabric than have to cut it all over again.

That really is how I cut around my base pattern, apart from the notches and cut off points. I use grain so much for support, yes there is a diagram for that scanned but not yet redrawn as a vector. Quite often I’ll find it easier to fit by pinching/letting out evenly over the seam but then will want to move the seam to the back a little. So this extra fabric lets me do that.

Even with a dress form I find I want this extra fabric. It’s partly why all my patterns that I traced over to make my book line up so well. I do want to keep the allowances for my pages on how to draft, fit, and finish the pattern though, so it’s not a total waste. But

As far as the work involved. I’m removing all the path effects (dotted lines or sweeping lines like a pen would leave) which is time consuming, but absolutely will make it easier for people to use. And I’ll be able to connect paths I had to separate for those path effects too. Making it all easier for me going forward. From what I can tell this work flow is still in use with the new UI, so I’ll just keep going getting the paths all tidy. I’ve got the new version on my flip book so I can use that to learn the layout and possibly new tools.

I’ve been awake for three hours and I’m shattered already. But it’s getting easier to use the controls again. ctl+scroll for zoom, just ctl+z to undo (making it easier than PS) shift+click to select multiple paths. I’m even appreciating the infinite scroll as I’m able to bring paths right next to the side to speed up remong path effects from each path. That would be handy going forward- the ability to remove/add path effects to multiple paths like you can stroke/fill/change width.

I’ve also installed like 300 fonts and I’m really only happy with one. It’s so bad! But I want to pull a Quentel. At least one reference I found suggested the French edition was in house rather than printers in France copying or being given permission to do so. And there are even editions out there with no text put in the box of the title page as well. So this is what I’m trying to do. Make a “plate” for the title page to be in different fonts associated with different cities so people can grab which ever one they prefer.

I really want to redraw all my figures. There are regional differences in proportions too like typefaces. It’s proving difficult to find much in the way of local artists depicting real people but what I have found suggests a richer connection to Augsburg than I thought. It might be the size of the books. I collect all the (digitised) prints of dancing couples and there is quite the difference when you compare large and small sets. I mean it’s obvious really. But I might be putting my own ideas of a large and small rather than going by the actual dimensions.

I’m still going to webify the book because that lets people zoom the entire page or text only or even translate it all. Working out alt text for the pattern shapes is really difficult. It’s not just me. It’s a problem with all the extant books I have as well. Ditto instructions in magazines. There is an interesting phenomenon of where different costs merge. Number of pages, verses amount of ink, versus slugs and cost of illustrations (artist, woodcut/etching) all affect cost.

So by the time of the late 19thC magazines have the tiniest font you can get away with but filled to the last word. So there is a lot of flowery language.

Okay, it’s very humid so I’m off to have a shower. And let what I’ve done settle in my memory.