THE TUCKED SKIRTIn Lesson IV only tho bottom of the tucked skirt (Fig. K) is illustrated, but for practice—and much practice is required on each lesson—draw a complete skirt form with a graceful ellipse at the top, not showing too much of the back of the ellipse, then place as many XX’s as you think will look well. In the figure we have two on the near side and one on the far side (the skirt being a three-quarter view). After getting a good bottom line, place the tucks on the skirt according to directions.

We learned in Lesson II that the hem followed the bottom line of the dress, not of the form; therefore tucks, bands, braiding, or any trimming w’hich goes around the bottom of a skirt, must also follow this line.

Place all the X’s and O’s carefully before attempting to put the tucks on; because when the bottom line is poor, and if the tucks follow this poor line, the w’hole skirt will have a peculiar appearance.

Begin at the front, and after deciding how high the first tuck is to be, draw it around as you w’ould a hem, being sure to follow the bottom line. If you do this carefully with the first tuck, there will be no difficulty in drawing the remaining ones.

A tuck must be the same width in all places and appear to go in and out of the fullness and go around the edges of the skirt at the same height, not down or up in the back.

If all the tucks are of equal width, like the ones on the lesson plate, draw so; but if different widths are required, gauge accordingly.

The tucks are sewed at the top and ex-
tend a little past the side of tho skirt at the bottom. Occasionally this will happen at XX, but not often. Note the X’s and O’s on the first tuck.

The top of each tuck may be indicated by a broken line for stitching, it being well to draw the continuous line at first.

Bias bands are stitched on both edges. They cling to the dress.


A circular over-skirt is plain at the top and ripples at the bottom.

Fig. L represents two over-skirts, the top one being even all around, the under one being pointed on the front, the point being on the center line. Observe X and 0 on this skirt. As the skirt is shorter on the sides than in front, 0 is very much higher than X. Note the guide lines for the bottom of the over-skirt and of the under-skirt, where it runs up to the waist.


Ruffles are hard for a beginner to draw, there being no special rule to go by. They must be graceful, and full or scant as required.

A ruffle which is very full will stick out at the bottom and expose the under part. (See the ruffle at the top of the Lesson Plate.)

On a very full ruffle you will occasionally observe a set form, but if repeated too often the effect will be a row of autumn leaves or sea shells.

Note the set form marked by the arrow. On each Ride of this form two XX lines curve out, the goods being gathered in at the top. The form is narrower where sewed on than at the bottom. Notice the under part of this set form, the lines being somewhat the i^ame as the lines of an over-skirt.

In between these set forms the line of the bottom of the ruffle waves in and out, the set form being nearer to you than the wavy part.

All lines for the fullness must look as if they were pulled together at the top of the ruffle. The lines XX at the right side curve out to the right, and on the left side they curve out to the left.

A scant ruffle will have somewhat the appearance of the bottom of a full skirt, but the XX lines are more curved than the skirt lines. Materials like taffeta, calico, etc., which are stiff and heavy, will have rounding lines like the ruffle at the top of the lesson plate. Tulle, which is stiff but thin, will have lines which are straighter and sharper. (See Example.)

Draw the ruffle at the top of the page, and when you are convinced that you can do this satisfactorily, draw Fig. M.
After placing X’s and O’s for the bottom line, draw guide lines the width of the rufHe on which place the ruffle.

The ruffle must go in and out of the fullness.

This skirt (Fig. M) is gathered at the top. The lines of the fullness from the waist fall down between the lines of the fullness which run up from the bottom.

Study the lines of fullness on other drawr-ings and notice that some lines are short, some long, and some meet in a V near the waist line. If the material is heavy, all lines of fullness will go under the band, but if thin material is used some lines will fall short of the band and be hooked at the top.

All lines for fullness must be sharp and snappy. Practice such lines with bold strokes, on a separate piece of paper.

A ruching has the appearance of two ruffles, one turned up and the other down, the lines being the same. It is darkest where gathered, which is in the middle. (See example.)

Apply this lesson as you did the previous ones.

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