Hello creators, We’re making ribbed bands today so let’s check
the references and see how they look in real life. Rib parts have a simple rectangular shape.
In real life, it’s a big rectangle that is folded in half and attached to the
bottom of the bodice and sleeves. Usually, rib parts are smaller or at least a bit smaller
than the bodice and sleeves opening. That’s why they stretch the seam
forming small waves and taper down. It also depends on the stretching abilities
and density of the rib fabric. Some of them can strongly stretch the seam like here, while
others can keep the shape, as here, for example. So, I’ll show you the basic principles with
which you can create any type of ribbing band. Let’s jump into CLO. I’ll start with the cuffs first. Press S - Rectangle tool
and left-click in a 2d window. I want them to fit snugly on the wrist. It’s about
18-20 cm in width. The height can be different, it depends on the style. Usually, it’s from
6 to 9 cm. We’ll be able to adjust it later. Now let’s sew this cuff to the sleeve.
I use a Segment Sewing tool and sew the top edge of the cuff to the sleeve
opening and side seams together. Then select the cuff and press CTRL+D to
add a symmetrical pattern. All my patterns have symmetric editing with sewing.
That’s why when I add a symmetrical cuff it already has the same seamlines as the
main cuff and I don’t need to add them again. We need to place them in the
3D window closer to the shirt. Select both patterns and right-click on them
in a 3D window - Superimpose (Side). This action places the patterns according to the seamlines.
It may not work properly because we have a seam only on the top edge and sometimes it’s not enough
for the software to understand how to place it. There’s a small trick. Select the cuffs again.
You can also right-click on the yellow square on the gismo tool. Select Superimpose (side) once again
and the pattern will change the location. Sometimes it works, sometimes not, so you can use arrangement points
to place the cuffs alternatively. Now let’s add a waistband. The principle
is the same as with cuffs but in this case, the width is the sum of all bottom edges on the
front and back patterns. Select them and check the length in the Property Editor.
2D Line Length is 57 cm but it’s a half circumference yellow lines only. The full length is 115 cm.
It includes symmetrical lines or blue lines. That’s what we need. I’m going to make the waistband
a bit smaller so it stretches on the seam. Let’s make it about 100 cm. We’ll change it later if needed.
Add a new rectangle and type the width and height. Sew it to the bodice with a Segment sewing
tool. Press and hold SHIFT and sew the band to all the edges on the bodice. Sew the
side edge and place it in a 3D window. Simulate and check how it looks. I want to put the hands down so we don’t move the
camera to see what is going on with the cuffs. Open the library - Avatar - Female V2
(the one I use now) - Pose - this one, double-click, and press Ok. So we added patterns now we need
to make them look realistic. First of all, let’s change the Particle
Distance for them to 10 to make them more detailed and simulate small folds
and stretching on the top seam. Then let’s pick other fabrics to simulate bodice
and bands correctly. You can use blank fabric and change physical properties only or load a
fabric from the library. I’ll use the second way because I want to have some basic textures
applied to see the difference between fabrics. I’m gonna use Knit Fleece Terry for the bodice
and sleeves. It has good physical properties. And Rib for the waistband and cuffs. This
one for example. Apply them to the patterns. The ribbed texture has a dark
color so I’ll desaturate it. It’s in the Property Editor - Basic
Parameters - Texture - Desaturation. Simulate and check how it looks. If it’s not
something you are looking for - pick another fabric or change the Physical Properties preset.
Let’s see what we can choose for ribbing. You canselect any of these presets but I recommend you
to use Knit or Rib fabrics. You need to pick one that fits your goal the best. For example,
Rib 486 is stiffer and less stretchy. Look at the neckband. It becomes tight and pulls the
fabric up. On the other hand, Rib 319 is softer and stretchier. This preset works better for me
as I want to stretch the top seam of the bands. If you feel like you need to stretch
it even more you can do it manually. Let’s check the length for
the top edge of the band. 2D line length is 100 as we drafted, 3d is
107. So it’s already stretched. You can turn on the Elastic option and stretch it even more by
changing the ratio or typing the desired segment length Turn on the simulation so you can see
changes in real time and find the best value. 114 looks good. I’ll stretch the
top edge of the cuffs as well. Here we go. Usually, it happens that you need to change
the width or the height of your patterns in the process. We drafted the waistband 100 in length
but now I see that it would be great to make it a bit shorter. You can extend or shrink the side
edge on the pattern but it’s not very convenient because you’ll need to simulate and fix it in a
3D window each time you change it. The other way is to select the pattern and adjust Shrinkage
Weft and Warp values in the Property Editor. So what the Weft and Warp are. Each pattern
has a grain direction. You can check it with the Edit Texture tool. When you add a new
pattern it has a vertical grainline. This grainline represents the warp thread.
The perpendicular thread is a weft. So if you didn’t change the grain direction and
you make the Warp value smaller the pattern gets shrunk vertically. If you make the Weft
value smaller it shrinks horizontally. I’ll shrink it on the weft and extend it on the
warp slightly. You can do it with any pattern. For example, I think that my hoodie is too
long, so I’ll simply Shrink it on the warp. The next step is to finish the edges of our
bands. Here I’ll show you 2 methods. You may use each of them depending on the result
you want to achieve. Let’s hide the avatar with SHIFT+A. I’m in the Texture Surface mode which
shows us a thin fabric and the right and wrong sides of the fabric. The dark
grey color represents the wrong side. We can switch to the Thick Texture Surface here or
press ALT+1 and CLO will add one more face inside of our garment. Now we see that the band has a
thickness. We can increase it for this pattern in a Property Editor using the Add Thickness
Rendering option. For example, set it to 4. Here we go. It has a roundish bottom edge so
it looks like the fabric folds and goes inside. Also, you can change the thickness for the
whole fabric so it applies to all patterns from this fabric. I’ll set Thickness rendering
back to 0. Select the Rib fabric and scroll down the Property editor to the very end. Here you can
find the thickness value. Set it to 5 for example. Now the cuffs are also thicker. The top edge
doesn’t look correct because it has the same round edge as the bottom edge. When we add a
new pattern it has a 100% curved side geometry. That’s exactly what makes the bottom edge round.
We can turn off or lower it for the specific line. For the top edge in our case. Select it on the
waistband and cuffs and decrease the curvature. Also, it’s better to increase the thickness of
the Knit Terry fabric. About 3, 3.5 looks good. BTW, I have Basic patterns from the Modular
Configurator and the curved side geometry is turned off for them. I’ll turn it on and set it to
100 just to have the same values on all patterns. So it was the first and the quickest
way of making double-sided bands. It’s simple and looks great if you need to make
flat-looking bands like on these references. Also, they consist of only 3 patterns so the
file size will be smaller which is also a plus. If you feel like it’s not enough and you need
to have a real fold and a pattern inside like on this reference, let’s make it. Basically, we
need to extend our band and then fold it in half and stitch it to the top edge inside. I don’t like
to fold patterns in CLO, it’s unstable and causes collisions during the simulation. I prefer to make
a duplicate pattern and imitate the fold instead. I’ll set the fabric thickness
back to 1.5 for both fabrics. Then select waistband and cuffs and copy
them with CTRL+C, CTRL+V. Sew top to top and bottom to bottom edges. Cuffs have symmetric
editing so we need to sew only one of them. Select and place them inside using the
Superimpose (Under) option. And simulate. I’ll switch to the CPU simulation
because GPU works pretty bad with layers. So here we’ll need to adjust fold angles for
our seams. When we sew edges together CLO adds a 180 degrees seam as we make a plain seam in
real life. It works great for side, armhole, and shoulder seams, but here we need to make a
fold, so it should be sharp, closer to 0 degrees. Let’s select the bottom sewing line with Edit
Sewing Tool. It has 180 degrees Fold Angle. We can make it sharper by decreasing the value,
or blunter by increasing it. Let’s set it to 0, sharp angle and check what’ll change. We see
the opposite result because we have a flipped face for the inner parts. Press ALT+2
to switch to the Texture Surface mode. The inner part is black which means that we see
the wrong side of the fabric. Select all the inner parts, and right-click on them in a 3D window -
Flip Normal. Here we go, we see the right side. Now when you simulate 0 degrees fold angle will
make your seam sharp. I don’t like to set it to 0 because we still need to have a bit of the
roundness so about 70-90 should work better. The top seam looks good but it’s only because
of the elastic that we added before. If you turn it off you’ll see that it looks puffy, so
you can adjust the fold angle for it as well. You can decrease it once you feel
it looks good or you can change the sewing type to Turned which can be even
better and stabler during the simulation. Turned seamline means that patterns are sewn
parallelly to each other. There is a great image on the Clo Help Center that describes
the difference between these two types. Also, we can get rid of seams in
places where we need to have a fold. All the seams, that you see in a 3d window are
a Normal Map texture. It creates fake bumps, that look to us as seams. We can delete or adjust
this texture. I’ll delete it for the bottom seams. Select them with the Edit Sewing
tool, go to the Property editor, and here you’ll find 3d seamline settings. You
can adjust the intensity, thickness, or delete the texture. We had to set the intensity to 0 in
the previous version of CLO because the texture appears after reloading the program. But now it
looks like the CLO team has fixed it in CLO 7. The last tip will be for a proper simulation.
As we have 2 layers here, sometimes patterns can collide during the simulation. If you face
this problem or want to prevent it I recommend you to set a dependence between the outer and
inner parts. There is a tool called Set Sublayer. It basically says CLO what pattern should be on
top of the other. For example, click on the outer part, then on the inner part. Now it will try to
always have a position on top of the inner part. But as you remember we flipped the face for the
inner part. That’s why we need to change + to - here. Here we go. Now when you simulate the
garment and move the fabric CLO will remember that the outer part should always be on top
of the inner part and try to separate them every time when they collide. Sometimes it
saves you tons of time during the simulation. That was the second way of making the double-sided
bands. It takes more time and you may need to decrease the particle distance to 5 and lower
to simulate the roundness of the bottom edge. As for me, both methods are cool
each for its specific purpose. You can still experiment with the fold
angles, shrinking, and stretching. Speaking of stretching I’ll turn on Elastic. I forgot that
I turned it off to show you the fold angles. That’s it for now. I hope you enjoyed making the
cuffs with me. If you have some questions let me know in the comments. In the next video,
we’ll add a pocket to our future hoodie, learn about internal lines, and how to make
patterns from internal shapes. See you there, bye.
