STUDENT'S MANUAL OF FASHION DRAWING LESSON VIII
ink. These diagonal lines must be the same length, spaced evenly, and must take the same direction. In Plaid No. 2 we have one heavy line to three fine ones. Place all heavy lines first, which form a plaid. Cut this plaid in the center by a fine line in both directions, then place the remaining fine lines on each side of the center fine line. Piaid No. 3 is very simple, but instead of being straight on the goods it is drawn diagonally. Flaids No. 5 antl G are two more examples of simple plaids. Plaid No. 7 is more complicated. After drawing the guide lines in pencil, draw the short diagonal ink lines on these guide lines, the lines of the up and down stripes taking a different direction from the xines of the cross stripes. When this is finished, connect the stripes with longer diagonal lines, thus obtaining a wide stripe in both directions, which forms a pis id of three different tones of squares.
No. 8 is an illustration of how to figure a skirt with roses. Place all roses, indicating them by rings, some being lost under XX, and some bung cut off at the bottom or at the side. These may be placed by means of squares, or just scattered over the skirt. When the rings cover the skirt to the best advantage, draw the roses carefully.
Study all plaids and stripes and use the fame by placing them on simple dresses. Also try to create new plaids.
Plaids are very attractive, particularly biack and white checks. See the illustration of the check on the sleeve. When drawing the check, always connect the black squares from corner to corner like a checker board. If you attempt to skip about, you will surely come to grief, as one mistake will throw all of the checks out.
Another way to plaid a skirt is to begin at the top and work downward. If this is done, the plaids will be cut off at the bottom. This may be more truly the way the cloth is cut but it is not as attractive.
When placing a pkid or texture all over a dress, it is necessary to strengthen the outline of the drawing, as the lines drawn for an outline drawing will not show up against the texture.
shirrdctl scailops, lacing, etc
In drawing this figure the student must apply the principles of Lesson III (over-skirts 1 and Lesson VI (waist with yoke, short sleeve, and vest), but instead of the yoke and waist proper being sewed directly together, they are joined by a cord, the goods being shirred over it.
You will iind that the over-skirt is shirred over a cord in three places, the goods falling free from the lowest cord. The cords cling to the form, while the goods between them puffs slightly, extending past the normal form line.
All lines for the shirring are drawn with quick snappy strokes. Some 'ines may connect the cords, but most of them reach only part way, the lines from above falling between the lines going up from below. The lines take somewhat the direction of the puff, but do not curve them too much. Note the guide lines for the cording, and the unevenness of the cord where the goods is shirred over it.
If material is shirred without a cord, there will be but one line.
You will notice that the bottom of the skirts arc designated by guide lines, only, the width of the scallop.
All scallops must be the same size, hang straight down, and go in and out of the fullness. This effect may be helped by breaking a scallop at XX. If you place the whole scallop on top of XX, draw but half a scallop underneath it, and vice versa.
Draw the lacing as shown in the large example. Here, as on the dress, the opening is separated, as in this position the idea can be more readily explained than if the opening were pulled closely together.
Draw all holes opposite each other, then the lacing. Start at the top and run the ribbon through as you would do f you were lacing your own dress. Notice how the ribbon comes out ot one hole and goes under the edge of the opening and under the next hole on the opposite side, comes out of that hole, etc.
The easiest way to obtain this effect is to draw all the lacing in one direction (the ones on top), then the lading in the opposite direction, whi^h is underneath.
Draw the guide lines for the cord, throwing one end over the other. The ends hang straight down Study the reverse curves which fit over these guide iines and form the cord.
Study and draw the part of the full girdle with a frill at the opening, the smocking and the tassel. See how the lines for the tassel curve, showing that it has inside strands as well as the ones drawn.
As an application of this lesson, draw shirred dresses, and also place a scallop on the collar, cuffs, and skirt of a simple dress. Study different shapes of scallops.
A bow must be smart looking and a." if made of new* ribbon, the loops and ends fitting well into the knot; that is, the knot must wrap around the loops and ends, pulling them in tightly.
In Bow No. i, notice how the knot curves around, as also du the wrinkles on the knot. The loops stand out, while the ends hang straight down. Note the XX lines on the ends. You see inside of one of the loops, hence thfi over-skirt line (Lesson III, Fig G).
Bow No. 2 is an example of a stiff-pointed bow for the waist, and as "n Bow No. 1, the knot and wi.<nkles curve around the ends.
Bow No. 3 is an example of a four-in-hand, the knot and wrinkles curving around the ends, but the knot is a dilferent shape, caused by the way the ribbon is tied.
In Bow No. 4 we have the ends only; here we have not an ourline alone to deal with, but an explanation of how to put the ink on for black ribbon. Most of this drawing is of ink with the paper left for the high lights, the heavy parts fitting in between other heavy parts. Outb'ne all places to be made solid, then ink in with a small brush. See Lesson XIX.
Bow No. 5 is a stiff hat bow and follows the principles of loops. Note the inside of the loop as in Bow No. 1.
Bow No. 6 follows the principles of Bow No. 1, but being a neck bow with short ends, the ends take the direction of the loops.
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