If you succeeded with Lessons I and II, you will have no difficulty with this lesson, as the form is the same, but instead of very simple waists being placed upon it, something new is to be learned on each new figure.
THE PLAITED WAIST
After drawing the form for Fig. N, place the waist on the form, following all previous rules.
It will not be necessary to repeat all instructions as the student is supposed to have learned them by this time. All new information will be given for each figure, and when combined with previous lessons, there should be no difficulty in rendering Lessons V and VI satisfactorily.
Fig. N shows a tight waist with deep plaits running over the shoulders. They follow the center line. It also has a vest, the V of which is on the center line and the opening under the first plait.
Follow Lesson II carefully in all details when putting on the waists, and note all guide lines on the new lesson plates.
The belt is flat and the buckle is placed on the center line, the buckle being merely suggested here. The buckle in detail is given below. Study it carefully. It is oblong in shape and fits over the belt, that is, the belt must run through. the buckle. See how the buckle curves to fit the waist. Make all widths even and place the hole and fastening over the center line.
The sleeve of Fig. N is tight on the inside and bloused on the outside. Note the guide lines of the sleeve form seen through the sleeve; the normal sleeve form being first drawn and the sleeve placed upon it afterwards.
Flare the gauntlet at the bottom, and place all buttons at even distances at the back of the sleeve.
The fullness at the top of the sleeve follows its form and at the bottom is only at the back.
THE RUFFLED WAIST
In Fig. P we have a waist with fullness but not bloused as in Lesson II. The fullness, being gathered at the belt, flares in a ruffle effect below it.
The right side of the belt laps over the left, past the center line. Make it definite which side of the belt is on top.
The ruffle is placed around the neck and falls in a jabot down the front of the waist, the lines being the same as the lines of the over-skirt. (Lesson III, Fig. G.) Here, as in the over-skirt, you observe the wrong side of the material.
In placing the ruffle and jabot, draw the small V for the neck, then the large V for the width of the jabot. Note how the lines of the large V curve around the form.
After ascertaining the width of the ruffle and jabot, draw them within these guide lines, applying the principles of Lesson III, Fig. G.
Like the panier (Lesson III, Fig. H) you see but little of the under surface of the goods on the far side.
The band on the sleeve fits tightly around the arm and is a continuation of the guide lines of the sleeve form, the sleeve flaring above and below it.
THE BENT SLEEVE
The bending of a sleeve causes it to wrinkle. Study the bent sleeve and note the wrinkles which lie mainly on the inside. At the elbow the wrinkles curve around the form toward the outside.
Collar 1 is a stiff collar turning over and standing away from the neck. Be sure to fit it around the neck, but do not draw the lines too near it.
Collar 2 is of fine plaiting, standing up and down around the neck, being held close to the neck by a tight band.
Draw guide lines for the width of each part, and all lines from the band out to
these lines, connecting them at the bottom and top as described in Lesson III, Fig. F (plaited skirt); but if connected sometimes sharp and sometimes wavy, it will take away the stiff appearance of the set plaits and make the goods look soft and thin.
Collar 3 is made of fluting, being placed around a low neck, the lines being very regular. Note the XX lines, and where the fluting turns up. You would readily see the underside of the fluting, but these lines may be omitted as too many lines cause confusion.
Apply this lesson and Lesson VI as you did the previous ones. You will find many kinds of waists to draw, but the main principles are given in these lessons, and by applying them carefully, you will have no difficulty in drawing any design.
Always draw underslandingly. Do not merely copy the lines of a picture.