Lesson II TO PUT THE DRESS ON THE FORM

TO PUT THE DRESS ON THE FORMStudy Fig. C by going over it with a point, as directed in Lesson I, until it is thoroughly understood. Then draw the form as directed in Lesson I. When you leel confident that your form is good in all respects, with light lines, place the dress on the form as directed below.

Decide how far down the V in the neck opens, and mark off on the center line, curving the far side of the V around the neck to the center line. The near side takes a slight reverse curve around the neck to the center line.

Remember, in dressing up a form that it is. oval, and the lines must follow the form, ond not be drawn straight. Draw just as few lines as possible, in the right direction.

Women’s clothing opens from right to left. As this dress opens past the center line, continue the far side of the V past the center line to the opening of the waist, which follows the center line of the waist.

The skirt opens directly under the waist opening, and follows the center line of the skirt, which hangs straight down.

Place the belt one-half above and one-half below the waist line, curving the lines to follow the waist line. The sides of the belt are vertical. This belt is flat and does not show the opening.

The waist blouses over the belt in front, and extends past the belt at the sides. Note the slight change of direction where the waist opens and goes under the blouse. If. the waist were not bloused, the lines would follow the form and go into the belt, showing its full width.

Place all buttons on the center line, having the buttons the same size and evenly spaced. After a while the student’s eye
will be able to judge distances; until then it might be well to measure from the center of one button to the center of the next button, marking each center with a dot. Around these dots draw the buttons.

Note the large buttons at the bottom of the page. Draw the top of the button and then the bottom; in this way the student can obtain better curves.

A flat round button has a small shadow underneath, darkest at the bottom. A high, round button casts a shadow like? a sphere. To obtain this draw the round of the button, then draw another round the same size through the center of the first one, blackening the part underneath the button. The buttonholes may be drawn with one or two liues, but must be opposite the center of the buttons, and run straight out to the left of the drawing (as you face the figure).

The turnover collar is sewed on at the top of the high collar and flares at the bottom. Make the collar open in the center and curve it around the neck. The chemisette opens past the center line. Note all guide lines drawn through the turnover collar, cuffs, and center of pocket, also at the ends of the buttonholes and between the pockets.

The cuff, which follows the bottom line of the sleeve, curves up. It is sewed on at the bottom and flares slightly at the top. Do not flare too much.

Put the pockets on at the right height for the hands and keep them the same size and about an even distance from the center line. As the far side is lost somewhat, show a little less of it than the near side.

Note how the flaps of the pockets extend past the pockets, and how both pocket and flap extend past the skirt on the far side. Be sure to make the pockets the right size for the dress.

Next comes the fullness of the skirt. A t-kirt cut with no fullness at the top and much fullness at the bottom—like the lesson plate—must be a flare skirt. However, this is not the point to be illustrated. The idea to be grasped by the student is how to draw fullness which goes in and out of the bottom of the skirt. In Lesson III we shall learn how gathers at the top of a skirt are drawn.

XX is the edge of the fold and hangs straight down to the bottom of the dress form. X is where the fold touches this line. 0 is on a Tine with X, but the skirt being full, 0 appears farther back. Draw so, gradually bringing the bottom line of the dress out to the next X, etc. The hem follows the bottom line of the dress, not of the form. The opening of the skirt runs down to X, the nearest point. 0 is back.

All stitching must be evenly spaced, an even distance from the seam, and not too near it. On the left of the skirt the stitching is drawn on the hem, on the right side the way to draw is explained. Until the student can judge distances, measure from X up to the top of the hem, which is the same width as from 0 to the top of the hem. Mark with dots at these points and between them, and draw light lines through these points. When you are convinced that the hem follows the bottom line of the dress, draw the stitching.

If the skirt is not as full in places, X and 0 will run together, as illustrated on the right side of the skirt. To do this once in a while will make a more graceful drawing.

Note where the three principal wrinkles come on the sleeve.

As an application of this lesson, cut out of a fashion paper a pen and ink drawing
(about six inches in height) of a simple dress illustrating what you have learned in this lesson; a dress with collar, cuffs, belt, pockets, stitching, buttons, and fullness at the bottom. Cut off the head, feet and hands, as the dress is all you need. Draw a three-quarter view form facing the same way as the clipping, and dress it in this dress, using the principles learned, not merely copying the lines. Do not bend the arms. Draw like Fig. B.

Loam how’ to draw the form facing the other way and dress it in a simple dress. If you find this difficult, take a sheet of tracing paper, trace off Figs. A and B of Lesson I, turn this tracing wrong side up and you will have the form facing in the opposite direction.

THE BACK FORM

It is not necessary to repeat in every lesson details as to how to study, as the student is expected to remember and apply all previous lessons on each new lesson. Take each lesson slowly, learning it completely, then proceed to the next one.

The back form is drawn sometimes full and sometimes three-quarter view In this lesson we take up the full back in detail, but a small three-quarter back view is illustrated in the upper right-hand comer of the lesson plate. The center line in this view is vertical and at one side of the middle of the drawing. The near armhole is hollowed in and the far armhole is lost. Study the full back (Fig. E) at first and later draw the three-quarter view.

Draw layout D for full back, drawing the lines in order, 1, 2, 3, 4, 5, 6, 7. The student can see for himself just what these lines do. Do not make the waist too small. Remember that the waist goes into the skirt two and one-half times and that the center line is in the middle of the drawing, and runs straight down.

On layout D draw Fig. E, placing the collar above line 1, a little higher than in the front view, and connect the ends of the collar with the shoulders. The collar and waist lines curve up, but the bottom of the sleeve curves down. The top of the cuff follows the bottom line of the sleeve, exposing the inside of the cuff.
The armholes must be the same size
and opposite each other. Do not hollow the armholes too much. Throw the sleeve out (curving very slightly out, to take away the stiffness). This is the reverse of the front view, which curves slightly in.
The waist is full in the front as shown by the blouse at the sides, but the back is perfectly plain and tight.

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