THE WILEY TECHNICAL SERIES

FOR

VOCATIONAL AND INDUSTRIAL SCHOOLS

EDITED BY

J. M. JAMESON \
 THE WILEY TECHNICAL SERIES
EDITED BY

JOSEPH M. JAMESON
GIRARD COLLEGE

TEXTBOOKS IN DRAFTING AND DESIGN

Decorative Design. A Textbook of Practical Methods. By JOSEPH CUMMINGS
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Agricultural Drafting. By CHARLES B. HOWE, M.E. 8 by lof, viii+63 pages,
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Agricultural Drafting Problems. A Manual to Supplement the text in Agri-
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Costume Design and Illustration. By EIHEL H. TRAPHAGEN, Instructor and
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Mechanical Drafting Manual. A Series of Lessons and Exercises Based upon
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General Principles of Drafting and Working Drawings. 15 Lessons, with Illus-
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(Part III. Machine Drafting: (a) Elementary Principles. (6) Advanced.
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Student's Manual of Fashion Drawing. Thirty Lessons with Conventional
Charts. By Edith Young. Director of the Edith Young Art School, Newark,
N. J. Formerly Art Director of the Albert Studio of Fashion Drawing, Albert
Business College, Newark, N. J., and Instructor of Fashion Drawing at the
Young Women's Christian Association Newark. N. J. vii+io? pages. 8 by loj.
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For full announcement see list following index.

STUDENT'S MANUAL
OF

FASHION DRAWING
Thirty Lessons with Conventional Charts

BY

EDITH YOUNG
Director of the Edith Young Art ScJwol, Newark, N. J., Formerly Art
Director of the Albert Studio of Fashion Drawing, Albert Business
College, Newark, N. J., and Instructor of Fashion Drawing
at the Young Women's Christian Ass'n, Newark, N. J.

FIRST EDITION

NEW YORK
JOHN WILEY & SONS, INC
LONDON: CHAPMAN & HALL, LIMITED
1919
 Copyright. 1919
BT
EDITH YOUNG

PRESS or
BRAUNWORTH ft CO*
BOOK MANUFACTURERS
BROOKLYN. N. V
 CONTENTS

PAGE LESSON PAGE

Introduction v XIII. The Head and Hair 45

Drawing Materials vii To Place the Hat on the Head 46

XIV. The Construction of the Head 49

LESSON
XV. The Arm and Hand." Proportions of
I. The Dress Form. To Draw the Form. . 1
the Arm and Hand 53
II. To Put the Dress on the Form 4
XVI. The Leg and Shoe 57
The Back Form 5
XVII. The Front Figure (Three-quarter
III. The Side-plaited Skirt 9
View) 61
The Box-plaited Skirt 9
Proportions of Children 62
The Over-skirt 9
XVIII. To Place a Dress on the Figure 64
IV. The Tucked Skirt 13
Illustrating a Costume 64
The Circular Over-skirt 13
XIX. Pen and Ink Lines 69
The Ruffled Skirt 13
French Wash. The Ben Day Machine 70
V. The Plaited Waist 17
XX. Feathers and Hats 73
The Ruffled Waist 17
XXI. Parasols 76
The Bent Sleeve 18
XXII. Furs and Fans 78
Collars 18
XXIII. The Back Figure 80
VI. The Tucked Waist 21 XXIV. The Side Figure 82
The Tight Jacket 21 XXV: The Sitting Figure 84
Collars 21 XXVI. Texture and Detail Work 87
The Pointed Girdle 22 List of Costume Materials 88

VII. The Large Coat 24 XXVII. Perspective 91

VIII. Plaids, Stripes and Figures , 27 XXVIII. Layouts for Newspapers and Cata-
IX. Shirring, Scalloping, Lacing, etc. ....... 30 logues 97

X. Bows, Ribbons and Flowers 32 The Method of Enlargement 98

XI. To make a Sketch from a Costume 35 XXIX. Original Dress Designing 101

XII. Features.. 39 XXX. Decorative Work.. . 105

iii
 INTRODUCTION

people, who have a desire

Many young with few lines. Merely copying these
to draw, are much interested in fashion charts will not make the pupil a fashion
drawing and wish to take up the subject artist. They are illustrations intended
without any preparatory instruction in rather to teach the pupil how to study.
art. They thus bring to the study prac- Every chart is fully explained, and as
tically no knowledge of fashions and very each illustration is important, it must be
little knowledge of drawing. Successful mastered as it is encountered. Any part
instruction for such classes must neces- skipped will cause trouble later on. After
sarily follow a very definite and carefully the student has drawn all figures under-
worked-out plan. The first steps must be standingly, in a conventional manner, he
very simple, and the succeeding steps must should make original drawings, using these
follow in a carefully selected order and in principles and pictures as guides, but put-
easy stages, with numerous illustrations ting feeling and grace into his work.
and ample opportunity for drill on funda- After studying each lesson carefully
mentals. until it fully understood and making
is

The author of this manual has had much drawings for the same, study the fashion
experience in teaching pupils of the limited papers and find the subjects that you have
preparation suggested, in connection with learned. In this, select only pen and ink
her classes in fashion drawing at the Young illustrations, as they are line drawings and
Women's Christian Association and the are clear cut; photos and wash drawings
Albert Business College, Newark, N. J. are too vague for the beginner.
The text sets forth in detail the course In the fashion field, the artist may use a
of instruction which has been followed with picture as a model and from it construct an
these classes and which has been found original figure which may be dressed in
to give the quickest and best results. any costume.
Fundamental principles are carefully ex- Make a collection of pictures. Save all

plained, but the author's aim has been not fashion papers, newspaper clippings, ad-
so much to offer a discussion of methods in vertisements, cards, etc. Place these in
fashion drawing as to provide the means boxes, keeping them sorted; that is,

for practice in applying these methods. figures in underclothes and the nude in
The pupil will learn best by carefully one box, newspaper clippings in another,
following directions and by constant prac- decorative work, such as dealt with in
tice. The manual is to be used as a guide. Lesson XXX, in another, etc. Begin
In this connection should perhaps be
it right now to save, then when you get to
stated that the plates given in connection the lessons on the back and on sitting
with the lessons are not supposed to figures, you will have something to work
" "
be artistic or
pretty." They are con- from. The cry has been so often, I
ventional charts illustrating the subject. can not find any back figure in under-
As such they are very " set," because in clothes." Do not let this happen to you.
this way the meaning can be made clear In drawing, the pupil is urged to heed
VI INTRODUCTION

the following suggestions: When begin- A diminishing glass helps in detecting

ning to draw, use a blunt pencil point with errors.

plenty of lead exposed, at least one-third Learn to your own work, and
criticise
inch. For fine work, such as faces, hands, you, even if they
let others criticise it for

details, etc., use a very fine point. I can are not artists. A novice will often see a
not be too emphatic about this. So many defect that you have passed over. Be
drawings are poor for the simple reason on the lookout for anything that will help
that a dull point is not the proper tool for you in your study, be it a picture, a book,
fine lines. To save time, sharpen your or gowns themselves.
pencil oftenon an emery pad. Learn to trust to your eye, but if you are
For the main part of costumes, a fine not satisfied with results, use the following
point is not good; have plenty of lead measuring system to true up your work:
exposed and do not try to draw with the On a piece of cardboard, one inch by four
wood. or five inches, mark off at the top a meas-
When you use an eraser, build as you urement of the model, say one-half head.
rub. Erase the old lines often, allowing Below this mark make another mark the
them to show, and on these indistinct lines size of one-half the head of your figure.
make your drawing better. Use a soft See how many times the first measurement
rag or feather duster to clean off the specks. goes into certain parts on the model.
After drawing for a time, rest the eye, as Use the second measurement on all corre-
the eye becomes stale with close watching. sponding parts on your drawing.
View your picture at a distance, reverse EDITH YOUNG.
it in a looking-glass, turn it upside down. NEWARK, N. J., 1919.
 DRAWING MATERIALS

For Pencil Work. Drawing board (or card white (in a jar) ; Semple's white (in a
baking board); drawing tablet; medium jar).
soft pencil (H. B.); soft eraser; thumb- There are many more good colors.
tacks; emery sharpener; penknife; soft The colors marked (x) may be omitted for
cotton rag; portfolio; pencil holder; note the present. Greens can be mixed.
book. Useful Articles. Magnifying glass;
For Ink Work. Bristol board (plate diminishing glass; T-square; ruler with
finish) or pen and ink paper; hard pencil metal edge; ruling pen; compass; ink
eraser; ink eraser (be careful of its use); compass; art gum (to clean drawings);
two pen holders; two No. 170 Gillott pens; fixatif (to spray charcoal and pencil draw-
two No. 290 Gillott pens; one stub-pen; ings); atomizer; small piece of blue glass
bottle Higgin's drawing ink (waterproof); (to study drawings through); kneaded
small camel's hair brush (for ink); one eraser (for pencil or charcoal work);
sheet of tracing paper ;
one sheet of blotting plumb line; raw potato (to clean pens);
paper. crayon pencils, No. 1, 2, 3, B.
For Water-color Work. Illustration When ruling a line in ink, place the ruler
board; sable hair brushes (No. 2 and No. wrong up along the pencil line, hold
side
6) ; water colors in one-half pans as follows :
very steady and rule with the ruling pen.
Yellow ochre, gamboge, (x) indian yellow, If a wide line is required, draw two lines

(x) rose madder, madder brown, (x) light and fill in between them with a brush or
red, crimson lake, vermilion, orange ver- ruling pen.
milion, Payne's gray, Vandyke brown, Shaded drawings in black and white
burnt sienna, raw sienna, burnt umber, are rendered in pencil, charcoal, crayons,
raw umber, (x) sepia, (x) Hunter's green, crayon pencils and oil or water color paint.
(x) Hooker's green (No. 1 and No. 2), There are many kinds of papers in white
ultramarine blue, cobalt, Prussian blue; and color. The student should try experi-
tin box to hold more than these colors; ments with these papers, although certain
lamp black (in a tube); Devoe's show papers are prepared for certain mediums.

vu
\
 STUDENT'S MANUAL OF FASHION DRAWING

LESSON I

THE DRESS FORM

In taking up this lesson the student way to begin the study of this and all
must remember that a good form is the succeeding lessons, is to read all points
foundation for succeeding lessons.
all No relating to a certain figure (of course begin-
matter how pretty a, dress or design is, ning with Fig. 4), without looking at the
" "
if it placed on a
is dumpy figure, it lesson plate; then take a hard pencil, or
will have no style whatever. a dull point of some kind, re-read the in-
In this lesson we first learn how todraw structions, going over the lines of the figure
a layout for the form, which consists of two with the point, according to the directions.
ovals, Fig. A, then how to place the form Make careful note of the direction of the
on this layout. In the next lesson we lines, and form a mental image of the figure
dress the same form in a very simple by imagining that you are drawing it.
dress. Next select a sheet of drawing paper,
Aform must have good proportion and and with a soft pencil (medium), draw Fig.
style. A form leaning forward, or making A as directed below. Follow the way
a bow, as one might express it, is not explained; the student will find progress
stylish, neither is one with too large a bust much easier and quicker by proceeding
and a tiny waist; nor one with high, as directed than by trying some other way.
square shoulders.
In this lesson we learn how to draw a
form for a long dress, and as the styles TO DRAW THE FORM
change, the length of the skirt may be
shortened. The waist goes into the skirt Make the drawing somewhat larger than
two and one-half times, the shoulders the copy, placing the figure in the center
are thrown back, the sleeve is thrown out, of the paper. This may be done by getting
and the skirt hangs straight down from the the proportions and measuring to see just
waist, flaring at the bottom. For a scant where to begin the drawing. Leave a
skirtdo not flare as much as for a full one. little more margin at the bottom, than at
This form is used for dressmaker's the top.
sketches, and for any dress to be placed on Draw line 1, which is a very slight hori-
a lay figure. zontal curve up, then lines 2, 3, 4, 5, 6 and 7
When the dress ison the human figure, as marked on the lesson plate. Line 2 is
action comes in play and a complete thrown out for the bust, and line 3 is
understanding of these lessons will enable thrown in at the waist, which throws the
the student to draw the human figure in a shoulders back. Lines 4 and 5 cross lines
variety of positions, and also to dress the 2 and 3 at the waist, at first curving out
figure in a variety of costumes. The best for the hips, then curving in to the bottom
 '. / -ST-UEtENT'S MANUAL OF FASHION DRAWING 'LESSON I

of (center line of
.thfe.' skirt '-oval; ..Lin'e'fi' it is well to have two sleeves
reproduction,
waist) follows line 2, not literally, but taking on a dress.
the general direction, getting straighter Get good curves on the shoulders, con-
as it reaches the waist line. Line 7 (center necting the collar with the ends of line 1,
line of skirt) runs straight down from and do not show too much of the inside
line 6. of the collar and the bottom of the sleeves.
Make
the drawing a three-quarter view, Make the ellipses graceful, not pointed at
which shows the front, side, and one sleeve the ends, and show the thickness of the
of the dress. In this position one may goods by not connecting the lines.
show a design on the outside of a sleeve There are three planes at the waist:
or on the side of a dress. the front, and two sides. You observe
Practice this figure, doing it many times. but little of the far side in a three-quarter
When you feel confident that you un- view. This is true of the collar also.
derstand all that has preceded and can These three planes on the waist run into
draw Fig. A with snap, take up Fig. B each other, forming a graceful curve.
which is the dress form placed on Fig. A. The planes on the collar do the same.
Proceed with Fig. B in the same way, Put the skirt on with a flare, coming
going over the lines and studying out the out at the hips (not in), and be sure to
principles described below. The light make a graceful curve on the bottom of the
lines are the lines of Fig. and A must be form. Remember that the waist, skirt,
kept until the form is completed. Always and collar are all three-quarter view.
keep the center line until the dress is Throw the
sleeve out (curving very
finished. slightly in, to take away the stiffness).
As already pointed out, the waist goes The upper half of the sleeve is somewhat
into the skirt two and one-half (2J) times. larger than the lower half, the bend coming
Put on the collar above line 1, not too high opposite the waist line. This makes the
and not too low, but just high enough to length of the upper part of the sleeve equal
get good curves on the shoulders. Allow to that of the lower part.
this distance at the bottom of the skirt The armhole has a slight plane on the
oval. Be sure to make the collar three- shoulder and from there curves slightly
it

quarter view, as is the waist and skirt. towards the front, but do not hollow the
The center line of the collar is vertical, like armhole too much. Be sure to throw the
the sides of the collar. sleeve out. The armhole is not as large
The collar goes into the shoulders three as one would suppose by the drawing,
(3) times and is about the same height. as the sleeve touches the waist after it

The lines of the collar curve down, as does leaves the armhole. Note the cross line
the waist line, but the bottom of the sleeve where the armhole goes under the arm.
curves up. In the back view this order is To test the accuracy of your form, drop
reversed, is explained in Lesson II.
as the dotted lines from the center of the near
The collar and waist lines curve up, and shoulder to the end of the waist line.
the bottom of the sleeve curves down. This line must be vertical or parallel with
Note how line 2 is cut into for the chest the edges of your paper. Drop the dotted
(line which comes out to the bust.
8), line from the end of the far shoulder to
This piece, cut off of line 2, may be used for the other end of the waist line. This line
a far sleeve, if a sleeve is to be drawn. also must be vertical.
For a sketch of a dress one sleeve is suf- If you have followed all directions care-
ficient, a sketch being used to show how fully, you will have a good form on which
the dress is made. When drawing for any costume may be placed.
 LESSON I

B
THE FORM READY FOR ANY COSTUME
 LESSON II

TO PUT THE DRESS ON THE FORM

Study Fig. C by going over it with a willbe able to judge distances; until then
point, as directed in Lesson I, until it is it might be well to measure from the
thoroughly understood. Then draw the center of one button to the center of the
form as directed in Lesson I. When you next button, marking each center with a
feel confident that your form is good in all dot. Around these dots draw the buttons.
respects, with light lines, place the dress Note the large buttons at the bottom
on the form as directed below. of the page. Draw the top of the button
Decide how far down the V in the neck and then the bottom; in this way the

opens, and mark off on the center line, student can obtain better curves.
curving the far side of the V around the A flat round button has a small shadow
neck to the center line. The near side underneath, darkest at the bottom. A
takes a slight reverse curve around the high, round button casts a shadow like a
neck to the center line. sphere. To obtain this draw the round
Remember, in dressing up a form that it of the button, then draw another round
is. oval, and the lines must follow the form, the same size through the center of the
and not be drawn straight. Draw just as one, blackening the part underneath
first

few lines as possible, in the right direction. the button. The buttonholes may be
Women's clothing opens from right to drawn with one or two lines, but must
left. As opens past the center
this dress be opposite the center of the buttons, and
line, continue the far side of the V past run straight out to the left of the drawing
the center line to the opening of the waist, (as you face the figure).
which follows the center line of the waist. The turnover collar is sewed on at the
The skirt opens directly under the waist top of the high collar and flares at the
opening, and follows the center line of the bottom. Make the collar open in the center
skirt, which hangs straight down. and curve it around the neck. The chem-
Place the belt one-half above and one-half isette opens past the center Note all
line.

below the waist line, curving the lines to guide drawn

lines through the turnover
follow the waist line. The sides of the belt collar, cuffs, and center of pocket, also at
are vertical. This belt is flat and does not the ends of the buttonholes and between
show the opening. the pockets.
Thewaist blouses over the belt in front, The cuff, which follows the bottom line
and extends past the belt at the sides. of the sleeve, curves up. It is sewed on
Note the slight change of direction where at the bottom and flares slightly at the
the waist opens and goes under the blouse. top. Do not flare too much.
If the waist were not bloused, the lines Put the pockets on at the right height
would follow the form and go into the belt, for the hands and keep them the same

showing its full width. size and about an even distance from the
Place all buttons on the center line, hav- center line. As the far side is lost some-
ing the buttons the same size and evenly what, show a little less of it than the near
spaced. After a while the student's eye side.
LESSON II TO PUT THE DRESS ON THE FORM

Note how the flaps of the pockets extend (about six inches in height) of a simple
past the pockets, and how both pocket and dress illustrating what you have learned

flap extend past the skirt on the far side. in this lesson; a dress with collar, cuffs,
Be sure to make the pockets the right size belt, pockets, stitching, buttons, and full-

for the dress. ness at the bottom. Cut off the head,
Next comes the fullness of the skirt. A feetand hands, as the dress is all you need.

skirt cut with no fullness at the top and Draw a three-quarter view form facing
much fullness at the bottom like the the same way as the clipping, and dress
lesson plate must be a flare skirt. How- it in this dress, using the principles learned,

ever, this is not the point to be illus- not merely copying the lines. Do not
trated. The idea to be grasped by the bend the arms. Draw like Fig. B.
student is how to draw fullness which goes Learn how to draw the form facing the
in and out of the bottom of the skirt. other way and dress it in a simple dress.
In Lesson III we shall learn how gathers If you find this difficult, take a sheet of
at the top of a skirt are drawn. tracing paper, trace off Figs. A and B
XXis the edge of the fold and hangs of Lesson I, turn this tracing wrong side
straight down to the bottom of the dress up and you will have the form facing in the
form. X iswhere the fold touches this opposite direction.
line. O is on a line with X, but the skirt
being full, appears farther back. Draw
THE BACK FORM
so, gradually bringing the bottom line of
the dress out to the next X, etc. The It is not necessary to repeat in every
hem follows the bottom line of the dress, lesson details as to how to study, as the
not of the form. The opening of the skirt student expected to remember and apply
is

runs down to X, the nearest point. is all previous lessons on each new lesson.
back. Take each lesson slowly, learning it com-
must be evenly spaced, an
All stitching pletely,then proceed to the next one.
even distance from the seam, and not too The back form is drawn sometimes full
near it. On the left of the skirt the stitch- and sometimes three-quarter view. In
ing is drawn on the hem, on the right side this lesson we take up the full back in
the way to draw is explained. Until detail, but a small three-quarter back
the student can judge distances, measure view is illustrated in the upper right-
from X
up to the top of the hem, which is hand corner of the lesson plate. The
the same width as from to the top of the center line in this view is vertical and at
hem. Mark with dots at these points one side of the middle of the drawing. The
and between them, and draw light lines near armhole is hollowed in and the far

through these points. When you are con- armhole is lost. Study the full back
vinced that the hem follows the bottom (Fig. E) at first and later draw the three-
line of the dress, draw the stitching. quarter view.
If is not as full in places,
the skirt and X Draw layout D
for full back, drawing
O run together, as illustrated on the
will the lines in order, 1, 2, 3, 4, 5, 6, 7. The
right side of the skirt. To do this once student can see for himself just what these
in a while will make a more graceful draw- lines do. Do not make the waist too
ing. small. Remember that the waist goes into
Note where the three principal wrinkles the skirt two and one-half times and that
come on the sleeve. the center line middle of the draw-
is in the
As an application of this lesson, cut out ing, and runs straight down.
of a fashion paper a pen and ink drawing On layout D draw Fig. E, placing the
6 STUDENT'S MANUAL OF FASHION DRAWING LESSON II

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

The armholes must be the same size perfectly plain and tight.
 LESSON II

FITTING A SIMPLE DRESS ON THE FORM

 LESSON III

THE SIDE-PLAITED SKIRT

Lessons III and IV are devoted to skirts it and the next then the size of the
plait,
and it will be well for the student to following box-plait, which must be the
thoroughly master these, as any part same width as the first one, until all the
slurred over will cause trouble later on. plaits are marked at the waist. Draw
Fig. F is a combination of a side-plaited all lines down until they touch the bottom
and a box-plaited skirt. The student is line of the form, flaring slightly as in the
expected to draw two skirts and not combine side-plaited skirt. You will observe that
them as done on the lesson plate. each box-plait has two XX
's, and a very

Begin with the side- plaited skirt (Fig. gentle curve up between them. The star
F which is a full front view). Draw the (*) is the distance between the box-plaits,
form, being sure to make a graceful and is back, the same as O. This star line
ellipse at the top, and after placing the curves up, and the deeper the plait the
belt as directed in Lesson II, mark off higher the star line is from X.
at the waist the size of the center box- For both box-plaited and side-plaited
plait, the which are an even
sides of skirts be careful to make the plaits even
distance from the center line. Decide at the bottom and at the top, and if your
upon the width of the side plaits, which lines are straight the width between the
must be in good proportion to the box- top and the bottom will also be even.
plait, and on each side of the box plait
mark them off, being sure to have all the
THE OVER-SKIRT (LONGER IN THE BACK)
plaits the same width. From these points
draw lines down, flaring slightly until they To the student with untrained eye the
touch the bottom line of the skirt form. lines an over-skirt, panier, and puff
of
Each plait will touch this line at X, the seem very confusing, but after study-
nearest point back, draw
is so, as in the ing and drawing the three figures G, H,
skirt with fullness at the bottom (Lesson and I, the literal meaning of the lines
II),but make each plait a sharper point will be understood, and the student will
than in the gathered skirt. The deeper be able to use this knowledge to great
the plait the farther back O is from X. advantage when sketching from a costume.
The plaits are wider at the bottom than at In Fig. G, for example, one side of the
the top. Not being stitched down, they over-skirt is plaited and the other side is

open somewhat after leaving the belt. gathered. It will be well for the student
to make two drawings and not combine
them as on the lesson plate, thus deriving
THE BOX-PLAITED SKIRT
more practice upon the subject.
After drawing a complete form for this This over-skirt longer in the back than
is

skirt and placing the belt as directed in the front, consequently it shows the
before, draw thefront box-plait, marking under part of each plait.
the size at the waist. On each side of this The under-skirt issewed on at the waist
front plait, mark off the distance between and flares. Note the guide lines of the
10 STUDENT'S MANUAL OF FASHION DRAWING LESSON III

under -skirt as they run up to the waist

THE PUFFED SKIRT
line.

The over-skirt isalso sewed on at the The lines for the puff are somewhat dif-
waist but flares more than the under- ferent and yet somewhat the same as in
skirt as it descends. XX is the edge of the Fig. G, as the lines curl around and fit into
fold and hangs straight down. The each other. A
skirt that is puffed at the
" "
square is the inside crease of the fold, hips will extend past the normal skirt
which also hangs straight down from the line. Note these lines as seen through the
belt, the lower part only being exposed to puff, but instead of the ruffle effect, as
view. seen on the panier, the goods is drawn in
Begin with the curved line in the front again, hence the puff. The puff means
of the skirt (that is, form is well
after the that the goods is gathered and is very
drawn) then draw
,
XX down from the waist full, therefore the goods beneath the puff
and curve it around. It descends as it is also very full, as the lines indicate in

goes until it almost touches the under Fig. I. The lines under the puff are
fold (square), where it comes out from heavier, caused by the shadow cast by the
under the skirt. The under fold hangs puff. Note the crispness and the sharp-
down, curves around, descends until it ness of the lines as they curl around and
almost touches the next XX, etc. Note fit into each other.

the guide lines of one of the plaits as it

runs up to the waist line.

SKIRT WITH YOKE AND TUCKS
The other side of this
being skirt

gathered, the lines of the fullness at the As we learned before " the lines follow
"
top fall down between the lines of the full- the form so the yoke must fit around
ness which run up from the bottom. the form, hence it follows that the yoke
Note how the around the
over-skirt fits line (if a perfectly plain yoke) will follow
under-skirt, descending toward the back. the waist line.
happens to be a fancy design on
If there
THE PANIER the yoke, the general direction of the yoke
If the student has been successful with will fit the form, but will be broken into
the lines of Fig. G, the panier will be easy by the design.
to draw. Place the tucks an even distance from
The lines of the panier (Fig. H) are the the center line the same as the plaits,
same as in the over-skirt (Fig. G}, but the but if stitched down, as they are in Fig.
panier projects at the hips in a ruffle J, will not flare.
they Note the guide
effect while the over-skirt hangs straight linesdrawn through the ends of the tucks
down. (where they stop) and where the fullness
This skirt is drawn three-quarter view, begins.
which shows the full panier on the near To test the knowledge acquired from this
side and but little of it on the far side. lesson draw numerous forms three-quarter
Note how different the lines look on the view, or full front, and dress them in skirts
far side, as you see but little of the under like the ones illustrated in this lesson.
surface of the goods. Use pen-and-ink clippings of skirts.
 LESSON III 11

FITTING THE UP AND DOWN LINES OF A SKIRT ON THE SKIRT FORM

 LESSON IV
THE TUCKED SKIRT

In Lesson IV only the bottom of the tend a little past the side of the skirt at
tucked skirt (Fig. K) is illustrated, but the bottom. Occasionally this will happen
for practice and much practice is required at XX, but not often. Note the X's and
on each lesson draw a complete skirt form O's on the first tuck.
with a graceful ellipse at the top, not show- The top of each tuck may be indicated
ing too much of the back of the ellipse, by a broken line for stitching, it being
then place as many XX's as you think well to draw the continuous line at first.
will look well. In the figure we have two Bias bands are stitched on both edges.
on the near side and one on the far side They cling to the dress.
(the skirt
being a three-quarter view).
After getting a good bottom line, place the
THE CIRCULAR OVER-SKIRT
tucks on the skirt according to directions.
We learned in Lesson II that the hem A circular over-skirt is plain at the top

followed the bottom line of the dress, not and ripples at the bottom.
of the form; therefore tucks, bands, Fig. L represents two over-skirts, the
braiding,or any trimming which goes top one being even around, the under
all

around the bottom of a skirt, must also one being pointed on the front, the point
follow this line. being on the center line. Observe X
Placethe X's and O's carefully before
all and O on this skirt. As the skirt is shorter
attempting to put the tucks on; because on the sides than in front, O is very much
when the bottom line is poor, and if the higher than X. Note the guide lines for
tucks follow this poor line, the whole skirt the bottom of the over-skirt and of the
will have a peculiar appearance. under-skirt, where it runs up to the waist.
Begin at the front, and after deciding
how high the first tuck is to be, draw it
THE RUFFLED SKIRT
around as you would a hem, being sure to
follow the bottom line. If you do this Ruffles are hard for a beginner to draw,
carefully with the first tuck, there will be there being no special rule to go by. They
no difficulty in drawing the remaining must be graceful, and full or scant as
ones. required.
A
tuck must be the same width in all A which is very full will stick out
ruffle

places and appear to go in and out of the at the bottom and expose the under part.
fullness and go around the edges of the (See the ruffle at the top of the Lesson
skirt at the same height, not down or Plate.)
up in the back. On a very full ruffle you will occasionally
the tucks are of equal width, like
If all observe a set form, but if repeated too
the ones on the lesson plate, draw so, but often the effect will be a row of autumn
if different widths are required, gauge leaves or sea shells.
accordingly. Note the form marked by the arrow.
set

The tucks are sewed at the top and ex- On each side of this form two XX lines
13
14 STUDENT'S MANUAL OF FASHION DRAWING LESSON IV

curve out, the goods being gathered in at After placing X's and O's for the bottom
the top. The form is narrower where line, draw guide lines the width of the ruffle
sewed on than at the bottom. Notice on which place the ruffle.
the under part of this set form, the lines The ruffle must go in and out of the full-

being somewhat the same as the lines of ness.

an over-skirt. This skirt (Fig. M) is gathered at the
In between these set forms the line of top. The lines of the fullness from the
the bottom of the ruffle waves in and out, waist down between the lines of the
fall

the set form being nearer to you than the which run up from the bottom.
fullness

wavy part. Study the lines of fullness on other draw-

All lines for the fullness must look as if ings and notice that some lines are short,

they were pulled together at the top of the some long, and some meet in a V near the
ruffle. The lines XX at the right side waist line. If the material is heavy, all

curve out to the right, and on the left lines of fullness will go under the band,
side they curve out to the left. but if thin material is used some lines will

A scant ruffle will have somewhat the fall short of the band and be hooked at

appearance of the bottom of a full skirt, the top.

but the XX
lines are more curved than the All lines for fullness must be sharp and
skirt lines. Materials like taffeta, calico, snappy. Practice such lines with bold
etc., which are stiff and heavy, will have strokes, on a separate piece of paper.
rounding lines like the ruffle at the top A ruching has the appearance of two
of the lesson plate. Tulle, which is stiff ruffles, one turned up and the other down,
but thin, will have lines which are the lines being the same. It is darkest
straighter and sharper. (See Example.) where gathered, which is in the middle.
Draw
the ruffle at the top of the page, (See example.)
and when you are convinced that you Apply this lesson as you did the previous
can do this satisfactorily, draw Fig. M. ones.
 LESSON IV 15

PLACING THE RUFFLE AND TUCKS IN AND OUT OF THE FULLNESS OF A SKIRT
 LESSON V
Lessons V and VI being devoted to The sleeve of Fig. N is tight on the inside
waists, the student is expected to pay and bloused on the Note the
outside.
strict attention to all points relating to each form seen through
guide lines of the sleeve
drawing, as the waist is a very important the sleeve; the normal sleeve form being
feature. first drawn and the sleeve placed upon

If you succeeded with Lessons I and II, it afterwards.

you have no difficulty with this lesson,
will Flare the gauntlet at the bottom, and
as the form is the same, but instead of very place all buttons at even distances at the
simple waists being placed upon it, some- back of the sleeve.

thing new is to be learned on each new The fullness at the top of the sleeve

figure. follows its form and at the bottom is

only at the back.

THE PLAITED WAIST
THE RUFFLED WAIST
After drawing the form for Fig. N,
place the waist on the form, following all In Fig. P we have a waist with fullness
previous rules. but not bloused as in Lesson II. The
It will not be necessary to repeat all fullness, being gathered at the belt, flares
instructions as the student is supposed to in a ruffle effect below it.

have learned them by this time. All new Theright side of the belt laps over the
information will be given for each figure, left, past the center line. Make it definite
and when combined with previous lessons, which side of the belt is on top.
there should be no difficulty in rendering The placed around the neck and
ruffle is
Lessons V and VI satisfactorily. falls ina jabot down the front of the waist,
Fig. N
shows a tight waist with deep the lines being the same as the lines of the
plaitsrunning over the shoulders. They over-skirt. (Lesson III, Fig. Or.) Here,
follow the center line. It also has a vest, as in the over-skirt, you observe the wrong
the V of which is on the center line and the side of the material.
opening under the first plait. In placing the ruffle and jabot, draw the
Follow Lesson II carefully in all details small V for the neck, then the large V
when putting on the waists, and note all for the width of the jabot. Note how the

guide lines on the new lesson plates. lines of the large V curve around the form.
The belt is flat and the buckle is placed After ascertaining the width of the
on the centerline, the buckle being merely ruffle and jabot, draw them within these
suggested here. The buckle in detail is guide lines, applying the principles of

given below. Study it carefully. It is Lesson III, Fig. G.

oblong in shape and fits over the belt, Like the panier (Lesson III, Fig. H)
that is, the belt must run through the you see but little of the under surface of
buckle. See how the buckle curves to fit the goods on the far side.
the waist. Make all widths even and place The band on the sleeve fits tightly
the hole and fastening over the center line. around the arm and is a continuation of the
17
18 STUDENT'S MANUAL OF FASHION DRAWING LESSON V

guide lines of the sleeve form, the sleeve these lines, connecting them at the bottom
flaring above and below it. and top as described in Lesson III, Fig. F
(plaited skirt) ;
but if connected sometimes
THE BENT SLEEVE sharp and sometimes wavy, it will take
away the stiff appearance of the set plaits
The bending of a sleeve causes it to
and make the goods look soft and thin.
wrinkle. Study the bent sleeve and note
the wrinkles which lie mainly on the inside.

At the elbow the wrinkles curve around the COLLAR 3

form toward the outside.

Collar 3 is made of fluting, being placed
around a low neck, the lines being very
COLLAR 1
regular. Note the XX lines, and where
the fluting turns up. You would readily
Collar 1 is a turning over and
stiff collar

from the neck. Be sure see the underside of the fluting, but these
standing away
to fit it around the neck, but do not draw lines may be omitted as too many lines

the lines too near it.

cause confusion.
Apply this lesson and Lesson VI as you
did the previous ones. You will find many
COLLAR 2
kinds of waists to draw, but the main
Collar 2 is of fine plaiting, standing up principles are given in these lessons, and
and down around the neck, being held close by applying them carefully, you will have
to the neck by a tight band. no difficulty in drawing any design.
Draw guide lines for the width of each Always draw understandingly. Do not
part, and all lines from the band out to merely copy the lines of a picture.
 LESSON V 19

FITTING WAISTS, COLLARS AND THE BUCKLE ON THE WAIST FORM

 LESSON VI
THE TUCKED WAIST

In Fig. Q is shown not only a waist but After ascertaining the width, realizing
a sash as well. First draw the waist, that it is narrower where tied than at the

then the sash. other parts, draw the lines for the fullness,
The yoke curves slightly to follow the all lines fitting between other lines.

form, the lines for the yoke being directly The

left-hand side of the sash, after
opposite each other. Be careful to make going under the right side, hangs over it
the yoke fit into the top of the sleeve and and both ends hang straight down. Note
not hang over like a collar. This may XX on the ends. The ends being cut
seem unnecessary advice, but students diagonally, the lines are like the lines of
have made this mistake. The fullness the over-skirt. (Lesson III, Fig. (?.)
falls from the yoke, the main lines following

the form, although a few of the smaller THE TIGHT JACKET

ones may take the opposite direction.
In Fig. R is shown a tight jacket effect
The tucks follow the waist line and wave
over a kimona sleeve, the jacket having
slightly(the waist being a full one).
a large armhole and extending past the
They extend past the form at the sides.
under-waist on the shoulder and under the
The vest lines follow the center line. Be
arm.
particular to draw the tucks directly oppo-
As learned in Lesson II, the near side
site each other on both sides of the vest.
of the V neck takes a slight reverse curve,
Place the full sleeve on the form, there
therefore in Fig. R, continue this reverse
being no fullness at the top, while the bot-
curve to the point. This makes the waist
tom hangs well over the deep gauntlet.
fit well over the bust.
The cuff, being pointed at the back,
The V at the bottom must also be on the
causes a slight reverse curve at the top.
center line. Draw the guide line to the
The inside of the cuff follows the bottom
other point, which is a continuation of the
line of the sleeve, gradually changing until
far side of the V neck. This guide line
it takes the opposite direction for the point,
which is at the back. The cuff being open,
continued still farther will give the V
opening at the bottom of the jacket.
you observe a little of the wrong side of the
The collar turns over, therefore the lines
opposite point.
for the plaiting will take sharp turns in
The sash is all important. It fits around
another direction.
the waist, being crossed in the back, and
In drawing a kimona sleeve place the
from there it fits around the hips and is
normal armhole, then make the armhole
tied at the side of the front.
much looser. This causes a deep wrinkle
In placing this full girdle, draw as if it
when the arm is down.
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
COLLAR 4

the hips, which extends just a little past In Collar 4 is shown a deep collar with a
the normal hip line. point hanging over the sleeve. Note the
21
22 STUDENT'S MANUAL OF FASHION DRAWING LESSON VI

change of direction where the collar hangs COLLAR 7

over the sleeve. Collar 7 happens to be more of a cape

effect than a collar. It hangs well down
over the shoulders, rippling slightly at the
COLLAR 6 bottom. Note the XX
lines, the under
surface of the goods, and where the cape
Collar 5 has a ruffle placed evenly around
fits around the sleeve.
the top, extending well past the sides. If
Note all the guide lines around the neck,
the student understands the lines of the
as the collar must have the appearance of
ruffle (Lesson IV), he can easily place the
going around the neck at the same height.
same on this collar.

THE POINTED GIRDLE

COLLAR 6
In the deep pointed girdle, the lines are
drawn as explained in Fig. Q. The bottom
Collar 6 is the front of a sailor collar. line follows the waist line, and the top, on
Make the points directly opposite each the near side, curves down, while the far
other. In this collar the student will side takes the opposite curve around the
observe how the collar is sewed on the edge form.
of the neck, extending past it. See application of Lesson V.
 LESSON VI 23

FITTING WAISTS AND THE SASH ON THE WAIST FORM

 LESSON VII

THE LARGE COAT

A form in a large coat has the appearance the same as the bottom of a dress. Be
of being somewhat stouter than a form in careful to make the opening at X promi-
just a dress, but in reality it is the coat nent.
that gives this effect. Study the separate belt at the bottom of
Draw the form the same size as for a the lesson plate. Place the point directly
dress. Place the coat upon it according in the middle, having the diagonal lines
to previous instructions, but let the coat even. Note the vertical guide line where
touch the form on the shoulders, chest, the point ends. Make one side of the belt
and bust only. Elsewhere it hangs well lap well over the other.
away from the form, as designated by the The turn-over point of the belt must
guide lines seen through the coat. have the appearance of going over the
As the collar is high, standing well up top of the belt, so do not draw this piece
at the back of the neck, the near side view even with the top of the belt. The button
of the V is a straighter line than the reverse is in the middle of the point and the

curve in Lesson II, Fig. C. The large diagonal sides are even.
collar breaks on the shoulder, but do not Study the back collar. It curves up at
bring the break below the shoulder line. the top, but being very deep it takes a
The belt being very wide and standing downward curve at the bottom. Note the
well away from the form, the curve is some- breaks which show that the collar is going
what less than a belt which fits the form around the neck toward the front.
tightly. In drawing the collar with the reveres
When drawing the near side of the collar make the points of the collar opposite
to the opening; do not touch the line of the each other, also the and the
reveres,
opening, thus giving the collar the appear- places where the and reveres are
collar
ance of being turned over. joined. Refer to Lessons V and VI for
For a double-breasted coat, all buttons collars.
must be an even distance from the center In drawing the shawl collar, show the
line and evenly spaced, as shown by the thickness of the goods by not connecting
guide lines. the front lines with the back of the collar.
As away from the form, the
the coat sets Fig. T is a very simple coat illustrating
fullness above and below the belt does not the principles of how a large coat should
cling to it and does not follow the form as fit. The student is expected, however,
in Lesson V, Fig. P, but hangs straight to draw all kinds of coats, and if he keeps
up and down, the fullness above and below this lesson and all previous ones in mind,
the belt being on a line. there should be no difficulty in rendering
The bottom of a coat should be drawn all coats satisfactorily.

24
 LESSON VII

FITTING THE LARGE COAT ON THE FORM

 LESSON VIII

PLAIDS, STRIPES AND FIGURES

By this time the student should be pro- The stripes near the bottom follow the
ficient in drawing dresses, and if this is the bottom line of the dress (as did the hem
case, plaids, stripes and figures will seem and tuck), going in and out of the full-
very easy. ness. They continue to do this, gradually
Around Fig. U will be seen many ex- changing until, at the waist, they follow
amples of plaids, but the student should the waist line. Be particular to make
pay no attention to them until the prin- the stripes go in and out of the fullness,
ciple of all plaids is understood. and where the fullness stops, go around the
It isassumed that the student has drawn skirt in good even plaids.
the outline of Fig. U, and that a very good When
placing the stripes around, do not
bottom line has been secured. If not, allow them to touch XX
on the top, thus
re-draw the outline before attempting to leaving a high light on top of the fold,
plaid it. but underneath draw them close to XX,
Suppose it is desired to stripe this dress and under stripes being well in the shadow.
up and down. Begin on the skirt by On the edges of plaid pockets, cuffs, col-
placing all stripes at the belt, using the lars, belts, etc., you will also observe this
instructions given for the plaited skirt, high light, which means that the lines of
Lesson III, Fig. F, and draw directly down the stripes are not drawn to the edge of the
to the bottom line, but do not flare as you pockets, cuffs, etc.
did the plaits. Some of the stripes will On the waist the stripes running around
vanish at the sides. follow the waist line, waving slightly,
On the waist the stripes follow the center if the waist is full. They change gradually
line, over the bust. They
fitting nicely at the bust until they follow the shoulder
continue to do this until they reach the line.

arm, where they take the opposite direc- On the sleeve they follow its bottom line,
tion and follow the under-arm line. Re- changing a little as they approach the
member the instructions given in Lesson shoulder.
II, "The form is oval and the lines follow On this foundation any kind of a plaid
the form." On the sleeve they follow the may be constructed.
form up and down. Study all the examples of plaids, and
On this foundation any kind of a stripe note the guide lines, all guide lines being
may be created. placed in pencil only.
To place a plaid on a dress draw all up In placing a texture all over a dress, it
and down stripes, then all stripes going is well to obtain a foundation for the direc-
around, being careful to make the squares tion of lines. A
large plaid in pencil will
as even as possible. i
serve this purpose. Keep all broken lines
All stripes running around a skirt should for the texture in the direction of this plaid.
be marked on the center line from the See Example No. 4.
bottom up to the waist, placing one-half In Plaid No. 1 draw a simple plaid in
of a square on each side of the center line. pencil and the short diagonal lines only in
27
28 STUDENT'S MANUAL OF FASHION DRAWING LESSON VIII

ink. These diagonal lines must be the bottom or at the side. These may be
same spaced evenly, and must
length, placed by means of squares, or just scat-
take the same direction. In Plaid No. 2 tered over the skirt. When the rings cover
we have one heavy line to three fine the skirt to the best advantage, draw the
ones. Place allheavy lines first, which roses carefully.
form a plaid. Cut this plaid in the center Study all plaids and stripes and use the
by a both directions, then place
fine line in same by placing them on simple dresses.
the remaining fine lines on each side of Also try to create new plaids.
the center fine line. Plaid No. 3 is very Plaids are very attractive, particularly
simple, but instead of being straight on black and white checks. See the illus-
the goods it is drawn diagonally. Plaids tration of the check on the sleeve. When
No. 5 and 6 are two more examples of drawing the
check, always connect the
simple plaids. Plaid No. 7 is more com- black squares from corner to corner like
plicated. After drawing the guide lines a checker board. If you attempt to skip
in pencil, draw the short diagonal ink about, you will surely come to grief, as one
lines on these guide lines, the lines of the mistake will throw all of the checks out.

up and down stripes taking a different Another way to plaid a skirt is to begin
direction from the lines of the cross at the top and work downward. If this
stripes. When this is finished, connect the is done, the plaids will be cut off at the

stripes with longer diagonal lines, thus bottom. This may be more truly the
obtaining a wide stripe in both directions, way the cloth is cut but it is not as at-
which forms a plaid of three different tones tractive.
of squares. When placing a plaid or texture all over
No. 8 is an illustration of how to a it is necessary to strengthen the
dress,
figure a skirt with roses. Place all roses, outline of the drawing, as the lines drawn
indicating them by rings, some being lost for an outline drawing will not show up
under XX, and some being cut off at the against the texture.
 LESSON VIII 29

<\

FOUNDATION LINES FOR ALL PLAIDS AND STRIPES

 LESSON IX
SHIRRING, SCALLOPS, LACING, ETC.

In drawing this figure the student must a scallop underneath it, and vice versa.

apply the principles of Lesson III (over- Draw the lacing as shown in the large
skirts) and Lesson VI (waist with yoke, example. Here, as on the dress, the open-
short sleeve, and vest), but instead of the ing is separated, as in this position the idea
yoke and waist proper being sewed directly can be more readily explained than if
together, they are joined by a cord, the the opening were pulled closely together.
goods being shirred over it. Draw all holes opposite each other,
You will find that the over-skirt is then the lacing. Start at the top and run
shirred over a cord in three places, the the ribbon through as you would do if
goods falling free from the lowest cord. you were lacing your own dress. Notice
The cords cling to the form, while the goods how the ribbon comes out of one hole
between them puffs slightly, extending and goes under the edge of the opening
past the normal form line. and under the next hole on the opposite
All lines for the shirring are drawn with side, comes out of that hole, etc.
quick snappy strokes. Some lines may The easiest way to obtain this effect is

connect the cords, but most of them reach to draw the lacing in one direction
all

only part way, the lines from above falling (the ones on top), then the lacing in the
between the lines going up from below. opposite direction, which is underneath.
The lines take somewhat the direction of Draw the guide lines for the cord,
the puff, but do not curve them too much. throwing one end over the other. The
Note the guide lines for the cording, and ends hang straight down. Study the
the unevenness of the cord where the goods reverse curves which fit over these guide
is shirred over it. lines and form the cord.
If material is shirred without a cord, Study and draw the part of the full
there will be but one line. girdle with a frill at the opening, the
You will notice that the bottom of the smocking and the tassel. See how the
skirts are designated by guide lines, lines forthe tassel curve, showing that
only, the width of the scallop. ithas inside strands as well as the ones
All scallops must be the same size, hang drawn.
straight down, and go in and out of the full- As an application of this lesson, draw
ness. This effect may be helped by break- shirred dresses, and also place a scallop
ing a scallop at XX. If you place the on the collar, cuffs, and skirt of a simple
whole scallop on top of XX, draw but half dress. Study different shapes of scallops.

30
 LESSON IX 31

SHIRRING, SCALLOPS, LACING, ETC.

 LESSON X
BOWS, RIBBONS AND FLOWERS

A bow must be smart looking and as if Bow No. 7 is a rosette with ends.
made of new ribbon, the loops and ends Watch the direction of the lines to obtain
fitting well into the knot ;
that is, the knot this effect.
must wrap around the loops and ends, pull- At the bottom of the page is illustrated
ing them in tightly. a broad ribbon run through holes. Note
In Bow No. 1, notice how the knot the guide lines at the top and bottom of the
curves around, as also do the wrinkles holes. All holes must be the same size,
on the knot. The loops stand out, while evenly spaced, and not drawn too near the
the ends hang straight down. Note the edge of banding. If the ribbon is wide,
XX lines on the ends. You see inside of bulge at the top and bottom, causing
it will

one of the loops, hence the over-skirt line the lines to take a rounding shape in-
(Lesson III, Fig G). stead of being straight like the openings.
Bow No. 2 is an example of a stiff- A ribbon the width of the holes will not
pointed bow for the waist, and as in Bow wrinkle as this wide one does.
No. 1, the knot and wrinkles curve around If a ribbon is turned over, the width
the ends. of the ribbon vanishes where it is turned.
Bow No. an example of a four-in-
3 is When drawing the patent leather belt,
hand, the knot and wrinkles curving around outline the place for the black after the
the ends, but the knot is a different shape, belt is outlined, then ink in with a brush.
caused by the way the ribbon is tied. A belt like this is hard and shiny, therefore
In Bow No. 4 we have the ends only; it have a few irregular high lights,
will
here we have not an outline alone to deal also a line of lightaround the edge except
with, but an explanation of how to put the on the dark side.
ink on for black ribbon. Most of this Remember the instruction on the buckle
drawing of ink with the paper left for
is given in Lesson V, but hi outlining a
the high lights, the heavy parts fitting in buckle on a solid back ground, remember
between other heavy parts. Outline all that the outline of the buckle where it
places to be made solid, then ink in with a touches the belt will be a part of the back
small brush. See Lesson XIX. ground when it is inked in, so gauge
Bow No. 5 is a stiff hat bow and follows accordingly.
the principles of loops. Note the inside Flowers are expressed with a few lines.
of the loop as in Bow No. 1. Draw the full front flower, also the side
Bow No. 6 follows the principles of Bow view. Notice how the petals fit into each
No. 1, but being a neck bow with short other.
ends, the ends take the direction of the Practicedrawingbowsand flowers. Make
loops. a careful study of black ribbon and bows,

32
 LESSON X 33

PRINCIPAL LINES OF RIBBONS, BOWS AND FLOWERS

 LESSON XI
TO MAKE A SKETCH FROM A COSTUME

To make a sketch directly from the dress (Lesson VI, Fig. R) and is gathered in
seems a very difficult problem to the in- with the under-waist at the belt where
experienced art student; and it would be it blouses over the girdle. (Lesson II,
ifan attempt were made to draw it as one Fig. C.)
would draw a flower or a vase. But if Question. What kind of a sleeve has it?
the student has thoroughly mastered all Answer. A long kimona sleeve (Lesson
previous lessons and applies them as this VI, Fig. R) fulled into a deep gauntlet.
lesson is studied, she will have no diffi- (Lesson VI, Fig. Q.)
culty in sketching any costume in a short Question. Of what does the skirt con-
space of time. sist?
In sketching a dress directly from the Answer.
Three deep flounces, the lower
model, proceed as follows: two being sewed on the underskirt.
Let us imagine that we are viewing the The two lower flounces are the same
dress itself which is on a dressmaker's depth while the top one is longer. The
form: After drawing the form, look at latter hangs down as low as the sleeve.
the dress carefully, taking in everything Question. How wide is the lace inser-
regarding it. Ask yourself these ques- tion on the sleeve?
tions,and as you answer them, place the Answer. About one-seventh of the
proportions on your form, using light lines. depth of the gauntlet.
Question. Is the neck high or low? Question.How wide is the lace inser-
Answer. High in the back and low in tion on the skirt?
the front. Answer. Twice the width of the in-
Question. What shape is the front open- sertion on the sleeves.
ing? Question. What kind of buttons has it?
Answer. It is V-shaped. Answer. Three small buttons on each
Question. How low does the V open? side of the over-waist which extend from
Answer. Less than halfway down the the collar to the bottom of the V.
front. Question. What
kind of a girdle has it?
Draw so applying principles of Lesson Answer. A
crushed girdle as wide as
II, Fig. C. two-thirds of the width of the gauntlet.
Question. What is the shape of the (Lesson VI, Fig. Q.)
collar? When you feel that all these propor-
Answer. It is a deep sailor collar which tions are placed on your form correctly,
is sewed on the V neck more than halfway them with
strengthen clean-cut, snappy
down. The collar goes toward the back strokes. Compare this plate with Lesson
and falls over the normal arm hole. (Les- II. Note how much easier the bottom
son VI, Collar 4.) lines of the flounces are, how some folds
Question. Is the waist all in one piece? turn one way, and some the other. Note
Answer. No. It has an over- waist carefully all XX lines and the lines for
which fits up to the middle of the shoulders the fullness. You can make a sketch even
35
36 STUDENT'S MANUAL OF FASHION DRAWING LESSON XI

looser than this by breaking some lines in If theexact design of the lace or em-
the high lights. broidery required, make a careful sketch
is

A
guide line through the center of the of it in the corner of your paper.
insertion will be a help in placing a It is well to try to remember costumes
design. you see in the shops and on people. By
If it is necessary to record the names looking at them closely and asking your-
of the materials used, write them out self questions you can remember enough
opposite each material, connecting them to draw them afterwards. This is excel-
to the material with horizontal lines. lent practice and will aid you greatly in
back view must
All dimensions for the obtaining ideas for original designing.
accord with the front. This front view Practice sketching from costumes, as the

being two and one-half times larger than art of accurate sketchingis worth money,

the back, all dimensions on it must be and the more you sketch the quicker you
two and one-half times larger. Refer to will become and the more valuable to your

Lesson II, Figs. D and E. employer.

 LESSON XI 37

QUICK METHOD OF SKETCHING COSTUMES

 LESSON XII
FEATURES

In studying the human figure, each part The diagonal cross line indicates the widest
will be dealt with separately, then the part of thewhole eye.
figure as a whole will be considered. The On the upper lid there are five planes,
dressing-up process will then be considered, but we will reduce them to three. Note
which will be extremely interesting, as the direction of the three planes marked
the principles learned in the first ten les- above the eye and the two planes below it.
sons will apply. As the upper lid projects over the lower,
In these lessons on anatomy, no attempt the eye-ball has a tendency to slant back-
is made to teach the muscles, bones, and wards at the bottom, which effect is not
planes of the body, as used by artists very noticeable in the front view.
who paint the nude figure from life; The ball must fit well under the upper
but a complete understanding of these lid and not project.

lessons will enable the student to render The deep lashes on. the upper lid cause
in pen and ink the human figure as needed a shadow which hides the eye still more,
in the fashion field. giving it a soft expression. By continuing
These plates are outline drawings, a the ball through the upper lid one can prove
good outline being a very essential point; if the ball is hidden enough.

and when one understands proportion, The lower lid is soft and and is
delicate

poise, and the outline, he has made great often omitted in fashions. In pen and
progress. A few of the principal muscles ink drawings you will observe a few lashes
and bones which come in contact with the suggested on the upper lid, if so, draw them
outline are mentioned here, and the student on the corresponding sides of both eyes.
should become very familiar with them. Some artists indicate the lashes all around
There are many books on anatomy, both lids. If done correctly, this is very
which may be taken from the public effective.

libraries, and when one understands the Theeye-ball moves from side to side
outline construction as given here, he may raising the lid as it goes.
go into the subject as deeply as he wishes. In the front view the ball is round,
Lesson XII deals with the features which as is also the pupil, the ball occupying

are illustrated in the full, three-quarter, about one-third of the width of the eye.
and profile views. After you understand Note the little catch light on the ball,
the construction of the features, varia- which curves around it and gives the eye

tions of position will not seem difficult. light.

Makethe eye in good proportion, the
THE EYE (FULL FRONT VIEW) whole length being twice the height.

Begin with the full front eye in the upper

left-hand corner of the lesson plate.
THE EYE (THREE-QUARTER VIEW)
I Ndesignates the inner part and is If the construction of the full view of
slighlly^lower than the outer part. Note the eye is understood, the three-quarter
the guide line which runs slightly up. view will seem very simple.
39
40 STUDENT'S MANUAL OF FASHION DRAWING LESSON XII

I N the inner part. The student will

is In the center the shadow is darkest. In
observe that this is the other eye. Note the sleeping eye the lids are closed, hence
the slant up to the outer side, also the the shadow is not as heavy.
diagonal line through its widest part. The height is about one-half the length,
In this view the eye is turned away from the height being mostly on the upper lid,
the observer, which causes it to be fore- which is fully exposed, while the lower lid
shortened. He sees the under side of is hidden. Notice the five planes on the
the lashes, which show mostly on the far upper lid; reduce them to three.
side, hiding part of the upper lid on that
side.
THE LOOKING DOWN EYE (THREE-QUAR-
In fashions it is customary to show
TER VIEW)
lashes on the far side and the lid on the near
side, one plane being hidden by the lashes. Follow all instructions for the full

Note the three planes on the upper lid looking-down eye but foreshorten as in
and the two on the lower, as in the full the three-quarter open eye, part of the
eye. reverse curve being lost.
If the eye is foreshortened, the ball and
pupil must be foreshortened, hence
also
THE LOOKING DOWN EYE (PROFILE VIEW)
the ball is not a perfect round, but slightly
oval. As the upper lid is over the lower, In the looking-down profile view the
the slant of the ball backward isapparent. reverse curve still remains, but as the lid

In the profile view it is still more so, as is closed, it slants downward not upward,
seen by the illustration. the deepest shadow being on the far side
where the lashes show more prominently.
The eyebrow is on the forehead bone,
THE EYE (PROFILE VIEW)
being thicker at the inside, from there it
In the profile view we see but half the slants upward, fitting around the fore-
eye, the lashes being on the far side and the head bone. It gradually grows thinner
lid on the near. as it reaches its outer extremity.
Be
sure to draw the upper lid well over Place the eye a proper distance from the
the lower, and make the ball an ellipse, nose. Place the eye a little lower than
slanting it backward. You will notice where the nose begins.
that the lid takes the shape of a reverse
curve, which is illustrated with an exag-
THE MOUTH (FULL FRONT VIEW)
gerated line above the eye.
In fashions the upper part of the upper Viewing the mouth directly in front one
lid is often omitted, being indicated at will observe the same shape and distance
the corners only. on each side of the center line.
Study one side carefully, beginning at
the left, then reproduce the same effect
THE LOOKING DOWN EYE (FULL FRONT on the other side.
VIEW)
The upper lip has two planes, while the
The full front, looking down eye slants lower lip has three. See the lines of direc-
slightly downward at the outside. It tion of these planes marked above and
forms a reverse curve. See both eyes at below the mouth.
the bottom of the lesson plate. A deep In the center of the upper lip two Vs
shadow is cast under the eye by the deep are formed, one at the top and the other at
lashes, also by the eye being slightly open. the bottom, the top V being deeper and
LESSON XII FEATURES 41

more pronounced. They are both on the far the outer extremities are drooped.
center line. Do not separate the points This but one-half of the mouth, there-
is

of the upper V too far. fore it shows but one side of the V's, the
Where the lips meet, two very pretty reverse curve between the lips being very
reverse curves are formed. prominent.
The outer extremities of the upper lip In connection with this mouth study
are much lower than at the center, but after the figure at the bottom of the page. Note
drooping these extremities, bring the ends the pretty curve between the nose and the
up again. This causes the mouth to go upper lip, and how the line below the mouth
around the face and also to smile. The slants back to the chin.

upper lip fits well over the lower, which is Study all directions of the lower lip.
more apparent in the three-quarter view In this view the thickness of the upper lip
than in the full view. The whole mouth shows.
measures about two and one-half times its
height, having a depression at each cor- THE NOSE (FRONT VIEW)
ner, which causes a shadow.
Draw this mouth many times; try to A nose viewed directly in front does not
make it graceful with pretty curves, and show all its parts to advantage. Study
"
not pointy." the nose in connection with the looking
down eyes at the bottom of the page and
THE OPEN MOUTH (FULL FRONT VIEW) the three planes of the nose (below the

In the open mouth the upper jaw remains open profile mouth). On the forehead
between the brows is a diamond shape and
stationary while the lower one drops. If
from its lower part the nose begins.
only this is done there will be a vacant
In
D stands for the diamond and B for the
appearance to the whole countenance.
bridge, this being the bone of the nose.
the open smiling mouth, the. jaws may
The whole nose spreads as it leaves this
be together, but the lips are parted, and
projection. The end of the nose is soft,
drawn sideways. This causes them to be
as are also the wings, which are on each
slightly thinner, making the V's spread.
side of the end.
Follow all directions for the closed mouth
In fashions the line for the bridge is often
but part the lips. Do not part too far.
omitted.

THE MOUTH (THREE-QUARTER VIEW) Under the nose there are three planes,
the nostrils being under the wings or in
In the closed three-quarter mouth, the the outer planes.
upper lip extends past the lower, conse- The nostrils slant backward, being
quently the center line of the upper lip thinner in the front; note the lines of
extends past the center line of the lower direction forall planes which are under the
In the open three-quarter mouth the
lip. nose, the piece between the nostrils being
lower V on the upper lip is spread, and on the lower plane. If this piece is
the far side of the lower part of the upper drawn in the three-quarter view of the
lip takes the opposite curve from the near face, it helps to give the effect of the
side,thus making the mouth on that side under plane of the nose.
go around the face.

THE MOUTH (PROFILE VIEW) THE NOSE (THREE-QUARTER VIEW)

In this view we see exactly how far the In this view the bridge is prominent
upper lip projects over the lower, and how and the far side of the wing and nostril
42' STUDENT'S MANUAL OF FASHION DRAWING LESSON XII

are causing the far nostril to touch

lost, nose; an old person's nose being inclined
the under piece of the nose. to point downward.
In the three-quarter nose tipped side-
wise, one can see more of these under THE EAR
planes. In drawing fashion ladies, the ear is
In Lesson XIV is given the construction hidden unless the hair is brushed back
lines for placing features.
tightly.
The ear slants backwards and is divided
into three equal parts, the opening being
THE NOSE (PROFILE VIEW)
in the center divisions. This is the full
In this view all parts are apparent. ear as seen on the profile face.
See the general line of direction for a young On the full face less of the ear shows.
 LESSON XII

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 LESSON XIII
THE HEAD AND HAIR

Lessons XIII and XIV should be studied Oval No. 2 is drawn the same way, but
together, they bear upon the same
as as the head is turned partly away from you
"
subject, heads." By studying and ap- it gives the three-quarter view. This oval
plying the principles of these lessons, the is not tipped as No. 1 is.

student will be able to use a picture as a A head that is turned is moved from
model and from it construct an original side to side in an upright position. When
head. a head is tipped, the top of it is bent to
You will find in fashion figures many the right, left, back or front. Hence the
types of faces, some pretty and some chin takes the opposite direction.
freaky; many business houses preferring The center line of oval No. 2 is in the
the first type while others prefer the second. middle of the face but not in the middle
After you have learned to draw a normal of the drawing. See how it curves around
head with normal features, it is suggested the oval.
that you try to create an original head, Oval No. 3 is quite different, the outline
which might make a hit with the public; of the features giving it its shape. From
but in order to do this you must thoroughly the nose the slant is back to the forehead
understand the foundation principles of and down to the chin, which is also back.
drawing for all heads. Do not slant too much. The oval is full
at the back. Two lines are drawn for the

OVALS FOR HEADS neck, indicating that the head goes slightly
forward from the shoulders. Note the
Begin by drawing the ovals. Here we cross line showing that the back of the
have three ovals, full, three-quarter, and neck begins on a line with the nose.
the profile views, on which may be con- In young people the eyes are in the
structed the full, three-quarter and profile middle of the head, so in fashions we want
heads. the faces to look fresh and new as well as
Oval No. 1 is sketched in by beginning the dresses. Place the^yes in the middle
at the arrow and making a sweep around of the head and have them an eye apart.
the oval, which is egg shape; that is, it is The eyebrows in a woman are higher than
widest higher than the center or through in a man. Place them high enough.
the eyebrows. Continue this line around The nose is halfway between the eye-
the oval and down one side of the neck. brows and the chin and the mouth is one-
Do not make the space between the arrow third of the way down from the nose to the
and the neck line TOO wide. It is well to chin. Indicate these proportions by short
redraw this oval carefully before placing lines as in oval No. 2.
the features. On these three ovals may be placed the
From the top of the head draw the center three heads below; but doing so
before
line down through the chin. As this is take up Lesson XIV and understand the
the full front view, this line will be in the construction of a head in its various
middle of the drawing. positions.
45
46 STUDENT'S MANUAL OF FASHION DRAWING LESSON4 XIII

If the student understands the construc- In the lower profile the hair is arranged

tion of the features and the head as given quite differently, consequently the lines
in Lesson XIV, also the few points regard- will fall in a different direction but observe
;

ing the hair, he will be able to render these that they fit the head. See Lesson XIX
three heads with ease. Remember the on Pen and Ink Lines.
hair must fit the head and be soft and Get the direction of all lines, first with

wavy, the lines following the direction of pencil,then with a pen, then ink in with a
the head and hair where rolled. brush, leaving the direction white (or the
surface of the paper). As the hair is soft
at the edge, do not continue the solid ink
THE FULL FRONT HEAD to the extreme limit, but draw fine lines

On the full front view of the head the which extend past the solid mass.
hair parted at the side, drops on the fore-
is Study the curl. See how the lines fit
around to form the curl.
head, goes toward the back, fits around
the head at the temples, and goes away On the dark side the lines are heavy and
from the face over the ears. The lines
on the light side fine lines are drawn which
should be broken on the edges and fit fit between the dark ones. Note the hole
between each other in a soft, curvy effect. formed at the bottom. Notice how the
Draw just a few lines at first, in the right wrong side of the loose part is exposed to
direction.
view and how the lines fit around this
When dark hair is required, continue part more loosely. When drawing a black
to fill between these lines or make the
in curl, obtain the general direction of the

lines heavier in the hollows of the hair and lines, then fill in until dark enough.
underneath the puffed out places.
TO PLACE THE HAT ON THE HEAD
^v

THE THREE-QUARTER HEAD Never draw the hat and place the face
under it. Always draw a full head and
In the three-quarter view, the hair is
put the hat upon it.
brushed directly back, fitting around the
The hat should be placed on the head to
head toward the back at the temples and
give stylish effect. Tip it slightly to one
curling around the .cheek bone. Do not side. If this is done, one of the eyebrows
show too much of the hair on the far side
will be hidden. The crown must fit the
of the three-quarter face.
head, and the far side of the brim must be
continuous.
After studying these two lessons, study
THE PROFILE HEAD
pen-and-ink heads in the fashion papers.
In the profile view, the hair, being parted Be sure the heads are normal before
at the side, follows the head in all direc- attempting to draw them. Keep all rules
tions. in mind when copying them, and you will
When is built up, that part will
the hair find you can create a type of face which is

project past the normal head line, while strictly original.

the flat part will cling closely to it. Light After finishing a drawing of any kind,
hair has black lines indicating the direc- decide just what you have learned on that
tion. Black hair has white lines, taking drawing. Be systematic in this and you
the same direction. willcontinue to improve.
 LESSON XIII 47

2
"-5,

PtACING THE FEATURES, HAIR AMD HAT ON THE HEAD

 LESSON XIV
THE CONSTRUCTION OF THE HEAD

and extending down the back in the

shape
THE FULL FRONT HEAD
of a V. The from the
general direction
Head No. 1 is a view directly in front, ear to the shoulder curves in, but remem-
in a
perfectly straight position. The ber that TZ curves out, as do all the
placing of the features was given in Lesson muscles of the body.
XIII. The
ears are between the eyebrows Head No. 2 is tipped backward, also
and the nose. sideways, consequently one sees under the
After drawing the center lines and the chin and loses the top of the head. The
cross guide lines at the correct distances, further back the head is thrown, tjje more
draw the features. Remember that there pronounced this is. See Head No. 3.
isthe space of an eye between the eyes, A head in this position causes the construc-
and the space of half an eye between tion lines to curve up. The more the head
the eye and the edge of the face. Be care- is thrown back, the more the lines curve

ful to make the eyes mates and have them and the closer together they appear. The
set the same under the lids. neck appears longer as one views more of it.
In the three-quarter view, the far eye All features must follow these guide lines.

might be a trifle smaller, but never larger. In Head No. 3 one sees where the neck
Try to keep them the same size. really joins the head.
The or collar bone, extends
clavicle (C), Note the triangle formed on all faces.
from the pit of the neck (PN), to where This triangle takes in the front of the face,
the arm joins the body. It slants slightly while the remaining portion is on the side.
backward, which shows that the chest is When the head is tipjlbd down, all construc-
well forward from the sfioulders. The tion lines curve dowh. The nose appears
lines of the neck extend -vfr6m the ears longer, the under and the chin are
pl^ne
to the middle of these bones. lost, and one cafi^set more of the top of
The sterno mastoid muscle (k/[) runs the head. The moreT the head is tipped
from the ears to4iie;pit of the ne'<fc. In down the more pronounced these effectsi'v
the front view of the nesk this musc^ gives are. The neqk becoitfes -short and the top
the neck a slight outward curve. In the of the, head (Head No. 4). As one
full.
front view the cheek bone is not as appar-
lock's
down on head the upper lip
his
ent as in the three-quarter view. ->*" appears thinner and the eyebrows nearer
The line of the outline<6f fhelace, from the eyes.
the ear, descends, slanting inward to the ;

jaw bdfie, then in agai$swcifce ^jtojminently

THE PROFILE HEAD
to th*e chin, which runs straight across.
The head fits on the neck atthe ears, but Draw the correct oval for the profile
seen in this position it appears opposite head on which place Head No. 5.
the jaw bone. In Lesson XIII, you learned the outline
The Irapezius muscle (TZ) is on the of the features, also about the forehead

shoulders, fitting on the clavicle in front bone, and the lines of the chin. The jaw
49
50 STUDENT'S MANUAL OF FASHION DRAWING LESSON XIV

bone runs up to the ear, which is as far THE SEVEN-EIGHTHS HEAD

from the eye as from the mouth. The In the seven-eighths view, Head No. 9,
trapezius muscle is at the back of the neck, the far side of the face is lost still more as
and, while the general direction of the are also the features. This view comes
back of the neck slopes in, you must between those shown by Heads No. 5 and
have the feeling of a slight outward effect
No. 6, therefore the ear is nearer the back
for this muscle.
than in No. 5 and not as near as in No. 6.
Note the diagonal lines from the front In this view the line of the chin from the
to the back of the neck, showing that the
mouth isquite noticeable.
neck is higher in the back than in the Draw the fashion Head No. and note
7,
front. Watch the front line of the neck the three planes of the cap as they fit
where it joins the jaw, and the reverse around the head.
curve which is more prominent in a man Head No. 8 is the profile view tipped
than a woman. A man's neck is shorter
away from you. Study and draw this,
than a woman's, measuring from the nose
applying points learned in this lesson.
all
to the chin the same as from chin to PN. construct a head by drawing
Always
Do not draw a woman's neck too long. the oval and placing all guide lines before
attempting to draw the features. Practice
THE THREE-QUARTER HEAD drawing heads from the fashion papers.
Copy them understandingly, using the
In Head No. 6, which is the three- charts as guides.
quarter view, the cheek bone is very Make a collection of heads in different
noticeable. Note the outline of the far positions.
side of the face. The forehead bone pro- The student is advised to use pen-and-
jects, the outline going in slightly above ink drawings to draw from as the lines
it. The line from this bone descends, can be seen plainly, but all photographs
goes into the eye, out to the cheek bone, and wash drawings should be saved.
down to the jaw bone. Show definitely Select large pictures of heads and draw
where the line leaves the cheek and runs the construction lines through the prope^
into the chin, which is straight across, but places.
not as wide as in the full front view. The Study the people on the cars, also the
jaw runs up to the ear, which is at the advertisements in the cars. Be on the
back of the head. lookout everywhere for some point of
Remember to place three-quarter fea- information.
tures on a three-quarter face and have the See on how many pictures you can apply
center line in the middle of the face. the knowledge gained from this lesson.
 LESSON XIV 51

CONSTRUCTION OF THE HEAD IN DIFFERENT POSITIONS

 LESSON XV
THE ARM AND HAND

Arms and hands require a great deal of are on the shaft, the biceps being on the
close study before they can be drawn front part and the triceps on the back.

satisfactorily. In this lesson are given The supinator longus (SL) is very promi-
the proportions, and direction of the prin- nent, especially so when the arm is bent.
cipal lines of an arm and hand, breaks Figs. 3 and 6.
being left where the lines change their The lowerprojection of the deltoid
direction. is lower than where the inner part of
Leave all breaks when drawing the the arm joins the body. Note the cross
figures from the chart. line on the lower part of the arm,
Place your own arm in front of a mirror which indicates that the inside bulge is
in the positions given, and see if you can higher than the outside. This is the end
follow the points illustrated. woman's A of the humerus, or upper bone of the
arm being more slender and delicate than arm.
a man's, the muscles are not so clearly Fig. 1 is the view of the arm extended,
defined. When drawing arms in fashions, with the thumb on the outside. This
bear this in mind, but use the chart as a shows the inner view of the hand. It is
guide. not a position used in fashions, but a good
No matter how slender or delicate an one to study from.
arm is, it must have the shape of an arm The middle finger is the longest and the
and not look like a post. Hands, in fash- little one the shortest; the others being
ions, are not chubby, except on children, of nearly equal length. The middle and
but are slender, the fingers being long and next finger are inclined to fall together,
tapering. as in Fig. 2. In Fig. 2 the whole arm
is turned over, the biceps being on the
inside and the triceps on the outside.
PROPORTIONS OF THE ARM AND HAND
The back of the hand is seen, and the
Begin with Fig. The upper part of
1. thumb, which is on the inside and turned
the arm equals the lower, and the arm under, is lost to view.
tapers from the shoulder to the wrist, ex- Place your own hand and arm in the
cept below the elbow, which is the widest position of Fig. 1, then turn it over to the
part of the whole arm, in this position. position of Fig. 2. Place your hand in
Ascertain the direction of the upper part the position of Fig. 1, and turn the lower
of the arm, then of the lower, then of the part only to the position of Fig. 5.
hand. To have three directions for the There one bone, the humerus, in the
is

arm and hand, makes a more graceful upper part of the arm, and two bones, the
drawing. radius and the ulna in the lower. The
On the arm are many intricate muscles, radius rotates over the ulna causing the
a few only being mentioned here. thumb to fall on the inside. More gen-
The deltoid (D) is at the top on the out- erally the arm hangs down more in the
side. The biceps (B) and triceps (T) position of Fig. 2, with the biceps on the
53
54 STUDENT'S MANUAL OF FASHION DRAWING LESSON XV

inside. In this position the lower part while the outer part curves in, then takes
may be turned still more. a square effect between the curve and the
When the arm is bent as in Fig. 3, or wrist. The fleshy part of the thumb forms
raised as in Fig. 6, the line for the supi- part of the palm and is about half its
nator longus, if continued, would run to width at the wrist. Double your hand and
the elbow. In Fig. 6 the humerus (H) see for yourself what curve the thumb takes
and ulna (U) show at the elbow, the deltoid on the inside of the palm.
is raised and the trapezius shows back of Note how narrow the side view of the
the deltoid. Take up Fig. 7 which is wrist is. Note the break where the hand
the outside of the hand, learn its propor- joins the wrist, which is more apparent
tions,then refer to the inside, Fig. 1. is K when the hand is turned over. When
opposite the knuckles, and is half way the fingers are doubled or bent, watch the
between the wrist and the ends of the directions the lines take.

fingers. Fig. 11 is the gloved hand, here shown

In Fig. 1 the crease in the palm is under resting on the chest. Draw the hand and
the knuckles and is in the middle of the arm, then place the glove lines, which
hand. extend slightly past the arm line. The
Each finger has two joints where it stitching on the back gives the appearance
bends, one joint only being given except of a glove, the center line being between the
in Figs. 8 and 9, the hand in the latter being middle and the next finger. The double
placed on the hip, a position much used line at the side of the palm and the one at
in fashions. The fingers are shorter on the the side of the finger give the effect of a
inside. They join the hand on a curve, heavy glove.
but not at the knuckles. Fig. 10 is the When drawing an arm under a sleeve,
first finger, it differs from the others in be sure to have the sleeve take the shape
that the first joint is forward of the crease of the arm.
below it. The thumb joins the hand Make a collection of figures (in under-
slightly back of the knuckles and reaches clothes and in dresses) with the arms in
almost to the second joint. The bulging different positions. Study these care-

part of the palm shows between the thumb fully.

and the first finger. Draw and re -draw the arms on the lesson
Note the direction of the lines of the plate until you become perfectly familiar
thumb, the inner part being a reverse curve, with them/
 LESSON XV 55

CONSTRUCTION OF THE ARM AND HAND IN DIFFERENT POSITIONS

 LESSON XVI
THE LEG AND SHOE
THE PROFILE VIEW OF THE LEG The leg is posed of many intricate

The view of the leg forms a re- muscles, them only being mentioned
profile
verse curve, the lower part being set well
e vastus interims (VI) is on the inside
back of the upper. See Figs. 1 and 2.
and is low, while the vastus externus (VE)
Fig. 1 is the main outline of the leg, being
is on the outside and is high. The knee
sketched in with broken lines, thus obtain-
fits between these muscles and the lower
ing the general shape and proportion.
Fig. 2 is the modeled leg placed on Fig. 1. part of the leg.
In Figs. 1 and 2 note the vertical line Study the lower part of the leg, notice
drawn from the upper part to the toes. how much higher the outside is than the
This shows how far back to place the lower inside. At the ankle this is reversed, the

The general direction of the front inside ankle being higher than the out-
portion.
side.
of the upper portion is out, while the lower
part but on this in, you will see a
is in,
THE BACK VIEW OF THE LEG
slight out, which does not affect the gen-
eral direction of the inward curve. The In the back view of the leg the lower part
back part of the upper portion is in, but is back of the upper; see the vertical line.
on this also you will see a slight out, which The foot is partly hidden and is fore-
does not change the general direction. shortened. Get the direction of all lines

The lower portion in the back is a decided of the foot as it is lost behind the leg.
out, the calf being a very prominent fea- Draw Fig. 5 and place Fig. 6 on it.
ture. The knee projects, yet the general Draw Figs. 1, 3, and 5, noting the cross

direction of this projection slopes toward lines.

the back. Keep these drawings for reference.

Draw Fig. 1, then place Fig. 2 on it care- Make other drawings of these figures on
fully. Remember that the muscles of the which place Figs. 2, 4, and 6.
body form very pretty reverse curves you ;

must have this feeling in mind in order to SHOES

obtain the effect. Practice reverse curves In the five different positions of the shoe
with your pencil, going back and forth over
which are given here, the direction of lines
the lines. Much practice of this kind will
is the essential point, so the lines are
give grace to your work. broken.
When drawing from the chart leave all
THE FRONT VIEW OF THE LEG breaks, but when making a finished draw-
The ing connect the lines.
general direction of this view of the
leg is in, and yet at the knee and below
the leg takes the outward direction.
THE FRONT VIEW OF THE SHOE
it,

The foot also points out. All parts of On the front view of the shoe note the
the inner side are nearly on a line. direction of the leg, then of the foot as it

57
58 STUDENT'S MANUAL OF FASHION DRAWING LESSON XVI

comes toward you, the heel in this view breaks into the instep, showing that it is

being lost. The outer curve of the shoe nearer to you than the instep.
is more prominent than the
longer and Note the plane at the back of the shoe
inner. There are three planes on the shoe and the two planes on the heel. The heel
which show most distinctly where the vamp does not appear as far under the foot as
and tip are sewed. The inside ankle is in the side view.

very prominent while the outside one is

lost. THE THREE-QUARTER VIEW OF THE SHOE
In the three-quarter view of the shoe
THE SIDE VIEW OF THE SHOE the heel is almost lost. Get the three
Note all breaks and curves on this shoe planes on the vamp and tip, also the center
and make the heel fit well under the foot. line. This shoe is not resting evenly on
The top line curves down and the heel is the ground, the toe only touching it.
on a line with the sole. When the shoe is pointing slightly toward
the inside of the heel is seen.
Whendrawing a slipper, make it look you,
dainty and like a slipper, not like a rubber. When drawing a black shoe, mark with
pencil the place to be inked in, leaving
high lights for the shape of the shoe, at
THE BACK VIEW OF THE SHOE the edge (except on the dark side) and on
In the back view of the shoe the top line the sole.

curves up, not down. The foot being NOTE. The next lesson advises the student to
turned away from you, it is foreshortened study books on anatcmy. There are many books on
this subject and from each one the student will leara
and the vamp does not appear as long as
something. Do not confine yourself to one book.
in the other views. Note the line of
Study from these books just how the bones of the
direction as the
, foot recedes. The leg leg fit under the surface. It will be excellent practice.
 LESSON XVI 59

CONSTRUCTION OF THE LEG AND SHOE IN DIFFERENT POSITIONS

 LESSON XVII
THE FRONT FIGURE (THREE-QUARTER VIEW)

To draw a good fashion figure the body The neck is about one-third (f ) the width
must first be placed under the clothes. of the shoulders.
The figure given in this lesson is not nude, The waist measures less than the shoul-
but is ready for a corset, underclothes, ders.

bathing suit, dress, suit, or a coat (a coat, of The legs join the body at the center of
course not clinging to the figure as closely the figure.
as a dress). If the student will draw the The knees are less than half (J) way
complete figure carefully under every gar- between this point and the feet.

ment, he will have no trouble when drawing From the shoulder to under the arm is

a bathing figure, or one in underclothes one-half (5) head or less.

although busy artists merely sketch The waist is about one and three-quarter
in the figure without finishing parts that (If) heads down from the chin.
do not show in the finished drawing. This The arms bend opposite the waist,
is a saving of time for one who knows how. reaching down to the center of the figure,
Remember the lesson on the three-quar- while the hands extend below this point.
ter form, Lesson I. See how the dress form The standing line (or line of support) is
conforms to the shape of the human figure. an imaginary line from the pit of the neck
Fashion figures vary as style changes, to the standing foot. This line must be
but the student will do well to make parallel with the edge of the paper.
figures seven (7) to eight (8) heads high. The foot is about the length of the head.
The figure must be slim and graceful. The The hand is as long as from the chin
figure may measure the required number of to above the eyebrows.
heads, but is too stout it will not look In this position the standing hip is
right. high while the other one is low, both of the
Fig. 1 is the way to commence to draw. hips being above the middle of the figure.
It is a rough outline of the proportion, The relaxed leg may be placed any-
action, and the placing of the figure on the where, but must extend from the hip and
paper. when you know how, you
Later, not from the knee, which would give it a
<may use curved lines if you prefer. knock-kneed appearance. See line of di-
Study the proportions given here and rection for the hips, also sketch of the nude
apply them to Fig. 1. After you have hips.
drawn Fig. 1, using broken lines, place If the figure were balanced evenly (on
Fig. 2 on it. Remember all instructions both feet) the line of support would fall
given on heads, arms and legs. If you are between the feet. See Lesson XVIII.
weak on these, review the previous lessons, The legs must join the body at the cen-
as parts poorly drawn will make a poor ter and on the center line of the figure.
whole. In the three-quarter view one sees con-
siderably more of one side than of the other.
PROPORTIONS OF THE FIGURE In fashions there are very few strictly
The figure measures seven (7) to eight full front faces, but many are almost
(8) heads high. full, being turned slightly.
61
62 STUDENT'S MANUAL OF FASHION DRAWING LESSON XVII

The head often turned in the opposite

is a girl. Children's proportions vary ac-
direction to the body; this lends grace to cording to their ages.
the figure. In fashions a tiny baby measures three
When drawing hands, keep them the (3) heads high; at four years, three and
same size, also be careful to have the feet one-half (85) heads; from six to eight
mates. years, from and one-half
five (5) to five

(5 to 5|) heads; from twelve to fourteen

TO DRAW THE FIGURE years, six to six and one-half (6 to 65)

heads; at sixteen years from six and one-
Place the figure nicely on the paper; half to seven (65 to 7) heads. Their
commence at the top, and swing in the dresses, being short, help to denote their
correct oval. When this is done, measure ages.
down seven or eight heads to the standing At fourteen the child becomes a young
foot, making a mark where the foot comes. miss, and takes somewhat the build of a
Remember the standing line must pass woman without any apparent bust pro-
through the ball of the foot. This takes jection. The dress is longer, and is still
but little time and can be easily erased longer at sixteen years, but never as long
if the figure does not fill the given space as a woman's.
nicely. A child has a round head instead of an
If incorrect, begin again by redrawing egg-shaped one, the eyes being in the mid-
the oval the proper size. Do not draw the dle of the head. A tiny baby's eyes may
features until thp whole figure is swung be placed a little below the middle.
in correctly. ,
Children have no busts, their eyes are
Mark off the waist line one and three- large and wide-awake, with a peculiar
quarter heads down, draw the shoulders, turn to the upper lid. Their noses are
the bust, the standing hip, and one long short and small and their mouths small
line down to the standing foot, which is and chubby. Their cheeks stick out.
on the action side. Keep in mind all Their hands and arms are chubby as are
proportions and swing in the figure, using also their legs and feet. They wear
these spacings as guides. square, flat shoes.
Much study should be given to anatomy, When drawing children, give them plenty
so learn all you can of this interesting of action and make them interested in some
subject. toy, etc.
Professionals begin to draw with heavy Children are used for so many purposes
lines, but light lines are advised until the besides fashions, that the student would
student is fairly sure of his proportions. do well to devote much tune to them. In
advertisements, cards, book-covers, etc.,

PROPORTIONS OF CHILDREN
children play a great part. Lesson XXX
deals with this class of work.
children are "little people," no extra
As
drawings are given, but the student must By time the student should know
this
remember that their proportions are quite enough of the outline of the figure to be
different from those of adults. So many able to use books on anatomy to advantage.
scholars say, would just love to
"Oh, I Inquire at the library for books on this
draw children, they are such cute little subject. Make numerous drawings from
things." That is so, but be sure that you these books, also make drawings of ladies
make them cute, and not little old men and and children in underclothes, from cata-
women. A boy has squarer features than logues.
 LESSON XVII 63

THE WHOLE FIGURE READY FOR A COSTUME

 LESSON XVIII
TO PLACE A DRESS ON THE FIGURE

a suitable figure, one that will show the

ILLUSTRATING A COSTUME
costume to the best advantage. In the
If the student is able to dress up the beginning you will find it hard to render
dummy form and understands the figure the costumes from the costumes them-
in the last lessons, he will have no difficulty selves, but if you practice taking one
in understanding this lesson. This figure figure and another dress from the fashion
is slightly different from the last one as papers, putting them together under-
it is walking. As the weight is divided standingly, you will easily see how all

equally between the feet, the line of sup- principles apply. Pick out the dress first,

port falls between them. The figure may then a proper figure on which to place it.
have the legs crossed in walking and the If an evening-dress, find another evening

weight be solely on one foot. Be careful dress figure in the same position (as nearly
to poise the figure correctly. as possible).
When drawing a figure with the legs For a suit, use a suit figure, etc. Use
crossed, do not draw the far foot straight the lines of the suit on the figure, as they
across the paper; bring it slightly forward. fit the figure, and place the given suit on

Try to draw possible positions. these lines.

No
matter whether you are designing a In the dress illustrated the right-hand
costume or illustrating one, the knowledge should not rest on the hip, which would
required to place it on the figure is the cover the design, nor should the left hand
same. be placed on the chest.
So nothing has been said about
far If there is something particularly attrac-

original designing. Lessons XXIX and tive under the arm, put the arm up, etc.
XXX are devoted to this subject. When illustrating a costume be careful to
An original drawing is one that has been show both sleeves.
made by using a picture as a guide and Many figures are drawn in a normal
changing it enough to make it your own. standing position, such as some of the pat-
On this figure may be placed any costume. tern houses use, while some houses require
An illustration, which is an original the "swingy" kind, like the illustrations
drawing, is placing a given costume, which in the newspapers or the catchy advertise-
has been designed by someone else, on a ments. Learn to draw the up and down
suitable figure which will show the costume figure, then try the swingy kind.
to the best advantage. The figure in the illustration is swung
A may have one designer who
house slightly.
decides how the gowns are to be made, and When the skirt is swung out as if the
many illustrators who put these designs wind were blowing it, the center line and
on figures ready for reproduction. When lines of fullness will also swing.

illustrating a costume, you will have See how much easier the lines of this
either the gown itself, or a sketch of it, dress are than the ones in Lesson II;
to work from. In either case pick out still we have the XX
lines, also the X's
64
LESSON XVIII TO PLACE A DRESS ON THE FIGURE 65

and the O's. When a leg is extended, attracted equally to both sides of the
there are two XX lines near it, but do not picture. Keep the sizes and shapes con-
draw them continuous with the leg. sistent with each other. A large dark
Note how the XX lines fall both ways and will balance several small ones.
how sometimes X and O run together. When illustrating a costume, pick out
Now that you understand what the lines a figure which will show it to advantage;
mean, you must study carefully the illus- one that will tend to induce the cus-
trations in the fashion papers and copy tomer to buy the costume. Three things
the lines of artists. must always be kept in mind good style, :

See Lesson XIX for pen lines and Lesson good drawing, and good technique.
XXVI for textures. Good style is important because if a
costume appears expensive, other poor
points may be forgiven. If you can make

If the student practices this lesson a twenty-dollar suit appear. like a fifty-
faithfully, applying on original work,
it dollar one, your services will be in demand.
he will be ready to draw figures on bristol You will find this easier to accomplish
board, ready for pen and ink. Copy the if you select a stylish figure for your
lines used by other artists, studying them model.
carefully. Good drawing is necessary, for one can
If the student finds his work is untidy, not draw a stylish figure if one does not
he may transfer the drawing to a clean know how to render the figure and the
sheet of paper. This may be accom- costume correctly.
plished by making an accurate tracing Good technique in expressing the mate-
on transparent paper, with a hard pencil. rials of the costume is necessary. If the
Place this tracing over the clean sheet in costume is made of thin material the
the same position, fastening it on the board fact must be brought out,
clearly and simi-
at the top, only. Take a smooth piece of larly if the material is heavy.

paper about five inches by seven inches, Many costumes, whether light or dark,
and after rubbing it a soft
solidly with are illustrated in outline only. If it is

pencil, place it face downward between the desired to use shading or textures, much
tracing and the fresh paper. Mark over thought should be given. Obtain a good
the lines carefully with a hard pencil. outline, use the proper lines to denote
The tracing paper may be lifted to examine the material, then fill in gradually with
the work without disturbing its position. lines for shading which accord with the
Redraw carefully. outline. Fill in gradually, keep the whole

Study costumes and see

illustrations of drawing going and do not concentrate
how others treat their work. Consider- on the shaded places.
able dark in a picture looks attractive; The lines for shading should follow the
bear this in mind when making a drawing, form and help to mold the figure which
but when representing a costume, be accu- is underneath. Lines placed close to-
rate. If the costume is all light, place gether form a shade. Keep places which
the dark somewhere else; on the hat, come toward you light; for example, the
shoes, parasol, background, etc. When bust, line of the leg, top of the arm, etc.
these darks are attractively distributed There is usually a dark and a light side to
"
over a drawing, it is called good spot- every drawing, but do not make the figure
ting." In a layout good spotting holds so dark in one place that the general build
the drawing together. of the whole will be lost.
"
Place all darks so that the eye will be Make your people put on airs."
66 STUDENT'S MANUAL OF FASHION DRAWING LESSON XVIII

When illustrating a hat, decide on Illustration work cannot be mastered

its most attractive side. Make the hat until the studentis further advanced.

expensive looking, even a very cheap

if it is This lesson may be referred to from time
one. Do not stint on ribbons and bows; time as the student progresses. It is well
make them full and attractive. Hats in studying to adopt the practice of first
should be shaded to bring out the charm- building the outlines, then inking them
there must be a light and a dark side. in and erasing the pencil lines. The shad-
Represent the material the hat is made of ing lines may then be placed in pencil and
whether straw, silk or velvet. Keep inked in.
the technique of these, placing lines closer Illustrations are often done in a sketchy
on the dark side but do not be mechanical. manner, many lines being used. Well
A " sketchy effect " for a hat is attract- connected lines are advised until the stu-
ive. dent understands the meaning of all lines.
Shaded back-grounds, circles and other Some houses like sketchy work,, while
shapes, behind hats lend enchantment. others do not.
 LESSON XVIII

FITTING A COSTUME ON THE FIGURE

 LESSON XIX
PEN AND INK LINES. FRENCH WASH. BEN DAY MACHINE

By this time the student must desire to Use a suitable pen for the work in
ink in a drawing. Ink work is extremely hand.
interesting,but it requires much practice. In the shadow, lines are often wider,
You may be able to render a nice drawing as underneath parts that project; as
in pencil and be afraid to touch your pen belts, collars, cuffs, etc. The greater the
to it. Many feel this way, and many good projection, the wider the shadow.
drawings have been spoiled because the Ink lines should be rendered on hard
student did not practice the lines on a finished paper, bristol board, plate finish

separate piece of paper. The very idea being the best. Kid finished bristol is
that you are afraid will cause your hand also used. This board will take a wash
to be unsteady, and a very steady hand is of water-color paint. As bristol board is ex-

required. pensive for practice work, buy a good qual-

The idea is not to draw just an ink line ity of shelf paper. This will take the ink,
over the pencil line but to draw the right and on this paper, the student must
kind of a line. Lines should be thick or practice practice PRACTICE PRAC-
thin, straight or wavy, as the nature TICE.
of the picture requires. In the first Cut out a sheet of bristol board, a little

place a pen line should be made with one larger than the chart, and with pencil
clean-cut stroke and not patched up. A copy all lines carefully. In this way you
line should be of even width, unless shad- will become familiar with the lines. Refer
ing is called for. to Lesson I on how to study with a sharp
A line should be professional, that is, it point.
must be the right kind of a line in the right On your practice paper make two dots
place, and the artist must know before- a distance apart, grip your penholder
hand, just what he wishes to do. A long, tightly, fairly near the point, and connect
continuous line may be joined, but when the dots, keeping the eye in advance of
beginning again, place the pen point back the pen-point. Do not forget this when
of the end and do not press on the pen drawing long lines.

until the end of the line has been reached. Draw slowly, keeping the wrist well
In this lesson are given some of the lines pressed on the board. Draw horizontal,
used in fashions and the student must parallel lines, also vertical ones. Prac-
become very familiar with them. When tice all lines with pen only, using the knowl-
one can draw these lines well on a separate edge gained by drawing them in pencil.
paper, he is in condition to ink in his Fill sheets with these lines until you feel
work. Fine lines should be used for faces, perfectly free and have control over your
arms, hands, etc., and very fine lines for pen. When crossing diagonal lines, allow
eyelashes. Several fine lines instead of the first set to dry before crossing them.
one wider eye a soft expres-
line give the Lastly, ink in your drawing of lines
sion. Study these lines in the fashion and if the result is satisfactory, you are
papers. ready to ink in a fashion figure.
69
70 STUDENT'S MANUAL OF FASHION DRAWING LESSON XIX

THE USE OF LINES paint being used. The shadows may be

strengthened by darker tones. This is
As said before, lines should not be difficult to do and much practice is
well,
crowded. If a shaded effect is required,
Follow directions carefully.
required.
parts of the lines may touch, but keep the
lines well separated so that the parts not
DIRECTIONS FOR FRENCH WASH
touching will not run together when re-
produced. Mix the tones of gray in different saucers,
Study all lines in the fashion papers, cut having more color than is needed to go
out examples as you have done for other over a given space. Try the color tones on
lessons. Different artists use different
a piece of paper, allowing them to dry,
kinds of lines; become familiar with them as when dry they will be lighter. If too
all.
dark, add water; if too light, add paint.
Line 1 is used for trimmings, worsted, Hold the drawing on a slant and, begin-
etc. Lines 2 and 4 are used for lace;
ning at the top, apply a coat of clear water
lines 3 for feathers; lines 5 for designs and all over the parts to be painted. Allow
trimmings; lines 6 for fullness. Practice this to dry. Pick up some paint, having
with bold strokes. Lines 7 are used for the brush begin at the top,
full of color,
chiff on keep the lines fine. Lines 8 and 9 and gently carry the color across the paper,
are used for silk keep lines well spaced, it to run down as it is carried
allowing
one cluster into another. Lines 10
fitting across. Nevergo back or allow the
are used for hair; lines 11 for crepe; lines color to dry; keep the edge wet until the
12 for woolen goods this is done with the bottom is reached, then pick up the extra
point of the pen; be careful not to make paint with the dry brush wipe on a rag.
;

hooks at the ends of the dots. This is called A blotting paper is very handy if the color
stipple and may be scattered all over a tries to run below the bottom line
garment which gives a light tone, or the
dots may fall on top of one another, or
be placed close together, which causes a THE BEN DAY MACHINE
dark shade. This is an easy way to shade
Benjamin Day of New York, invented a
a drawing. machine for placing lines and dots over
Spatter work is the spattering of ink all given surfaces. This machine will print,
over the part to be covered. Put a little on the drawing, textures, such as diagonals,
ink in a saucer, dip a tooth-brush in it,
squares, dots, etc., wherever it touches
and while holding the bristles down, run a the drawing, thus saving the artist the time
knife over them, of course, covering the
required to draw them. They are more
part not to be spattered. Try this out on mechanical then pen lines and often
a separate piece of paper. much closer together. All the artist is
A line may be very fine but must be obliged to do is to rub with a blue pencil
black. See method of reproduction, Les- or apply a coat of Cobalt blue water-
son XXVIII. color paint to the part of the drawing on
which he wishes this machine applied.
FRENCH WASH Blue will not show in the reproduction.
French wash is an outline ink drawing, Cut out illustrations of Ben Day and
rendered on illustration board with flat do not confuse it with French wash,
washes of gray, lamp black water-color stipple or spatter work.
LESSON XIX A 71

12

PEN AND INK LINES

 LESSON XX
FEATHERS AND HATS

In few lines are used, the

this lesson each other. At the bottom they fit more
object being to explain the general direc- closely together and take a slight reverse
tion the lines take. curve. Feather No. 5 is a feather which
To draw a full feather, many more lines turns over at the top. Note the line of
should be added. The student should light where the feather turns and
make a careful study of all drawings of the little feathers which show at the
feathers, also of the feathers themselves. edges.
The mass of small feathers to make up the Draw the ostrich feather, boa and tas-
whole are confusing, but when one realizes sels.

that it is the direction that is important, Feather No. 6 separates at the top,
a few lines of the right kind will give the being in two parts. At the bottom one
desired effect. side only of the second part is seen.
If the feather is soft like those of the Draw the pompon. The short lines
ostrich (Feather No. 1), it must be drawn curve around the edge and form the circle,
with curvy lines, the ends of the lines form- only a few lines being drawn within its
ing the edge of the feather. They curl border on the dark side. The center,
under. The vein is often prominent. being left light, gives the ball shape.
When drawing a black feather, obtain the Study the straw hat with high crown,
direction as in the lesson plate, ink it, and turn-up brim. Note the three planes
leaving the direction white. to fit the head. See how the straw fits

Draw the hat with the wings. Note around the high crown and brim and how
how the feathers in the wings fit behind the cross lines of the straw are indicated on
each other, some lines being drawn full the dark side. They take the direction
length while others fall short. The hat of the curve of the hat.
shows a plane on the side, and one in front. A round crown forms an ellipse.
flat,
When making a finished drawing, the When a hat is viewed from above, one
planes are not apparent. See the lines sees much of the brim and crown. This
of direction below the hat. hat is bound on the edge. Where the brim
This hat has a high crown. Mark the turns up, the width of the binding is lost.
center, curve the lines to be inked around The band follows the crown.
the center in the direction of the hat, leav- As said before in Lesson XIII, the hat
ing high lights where the hat turns the must be so placed on the head as to give
corner. a stylish effect. Refer to this lesson when
Draw Feather No. 2. See how the vein drawing hats. When drawing a hat, have
is lost at the top where the feather turns some decided turns on it, not points
over, and how the small feathers take exactly, but a change of direction which
sharp turns. Feather No. 3 is a paradise will keep the hat from looking like a tin
feather. Study the direction of the lines. pan. When drawing a black hat, be sure
Note how fine they are and how some are to have white lines separating its parts.
long, some short, the lines fitting between A hat made solid black will look larger than
73
74 STUDENT'S MANUAL OF FASHION DRAWING LESSON XX
when outlined, as the line of the edge be- head, use one facing the same way. Use a
comes part of the hat. Ahard, shiny sur- profilehat for a profile head, etc. You
show a decided high
face, like beaver, will can use any picture facing the other way
light in a given place. This high light by reversing it in a looking glass.
takes the shape of the hat. Study care- If you succeeded with the lesson on pen

fully the way other artists treat hats and and ink, to ink in these feathers will be very
feathers. When placing a hat on another interesting.
 LESSON XX 75

CONSTRUCTION LINES FOR HATS AND FEATHERS

 LESSON XXI
PARASOLS

Parasols are very interesting and they a perfect round, it being viewed on a slant.
are not hard to draw if one understands The stick must rest on the shoulder and
their formation. fit in the hand. The stick may be ruled
Begin with Fig. 1. Place the stick to obtain a straight line.
through the ellipse at a right angle to it. Fig. 5 shows where the ribs join the
The stick must be in the middle and be center and the supports from the stick
continuous where it goes through the to the ribs.
silk. the outside only. Note the
Fig. 7 is

If you show much of the outside, show center and how the ribs curve, vanishing
but the inner part. The less you
little of on the far side, and extending past the edge
observe of the top of the parasol, the more on the near side. Study the parasol care-
you see of the inside, Fig. 4, and the less fully, and notice how the curve of the
of the short end of the stick. far side is less than the curve of the near
Draw layout, Fig. 1, and place Fig. 2 side.
on it. Draw the closed parasol. Make it

Draw layout, Fig. 1, and place Fig. 3 slim. See how the openings fall.
on it. Draw the layout, place the loops on it,

In Fig. 3 part of the ruffle on the far side then the ends of the ribs which form a circle
is hidden. around the stick.
In the Japanese parasol, you view the The upper part of the stick is usually
inside. The stick must go through the less than the silk part.
middle and the ribs must curve to form An open parasol resting on the ground
the hollow of the parasol. They extend is bound to show the inside.

past the edge. This parasol does not take The average parasol has eight ribs.

76
 LESSON XXI 77

CONSTRUCTION OF THE PARASOL IN DIFFERENT POSITIONS

 LESSON XXII
FURS AND FANS

The student must learn to dress his figure Watch the lines carefully as they go
warmly for winter and to convey the effect around the muff and around the hole.
of coolness, for summer; so we have two In the flat muff the lines follow the form.
extremes, furs and fans. As the muff is flat, the lines are straighter
There are many kinds of furs; a cata- and the plane at the end is narrow. Note
logue on the subject will give the different the lines as they go around the muff and
kind of technique, or lines used to repre- around the hole.
sent the texture of the article. For. all fur obtain a good outline first

Ifthe fur has long hairs, use long lines; on which place the correct lines.
if curly, use curly ones. The long or
curly lines may be massed in places to form
the shadows or indications of the fur. FANS
Fur should look full and the lines must
follow the shape of the fur piece. All sticks for a fan must meet in one
Follow the lines for the neck piece, Fig. 1. point, which is in the hand.
The lines for the fur fall down towards Draw the end sticks making them meet,
the front, while on the shoulder they go the top of the fan, the middle stick, and
toward the back. the one half-way between it and the end
Draw
the main shape of Figs. 1 and 2, sticks. These divisions may be divided
then the lines for the fur, which form the and sub-divided. Sticks are often drawn
edge. Make the fur look full, especially with a double line.

so at the tails, Fig. 2. A fan partly open will take the lines
Fur trimming which is mid-
joined in the of the plaits on a skirt. In this position
dle causes the fur to fall both up and down. the middle sticks are hidden where they
Note the different direction of lines where join the center.
the fur is joined. Make the fur full at On these foundations any kind of a fan
the edges and where it wraps around may be created. If the shape at the top is

XX, Fig. 3. different from this set curve, draw it so,

Short fur is drawn with short lines, but remember the principles stated.
Fig. 4, the thickness of the fur extending Feather fans are very popular in fashions.
past XX. The student should make a large collec-
Draw the round muff. See how the tion of pictures of furs during the winter,
lines follow around the muff and give it as he may wish to use them in summer
shape. There is a plane at the end (which for the following season.
is flat) with a round hole in the middle, Try placing a fur texture all over a coat.
but the end takes the shape of an ellipse, For this a good copy is needed.
as it is viewed in perspective. See Lesson Remember black fur will have white
XXVII on perspective. The hole is nearer lines. A white fur against a black back-
the far side. ground is very effective.
78
 LESSON XXII 79

1 v '

If,
1

v^ /
VK. >\/ j

THE GEHERAL DIRECTION OF LINES FOR FURS AND FANS

 LESSON XXIII
THE BACK FIGURE

If the student has been successful with The center line of the body takes two
the front figure and remembers its pro- reverse curves; beginning at the neck it
portions and how to start the drawing, he curves in, then out for the shoulders, in
will be somewhat at home when studying again for the waist, out again over the
this lesson. As in Lesson XVII, the hips and buttock, in again to where the
figure is not nude but ready for a garment, legs join the body.
as are also the figures in Lesson XXIV Study the little sketch of the nude back
and Lesson XXV. and of the trapezius muscle as it fits on
Draw Fig. 1 and place Fig. 2 on it. the back of the head.
This is a three-quarter back view, the Do not curve the center line too much for
figure measuring seven and three-quarter the fashion figure. See how the bust goes
heads high. around to the front as also do the arms.
In the back figure, the legs join the body Use previous instructions when drawing
below the middle and the waist-line the legs and feet.
curves up, not down. The head is a three- When placing a dress on this figure,
quarter batk view, although a profile or have the lines of the dress conform to the
seven-eighths front head may be placed action of the figure as in Lesson XVIII.
on this body. Do not turn the head too When the arm is bent and extended for-
far around to the front. Try turning ward, the break of the sleeve at the supina-
your own head toward your back, and do tor longus takes the opposite direction from
not make the mistake of putting an almost the front view, showing that the upper part
full face on a back figure. of the arm is on this side of the lower.
Note the hair lines, which are brushed The lower portion of the arm is foreshort-

up to the top of the head. The ends of ened.

these lines in the back form a curved up When illustrating the back of a costume,
line like the back collar line. use a back figure going the same way as
In this view of the head, the ear is nearer the costume sketch to be illustrated. See
the front, and the line for the neck Lesson II on the back form.
breaks into the face, as it is on this side Draw back figures in corsets and in
of it. underclothes. These are harder to find
The
trapezius muscle breaks into the than front figures. Keep everything that
neck, showing that the face and throat will help you, even upper and lower parts
are forward, the throat being lost some- of figures.
what. Compare several back figures. See if
The far shoulder is longer and is more you can combine them in one drawing.
sloping than the near one. Always use figures facing the same way.

80
 LESSON XXIII 81

THE BACK FIGURE READY FOR A COSTUME

 LESSON XXIV
THE SIDE FIGURE

The side figure is not as frequent in Be sure to show the plane on the shoulder,
fashions as the front view, as it does not which is distinct from the arm.
show a costume in all its parts. However, See the clavicle in the first drawing,
graceful and artistic, and the student
it is which extends from the pit of the neck to
should be as familiar with it as with the where the arm begins.
front view. When the arm is extended forward, note
This figure measures seven and three- the square effect on the back, caused by
quarter heads high. the shoulder blades. This is also notice-
The view is inclined to look some-
side able when the arm hangs straight
what than it is, the side of the body
taller down.
being narrower than the front. The body may bend at the waist for-
If the student can draw a graceful figure ward and side-ways, but in fashions, we
in all positions, he can use the knowledge keep the figure erect, with the head on an
gained in decorative work, such as cards, upward turn, unless the figure is interested
book covers and advertisements. See Les- in some object and is inclined to bend
son XXX. the head downward. In this case the
Keep in mind all points regarding the eyes must be lowered as well.
profile leg. As the inner view of the pro- Refer to Lesson XVII for proportions
file leg is slightly different from the outer, of the figure.
sketches are given here of the straight If the features of a figure are not clearly

and bent knee. defined, use other features, but be sure

As this figure is ready for a corset, note they belong to a head in the same position.
the long straight line in front, and the long It is better to find a satisfactory figure
curved line in the back, which does not from which to draw, but the student may
show where the legs join the body. See combine parts' of different figures if he
the separate sketch of this. understands their construction.

82
 LESSON XXIV 83

THE SIDE FIGURE READY FOR A COSTUME

 LESSON XXV
THE SITTING FIGURE

As the figure in this lesson is sitting, all positions. A sitting figure may be
the horizontal part, which is resting on the bent more than a standing one.
bench, is lost in the height of the Draw the sitting figure in underclothes
figure. and Study the lines of the
in dresses.
The legs join the body in the middle of dress, how they around the figure, fall
fit

the figure, but not in the middle of the from the edge of the bench and from the
drawing. knees. Study the lines of the main
Let us divide the drawing into three wrinkles. Study the wrinkles in the bent
equal parts. From the head to below the arm which are mostly on the inside. On
bust one, to where the body bends
is is the extended arm they pull as the arm is

two, to the bottom of the foot is three. thrust out.

Remember the figure bends where it An arm will show the inside of the sleeve
sits and again at the knees, the leg flat- at the wrist, unless the arm is turned
tening out slightly where it rests on the back, as the arm placed behind this figure.
bench. Bear this in mind when placing cuffs on
Do not draw the near side of the bench sleeves.
close to the under side of the knees. The far armhole forms a reverse curve,
Try sitting on a chair, observing how the lines for the bust extending to the
your knees extend past the edge. It is center of it.
possible to sit far back, but one seldom As under the arm is on a different plane
does. from the front of the body it is often
Study the sketch of the outside bent shaded.
knee, the inside one being illustrated in It is suggested that when a wide line
the last lesson. is placed around a careful drawing, all of

Draw the far leg through the near one as the heavy line be allowed to be on the out-
indicated by the dotted lines. side of the pencil line. If brought within
A figure may sit or recline quite differ- its border, the shape will be destroyed.
ently from this, so draw sitting figures in Note for example, a carefully drawn arm.
 LESSON XXV 85

THE SITTING FIGURE READY FOR A COSTUME

 LESSON XXVI
TEXTURES AND DETAIL WORK
The representation of textures comes pieces of materials. Fig. 1 is chinchilla,
under the general classification of detail 2 and 3 are crochet or knitted worsted,
work. It requires great accuracy to be 4 is corduroy; a flat piece would not be
a detail artist. Many devote their
artists shaded but on the figure the shading helps
whole time to this type of work. the form, Fig. 5 is outing flannel or cotton
To draw the human figure correctly, goods, 6 is rough cloth; if very rough,
and to be able to group figures, should be allow the rough edges to form the edge of
the aim of all students of fashion drawing; the garment. Fig. 7 is moire silk, 8 is
but they should be competent to do detail dimity or swiss; use fine lines for thin
work as well. When filling an order in goods, very fine lines for chiffon. Fig. 9
all its parts, the artist needs to be familiar is lace, 10 is embroidery; work out the
with textures. He must be able to make pattern carefully, placing a shadow under
the drawing for a silk dress convey the each design.
impression of silk, etc. Criss-cross the mesh in either squares or
The student of this lesson needs first diamonds. Do not make
the mesh round.
to be able to render good ink lines. Then Much detail work worked out in white
is

study textures carefully from catalogues, water-color paint, used thick from a jar.
and from the goods themselves. Consult This is applied with a fine sable hair
the lists of materials given at the end of brush. wash drawings have the lace
All
the lesson. If you are not conversant and embroidery worked out this way,
with them all, examine them in the stores a flat tone of gray paint being first applied

or obtain samples. as a background for the lace. Always

To form a texture, the lines of the draw- allow this to dry before applying the
ing must take the form of the weave, white paint.
and the whole mass of lines must follow Fig. 11 represents black silk. Draw
the form on which the texture is placed. the outline of all parts to be inked in,
Review Lesson VIII, as you must have a leafing high lights on top of XX. The
good foundation on which to place the solid ink parts fit into each other in a sori
lines. For example, when drawing a of lighting effect.

basket, the lines take the shape of the Fig. 14 is part of a light silk skirt,
straw, and also of the basket, the imagina- Fig. 13 is dark silk; another kind of stroke
tion does the rest. The same kind of lines which gives a very pretty silk effect.

might be used for a worsted sweater, and Fig. 12 is a loose sketchy way of placing
if placed on a nicely drawn sweater, we net all over a skirt, the lines of the net being
recognize the material. more apparent shadows. For white
in the
Be careful of the outline and have a good lace, rendered in white paint, this order
foundation of stripes or plaids on which to is reversed. For catalogues this would
place the texture, unless the texture has no not be accurate enough, as the customer
noticeable direction of line. has only the picture to order from.
Study the eight examples given of flat Study carefully the pen lines of artists,
87
88 STUDENT'S MANUAL OF FASHION DRAWING LESSON XXVI

and try to reproduce the same kind of flannel,Cossack linen, Dresden voile,
lines. If you do not succeed in this, take a Devonshire cloth, English flannel, flaxon,
sheet of tracing paper and trace their lines galatea, honey-comb cloth, khaki, lawn,
with pen and ink. Make a line clean cut linen, linene, madras, needle cloth, nain-
1

as instructed in Lesson XIX. sook, organdie, outing pique

flannel, ,

percale, poplin, repp, ramie linen, Russian

cord, sateen, seersucker, voile, velveteen,
LIST OF COSTUME MATERIALS Venetian linen.
Wool. Albatross, alpaca, beige, broad-
Silk. Brocade bengaline, chiffon, chif- cloth, prunella, Bolivia cloth, cashmere,
fon taffeta, China silk, charmeuse, crepe camel hair cheviot, chinchilla, chiffon
de Chine, crepe meteor, crepe duchesse cloth, duvetyn, jersey cloth, flannel, Hen-
meteor, crepe chiffon, Dresden silk, Dres- rietta cloth, mohair, melton, nun's veil-
den chiffon, faille, foulard, georgette crepe, ing, Palm Beach cloth, poplin, Rugby
gros de Londres, grosgrain, imperial dress cloth, Russian cord, serge, stockinette
satin, Japanese Japanese habutai,
silk, tweed, terry cloth, tartan serge, voile,
khaki, mull, moire, mousseline, marquis- voile de soie, velour de laine.

ette, grenadine, military striped silk, Melba Lace. Cluny, Chantilly, craquela, duch-
silk, moire velour, ottoman, pussy twill, ess, filet, gold lame tissue, gold brocade,
pongee, punjab, pompadour striped silk, Irish point, metal lace net, point d'esprit,
satin majestic, silk poplin, Shantung, taf- radium lace, shadow Valenciennes,
lace,
feta, tussah silk, velour, velvet. point de Venise, rose point, point d'Alen-
Cotton. Batiste, cordeline, chambray, gon, Brussels point d'Argentan, Angle-
corduroy, crash, crepe, cretonne, Canton terre, Limerick.
 LESSON XXVI 89

m&
!&&$?&

COSTDME MATERIALS
 LESSON XXVII
PERSPECTIVE

It is very important for the student to station point, Fig. 3. This is the eye of
understand something about perspective the observer.
in order to be able to place chairs, tables, The picture plane is perpendicular to
etc., in his drawings; rugs and squares on the ground plane.
floors must be drawn according to rule.
Example. Place a large plane of glass perpendicular
A few simple rules are here given to aid to the ground. Place a cube on the other side a little
the student in the perspective needed in way back. Keep the eye steady and trace on the glass
the outline of the cube. If this is done accurately,
fashion drawing. Study these rules care-
you will have a picture of the cube in perspective.
fully and apply them when copying Close one eye while doing this.

pictures.
When copying the chart, draw in large parallel lines which run directly
All

enough scale to enable you to work well; away from the observer are called conver-
these illustrations are very small. Be ging lines. Converging lines which are
very accurate as every fraction of an inch perpendicular to the picture plane vanish
will tell. Use a ruler on all straight lines
in the point of sight. (Fig. 1) and (Fig. 5
and a compass for circles. 3ft.)
There are two kinds of perspective, Converging which are not per-
lines

parallel one point) perspective, and

(or pendicular to the picture plane but run
angular (or two point) perspective. obliquely away from the observer, vanish
The horizon (H) is an imaginary horizon- in a point on the horizon, but not in the
tal line, where earth and sky seem to point of sight. (Fig. 5 (2 ft.))

meet; it is high or low according to the The prime vertical (PV) is a vertical

elevation of the observer. line drawn perpendicular to the horizon.

Example. A person on a mountain can view more of

It passesthrough the point of sight and
the surrounding country than if he were on the level, through the station point. (Fig. 3.)
hence the horizon will be high as it is directly on a line
Study Fig. 3. H
is the horizon, PS is
with his eyes.
the point of sight, S is the station point.
Place your pencil across your eyes, if Place the station point at a distance of
you can see just over the top you have H the diagonal of the picture plane.
the horizon line. PV is the prime vertical, abed is the pic-
The point of sight (PS) is an imaginary ture plane.
point on the horizon directly in front of D and D' are distance points, or as far
the eyes. The direction of vision is an as the observer can see on each side of the
imaginary line from the eye to the point of point of sight. From PS to Dequals
sight. from PS to S. D 2
is one-half this dis-
The picture plane is a vertical plane on tance; its use will be explained later.
which the picture is drawn. Study Fig. 5. Find H and PS.
The ground plane is the plane on which When wishing to represent objects by
the observer stands. measurement, a measuring scale can be
The place he stands (S) is called the used in the foreground. This measuring
92 STUDENT'S MANUAL OF FASHION DRAWING LESSON XXVII

scale should be the actual measurement in ing children, make a high horizon, this will
feet and inches. As
objects recede, they make them look small.
appear smaller, just how much smaller can If an entire object is above the level of
be determined by using this scale. the eye, you see its under part. A plane
In Fig. 5 let us call the spaces in the on a level with the eye has the appear-
foreground feet. If a six-foot post were ance of aline. If below the eye, it exposes

placed close to the (glass) picture plane its upper part. If above the eye, it
(on the other side), it would appear six exposes the under part. The higher or
feet, or placed farther back
life size; if it lower a plane is placed, the more one
would look smaller. See the posts. can see of its A
under or upper surface.
To place a six-foot post a distance back, plane at a distance loses in depth.
count off three feet on the scale, connect Fig. 2 is a room in parallel perspective.
the ends with PS. Any horizontal line Find H, PS, and the converging lines.
(parallel to the picture plane) between these Study the lines of the bureau which is
lines will equal three feet. The farther built in the form of a block. The top of
back the shorter three feet will appear. the bureau is below the eye and the top of
Take the three feet in the distance, the back above the eye.
double and stand it up on the three-
it Build all furniture away Irom the wall
foot line. This makes six feet in the dis- from the floor up. Note the lines for the
tance; or take the six-foot measure on beginning of a table. The floor lines con-
the scale, find six feet on the ground in the verge (up) to PS. The ceiling lines con-
distance, then stand it up. verge (down) to PS. When drawing
bureaus, chairs, etc., the student is inclined
to show too much of the top planes.
PARALLEL PERSPECTIVE Fig. 4 shows how to obtain the correct
measurement. ^
An object is in parallel perspective when First study Fig. 3. Draw picture plane,
one of its sides is parallel with the picture horizon, point of sight, prime vertical,
plane, Fig. 1. station points and distance points. As the
Draw the picture plane, the horizon, paper is rarely large enough to draw DSD',
the point of sight. Draw the fronts of we use one-half the distance (D') and
the blocks, then the converging lines, then one-half the measurements on the measur-
the backs of the blocks. Place the rug ing scale.
on the using the same rule.
floor, We are to decide how much to show of
The block at the left of the point of the seat of the chair, Fig. 4. A is the
sight exposes its right side. The block length of a horizontal line in perspective;
at the right exposes its left side. The block to obtain the same length on the converging
in the center has both sides hidden. line draw the broken line (auxiliary line)
Remember a block, chair, table or any from the end of A equal to one-half the
object lower than the level of the eye will measurement of A. Draw a dotted line
show the top, so all converging lines will from the end of the auxiliary to D';
run up to the point of sight. this will cut the converging line the cor-

Objects higher than the level of the eye a=A. Use whole
rect length or so that
will extend higher than the horizon, and measurement and dotted line to D or
all converging lines above the eye will run half measurement and dotted line to
down to the point of sight. (Fig. 6.) The D2.
relation of the object to the horizon deter- To cut the converging line coming for-
mines the size of the object. When draw- ward from A, connect the end of the
LESSON XXVII PERSPECTIVE 93

auxiliary with the opposite D2. This mirrors, children's hooples, curves on
makes A=a=aa, Fig. 4. furniture, etc.
Lines drawn from both ends of the Draw an oval mirror on the bureau in

auxiliary to the picture plane will give one- Fig. 2. Draw a basket in Fig. 8.
half measurement of A, or on the measur-
ing scale, the actual size in feet or inches. ANGULAR PERSPECTIVE
This rule very helpful when
will be
drawing windows and doors which open An object is an angular perspective
toward you. when neither side is parallel with the
One picture I saw will explain the use- picture plane. In Fig. 9 we have a box
fulness of this rule. The window was in angular perspective.
divided into two parts, being on hinges. Draw picture plane, horizon, point of
These opened toward me, the mistake sight, prime vertical and station point,
being that one part was large enough also distance points the same as you did
to cover the whole window when in parallel perspective. The measuring
closed. scale in the foreground may also be used
Use this rule to ascertain the length of but instead of using D and D' use M
the converging lines of the chair, Fig. 4, and M'.
and the table and bureau, Fig. 2. You will note that this station is not
To obtain the depth of the window, drop If the diagonal of the picture plane.
lines to the floor converging line. Remember, when neither side of the
Place the rungs of the chair according object is parallel to the picture plane, both
to rule. sides are on the slant.
The back of the chair slants back To draw
the cube, draw the height, and
slightly. Parallel oblique lines in the air one vanishing line to the horizon; where
converge to the same point on the prime it touches the horizon we call V or vanish-
vertical. In this case they meet below ing point. You may place this line on any
the horizon. If the slant were in the slant. When drawing from a real cube,
opposite direction, they would meet above hold your pencil along the line and get
the horizon. Obtain the slant of one side the direction this way. Remember, if the
of the back, then draw the other side to the near edge of the cube is on the prime
same point. vertical at an angle of 45, you see as
Study Figs. 6 and 7, which show how much of one side of the cube as you do of
a circle or an oval can be drawn in the Both sides will vanish at
other.
perspective. Draw a circle in full view, equal angles and the vanishing points
enclose with a square, cross the square will fall on D and D', but the minute
from corner to corner up and down and you move the cube at another angle or
across through the center, and again up change its position to the right or left,
and down and across where the circle the vanishing points will change. So in a
meets the cross lines. Continue these room, different objects have different
cross lines to PS. Place the circle at the vanishing points while objects in parallel
junction of these lines on the converging perspective all vanish in the point of sight.
square, Fig. 7; this will give you a vertical This cube is to the right PS. You see
ellipse (or a circle in perspective). more of the one side than you do of the
A horizontal circle in perspective may be other, the vanishing line will fall elsewhere
obtained by filling the top converging on the horizon. The greater the slant of
plane with the same kind of lines. This one side the more gentle the slant of the
rule will help you when drawing oval other, the vanishing point on the side with
94 STUDENT'S MANUAL OF FASHION DRAWING LESSON XXVII

the greater slant will be nearer PS than of sight, prime vertical, station point,
the other vanishing point. distance points and measuring points
You know the angle of the object is really as in Fig. 9. The lines of the ceiling
a right angle, so after finding one vanish- come down to V and V. One vanishing
ing point V, draw the line from V to S point is not on the paper, so
slip another
(or station point), and at the station con- paper under your drawing, extend the
struct a right angle. Continue this line horizon and continue the converging lines
to the horizon, which will give V
or the to the vanishing point.
other vanishing point. The lines of the door follow the wall.
You know that parallel oblique lines The lines of the seat follow the other wall,
vanish in the same point, so the parallel and therefore the vanishing points for
sides of the cube vanish in the same points. walls, door and seat are the same.
How much of the side is seen we deter- A room in parallel perspective may con-
mine by M
and M' instead of D and D'. tain objects which are in parallel perspec-

Using compass and with V as a center

a tive and objects which are in angular
and VS as a radius, mark off the horizon M. perspective. If several objects in a room
With Vas a center and V'S as a radius, are at different angles, each one has its
mark off the horizon M'. These points own vanishing and measuring points, while
are used as D and D' in parallel perspec- the converging lines of the parallel objects
tive. vanish in the point of sight, the same as
Draw the auxiliary lines the same length the lines of the room. A room in angular
as the height of the cube, then the dotted perspective may contain objects at the
line to M and M'. The parallel sides of same angle and objects at different angles
the cube vanish to the same
points. Carry and objects in parallel perspective.
measuring lines forward to obtain the size Cut out a picture of a room with furni-
on the scale. ture hi angular and parallel perspective,
Fig. 10 is an angular view of a room; paste the cut-out on paper, and extend
it is like the inside of a large box. two converging lines; where they meet
Draw the picture plane, horizon, point will be the horizon.
PERSPECTIVE FOR FASHION DRAWING
 LESSON XXVIII
LAYOUTS FOR NEWSPAPERS AND CATALOGUES

By this time the student should have ful for the student to through an
go
learned to draw the fashion figure in the engraving plant. Asmay be impos-
this

front, back, side and sitting positions. sible, a brief account of the photo-engraving
He should have learned to sketch a gar- process, by which line pictures are re-
ment from the model, and to place it on produced, is here given.
the figure. He should have learned also The drawing is first photographed,
how to ink a drawing using the proper tech- usually to a reduced scale, and brought
nique. To draw four or five figures may down to a size much smaller than the
seem an undertaking and if one feels that original. In this case all lines and dots
he slow in drawing one figure, he should
is will be reduced in size, and also the spaces
keep on practicing until he can place one between them. The photographic film
figure in, fairly quickly, that is getting the is then toughened by a solution, stripped

action and proportion without much dif- from the glass, turned, and placed over
ficulty. another sheet of glass with the positive
A one who draws the
layout artist is side up. The glass plate carrying the
figures and their costumes, in a given turned negative is placed in a frame over
space. Where many different articles of a sensitized zinc plate and placed in the
clothing, as hats, waists, corsets, dresses, sun or under a powerful electric light.
etc., must be advertised, many business As the photograph is a negative, the lines
houses employ a staff of artists on the of the drawing are transparent and the
work, each artist doing the class of work light shines through on the zinc plate,
that he is most proficient in. In such hardening it under the lines only. The
cases one drawing may pass through part protected by the black portion of
many hands before it reaches completion. the film remains hi its natural condi-
The layout artist begins the drawing, tion.
another artist inks or paints the costumes, The plate is then inked and afterward
another the heads, and another the detail washed. The hardened part, only, retains
work, etc. Wash drawings in black and the ink, thus leaving a copy of the drawing
white and in water color are done in these on the plate. A fine powder (dragon's
houses, and while this book does not take blood) is sprinkled on the plate, and adheres
up wash work, the student of this book to the ink parts only, thus protecting the
might become one of the artists to make the lines. The back of the plate is protected
layouts for these wash drawings. by a coating of asphalt varnish.
" "
Taking it for granted that the student The plate is given several bites in
is to fill an order in all its parts, bear in acid, which eats away the surface not
mind the rule for enlargement. protected. As the bite eats sideways
The size of the plate is very important, as well as down, the plate is sprinkled sev-
it being the size of the picture when eral times, with the powder, during the
finished. biting process. The " bite " eats between
It should be interesting as well as help- lines and dots, leaving the image in relief
97
 STUDENT'S MANUAL OF FASHION DRAWING LESSON XXVIII

on the plate. From this relief the drawing Fig. 3 the beginning of a layout for
is

may be printed. three figures. Fig. 4 is the way to space

A drawing which is to be reduced by the the figure. Fig. 5 is the way to place the
photo-engraving process must be large figures.
enough so that the lines may be clean cut Fig. 2 is a suit layout;
other layouts
and distinct. If there is much detail, (for hats, waists, underclothes, etc.) are
there must be room enough for careful enlarged in the same way. Leave at least
drawing. Lines that are crowded will one inch margin, draw the size of the plate,
run together when reduced. enlarge it, then place as many ovals as
On the other hand a drawing, if made there are to be figures. Place all ovals
too large, will lose in value when reduced. before drawing the figures.
As a rule the original drawing is larger When arranging several figures, make a
than the plate, although it may be the variety of positions of heads, and a variety
same size or even smaller. In the latter of positions of feet. Make the figures
case it will be enlarged when reproduced. express interest in each other. News-
papers and some business houses require
" "
swingy figures with plenty of dash and
"
THE METHOD OF ENLARGEMENT go." Many pattern houses are more
conservative and like the figures more
Where drawings are to be made for re- normal. Some houses have the figures
production by printing, the customer will drawn on separate papers. These they
give the artist the size of the plate which cut out and paste on a large sheet of paper
will be the size of the picture when repro- in an arrangement to suit themselves.
duced. The artist leaves a margin on the In this case they give the artist the height
left-hand side and at the bottom of his of the figures to be drawn.

paper. He then draws the exact size of the If one figure is supposed to be at a little

plate in the lower left-hand corner and a distance back of the others, follow the
diagonal line through the opposite cor- rules of perspective and make the far

ners, extending it indefinitely. (See Figs. figure smaller. Keep the figures in the
1 and 3.) Fig. R
is the size of the plate. foreground the same size.
The plate isto contain one figure. Fig. 6 is a catalogue, underclothes layout.
Extend the line b far enough to give This layout calls for two figures and nine
a good height to draw the figure. Draw garments.
c to the diagonal line. Draw d from where Keep the space well covered and the
c touches this line, to a. When
reduced, separate garments the size of the ones on
the rectangle a, b, c, d will be in the same the figures. The place at the upper
proportion as Fig. R. Any horizontal and right-hand corner is left for printing.
vertical line meeting on the diagonal will It is called mortice. A figure or garment
mark off the same proportion. may slightly overlap the edge of the space
The proper size space having been deter- for printing. Odd spaces may be filled in
mined, fill in this space with one figure with backgrounds, such as tables, vases,
as in Fig. 2. The customer
paying so is mirrors, etc., or out-of-door views. See
much metal plate,
for every square inch of Lesson XXVII on Perspective.
consequently, he does not wish to waste Do not draw back figures unless your
space; make the figure touch the edges employer wishes the backs of garments
of the plate on all sides. illustrated.
 LESSON XXVIII

METHOD OF ENLARGING LAYOUTS FOR NEWSPAPERS AND CATALOGUES

 LESSON XXIX
ORIGINAL DRESS DESIGNING

Costume design is a very interesting if you want to place

For example, very
subject and is an art in itself. If one can small tucksup and down on a waist, do
draw fashions correctly, he can learn to not make the tucks the same size as the
create them. spaces between them, or any mechanical
Study this lesson carefully and apply division of the same. This rule applies
its principles on original work. Keep a to cluster of tucks and to the space be-
note-book handy in which jot down ideas tween the clusters.
as they present themselves. Do not open a V neck one-quarter, one-
The student should also read and study half or one-third way down the front.
the fashion
papers. He must become Consider the proportion of cuffs to other
familiar with the names of principal de- dimensions, also of the size of the pockets
signers and their work, as for example: to the distance down from the belt, length
Callot, Jenny, Che>uit, Lavin, Paquin, of over-skirt to under-skirt, etc.

Poiret, Drecoll, Premet, Redfern, Doeiul- Study Fig. 1. Note where the lines are

let, Bulloz, Soulie, Douchet, Worth, Beer, omitted as indicated by dots. In Fig. A,
Armand, Revillion, Renard, Reboux, lines 1 and 2 are continued to the bottom

Chanel, Callot, Soeurs, Monge, Lacroix, of the dress.

Halle'e, Talbot, Erte, Leon Bakst, Geor- To obtain an idea for a design seems dif-
gette, Lady Duff Gordon, (Lucile), etc. ficult for the beginner. The simplest way
He must visit the openings and French for the student to start, is to cut out of
shops. The newspapers send artists to the fashion papers parts of different dresses
these shops to sketch the latest designs that will accord, and that will make a good
for their papers. Ideas for new designs whole. Take one waist, another skirt,

may be taken from many things in which another sleeve, another collar, etc., all

one not versed in this art would never of which place on a nicely drawn figure.
dream that they existed. All parts of the costume must look as if
The very first thing to know
what is they were meant to go together. This
are the prevailing styles. design A
must is good practice; but designs made this
be simple and have good lines. Long way are not original enough to be sold.
lines running up and down tend to make a The next step in dress designing is to
stout person look more slender, while lines create a modern dress from a modern
running around the figure lend breadth dress, using the main lines as a foundation.
to the slim figure. Long lines from the Fig. 1 is taken from Fig. A. See how lines
shouldersdown are good, but these may be 1, 2, 3 and 4 are preserved, while the design
broken at intervals without destroying is entirely different. The belt in Fig. A
the long line effect. suggests the piece over the shoulder in
One great thing to be considered in Fig. 1.

costume designing is
proper proportions. The idea for Fig. 2 was taken from a
Have all proportions interesting. Do not bird, a bobolink. The designs and colors
divide up spaces into mechanical divisions. of the plumage of the bird are carried out
101
102 '''STUDENT'S MANUAL OF FASHION DRAWING LESSON XXIX

on the dress. The bird has a white (W) materials like nicely drawn fashion figures
back with mottled (M) feathers near the dressed in their materials to advertise their
head, which come next to the yellow goods. Select a sample of goods and design
(Y) on the head. The breast and wings a suitable costume for that goods, render-
are a greyish black (B) as also is the tail. ing it in color.
The part where the mottled feathers are Designs may be submitted in pencil
may be embroidered in many colors on only, on the lay figure, or they may be
the dress. Follow the shape used for the placed on the human figure. These are
wings and the shape of the white back, more pleasing, especially when they are
which extends past the wing line. colored. These should be rendered on
Fig 3 is taken from a rug design. See water-color paper. They may be outlined
how the shape of the figure repeated so in pencil, ink, or a different color from the
often on the rug is used for the front of gowns themselves. When placing flat

the waist and for the collar. The trim- washes of color over given surfaces, use
ming is embroidered with the design taken the directions for French wash but use
from the outside edge of the rug. Color color instead of lamp black. Try all color

schemes may also be carried out. \ schemes on separate paper.

Be particular about making the back of a Tempera colors are often used. These
dress correspond with the front. come in tubes and are applied thick like
If you can create a design from a modern oil paints. The student may mix white
dress, you will be able (if you keep in mind paint with ordinary colors to obtain this
the present style) to create a design from effecf, or he can use show-card colors.
an ancient dress. Obtain books from the There are many good books on color;
library on ancient costumes. study them carefully.
Designers use costumes from all periods The student may best decide which
" "
in history for their work. They take their branch of Fashion Drawing he wishes
"
ideas from both court and peasant life. to pursue. If it is Costume Design,"
Study the costumes worn by ancients in he should use every effort to perfect him-
"
all countries. The museums are excellent self in that direction. If it is Costume
places for inspirations. Illustration," study every detail that
Designers pay much attention to the applies to this line. He must study the
general outline of the whole figure (when work of successful artists in both branches
dressed), expressed most clearly by the and try for stylg. There are many ways
silhouette. Study the silhouette as it of illustrating costumes, try for something

appears in different centuries. clever, as it is the clever thing that counts.

Things around you, such as flowers, Lesson XXX suggests other
ways to put
vases, etc., all may suggest designs and in practice what has been learned from
color schemes. Manufacturers of costume this book.
 LESSON XXIX ,103

HOW TO OBTAIN IDEAS FOR ORIGINAL DRESS DESIGNS

 LESSON XXX
DECORATIVE WORK
The student is now in a position not background before placing the frame line
only to draw for fashion papers, but to around them. To ascertain just where to
use his knowledge in designing box covers, place this frame line, make a small hole
book covers, cards, etc., and to draw in a piece of paper, cut the hole round or

catchy pictures which may be used for square and view the picture through it,
advertising purposes and which will be shifting the opening in different positions.
"
salable. Publishers will order pictures This is called a finder," and by this
from sketches submitted in rough form, method you can find the best place to
but the artist's finished work must first be draw the frame around the picture.
approved. These sketches, when worked out, may
Sketches are made with a few pencil be rendered on pencil paper with pencil
strokes giving the publisher the ideas. only, or they may have flat washes of
They may be very rough but must have color placed on the parts to be colored.
snap and the lines must be drawn as if A finished pen-and-ink drawing should
one knew how. The more sketches one be drawn on bristol board. If the colors
creates of this class the more ideas will are to be given, place them on transparent
come to him. paper which is laid over the picture,
A composition is good when the main being pasted on the wrong side of the top
point in the picture is most apparent, all edge of the bristol board. This will suggest
other things being subordinate to it. The to the publisher the color scheme, although
given space must be filled in nicely, but he may change it when reproducing the
not crowded. Keep your point of inter- drawing. Many drawings are sold this
est near the center and have the back way; they are line drawings. Others are
ground spaces interesting. This may be sold with the colors carefully worked out
accomplished by making a variety of shapes on the pictures themselves. These should
and sizes, without having them too differ- be rendered on illustration board with wash
ent. All parts must pull together for one or tempera colors. They require a dif-
purpose. Study books on composition. ferent process for reproduction than that
These treat on balance, harmony and tone used for line drawings. Consult previous
values. instructions for the use of water-color
It is well first to sketch in your ideas paints, Lesson XIX
and XXIX.
and practice paper.
very roughly with pencil Try for good color schemes. Use com-
Take your ideas from decorative pictures, binations of colors you have seen, also

changing the figures and the backgrounds. try new schemes

combinations. Try out all

Start with some selected idea and place on other paper before attempting to color
lines aroundit that will fill in the given your drawings.
space; these lines will suggest shapes of The sketch shown in Fig. 1 was taken
objects which may be used for the main from seven different pictures, the figure
idea or for the background. itself being drawn first (the figure was in

It is well to draw the figures and the underclothes, the right-hand held flowers,
105
106 STUDENT'S MANUAL OF FASHION DRAWING LESSON XXX

while the leftone was resting on a table). trace to the left lower corner similarly
There is nothing in this sketch to suggest and then redraw carefully.
any of this except the position.
detail Fig. 3 was designed in the same way.
Now let us dress the figure in a summer The little colonial lady had one hand
dress with a hat suitable for the occasion. resting on a piano and the other one
A parasol will go nicely in the right hand extended. Why not place her dress in her
and fill in the space at the right. There hands and help the old-fashioned effect
is still more space to fill at the right; by the diamond window in the back-
a rose bush will go well with the idea of a ground?
hot, summerday. The composition needs In Fig. 4 the winter girl is very much
a lawn for the standing figure and this is blown by the wind. Everything is driven
taken from still another picture. Let us in the same direction, even the snow. A
place a few more roses on the left at the small portion of a figure may extend past
bottom, and a few clouds at the top which the circle, but do not extend it too far.
help the summer day. Thus we have parts Do not touch the feather with the circle
of seven pictures; the lady, the dress, the or the figure with the distant hills. If

hat, the parasol, the bushes, the lawn and the figure were leaning against an object,
the clouds. she would touch the object. In case of
Study Fig. 2. This little girl was seated distance the space between lends atmos-
in a daisy field with hills in the back- phere.
ground. Her hair had a Dutch cut. The student must not only strive to draw
She was picking a daisy. Suppose we but he must strive to sell his work.
well,
draw her as she sits, give her long hair Remember publishers will not go to you
and another dress and have her fixing a until you have shown yourself worth
pot of flowers in the house. The window looking up. Go to them with samples
suggests the house part; so we have the of your work, always taking your best
child, the hair, the dress, the plant and drawings, and taking to each house the
the window taken from five different pic- class of work that that house uses.

tures. Letters of introduction are excellent

When submitting sketches, ovals and things to have, and they might get one a
circlesneed not be perfect, but when position. But good work is required to
making finished drawings be very accurate. keep a position, as it is the work that really
Use a compass for circles and a ruler for counts. Show what you can do and do
squares and oblongs. not get discouraged if you do not make a
Construct an oval within an oblong. sale at once. Most houses are courteous
A good way to make a perfect oval is to and are willing to offer suggestions.
draw diagonal lines from corner to corner "Free Lancing" is when an artist
and a vertical line and a horizontal line has his own studio and sells his work
through the middle. Draw one-quarter to different business houses.
of the oval in the left-hand top corner. Take your knocks as so much medicine
Trace off this quarter of the whole drawing and keep on learning and pushing to the
and turn the tracing over, placing it in front. There are many positions open
the right-hand corner, having all lines fit. for artists and even a subordinate posi-

Trace off, then turn the tracing over and tion is a wonderful thing, for it will give

place it in the right-hand lower corner; experience and may lead to opportunity.
 LESSON XXX 107

DECORATIVE PICTURES FOR CARDS AND ADVERTISEMENTS

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