The yoke curves slightly to follow the form, the lines for the yoke being directly opposite each other. Be careful to make the yoke fit into the top of the sleeve and not hang over like a collar. This may seem unnecessary advice, but students have made this mistake. The fullness falls from the yoke, the main lines following the form, although a few of the smaller ones may take the opposite direction.
The tucks follow the waist line and wave slightly (the waist being a full one). They extend past the form at the sides. The vest lines follow the center line. Be particular to draw the tucks directly opposite each other on both sides of the vest.
Place the full sleeve on the form, there being no fullness at the top, while the bottom hangs well over the deep gauntlet.
The cuff, being pointed at the back, causes a slight reverse curve at the top. The inside of the cuff follows the bottom line of the sleeve, gradually changing until it takes the opposite direction for the point, which is at the back. The cuff being open, you observe a little of the wrong side of the opposite point.
The sash is all important. It fits around the waist, being crossed in the back, and from there it fits around the hips and is tied at the side of the front.
In placing this full girdle, draw as if. it were a flat belt, then place the fullness, which extends just a little past the normal waist line, as does also the part that fits the hips, which extends just a little past the normal hip line.
After ascertaining the width, realizing that it is narrower where tied than at the other parts, draw the lines for the fullness, all lines fitting between other lines.
The left-hand side of the sash, after going under the right side, hangs over it and both ends hang straight down. Note XX on the ends. The ends being cut diagonally, the lines are like the lines of the over-skirt. (“Lesson III, Fig. G.)
THE TIGHT JACKET
In Fig. R is shown a tight jacket effect over a kimona sleeve, the jacket having a large armhole and extending past the under-waist on the shoulder and under the arm.
As learned in Lesson II, the near side of the V neck takes a slight reverse curve, therefore in Fig. R, continue this reverse curve to the point. This makes the waist fit well over the bust.
The V at the bottom must also be on the center line. Draw the guide line to the other point, which is a continuation of the far side of the V neck. This guide line continued still farther will give the V opening at the bottom of the jacket.
The collar turns over, therefore the lines for the plaiting will take sharp turns in another direction.
In drawing a kimona sleeve place the normal armhole, then make the armhole much looser. This causes a deep wrinkle when the arm is down.
In Collar 4 is shown a deep collar with a point hanging over the sleeve. Note the change of direction where the collar hangs over the sleeve.
Collar 5 has a ruffle placed evenly around the top, extending well past the sides. If the student understands the lines of the ruffle (Lesson IV), he can easily place the same on this collar.
Collar 6 is the front of a sailor collar. Make the points directly opposite each other. In this collar the student will observe how the collar is sewed on the edge of the neck, extending past it.
Collar 7 happens to be more of a cape effect than a collar. It hangs well down over the shoulders, rippling slightly at the bottom. Note the XX lines, the under surface of the goods, and where the cape fits around the sleeve.
Note all the guide lines around the neck, as the collar must have the appearance of going around the neck at the same height.
THE POINTED GIRDLE
In the deep pointed girdle, the lines are drawn as explained in Fig. Q. The bottom line follows the waist line, and the top, on the near side, curves down, while the far side takes the opposite curve around the form.
See application of Lesson V.