Note how the flaps of the pockets extend past the pockets, and how both pocket and flap extend past the skirt on the far side. Be sure to make the pockets the right size for the dress.

Next comes the fullness of the skirt. A skirt cut with no fullness at the top and much fullness at the bottom—like the lesson plate—must be a flare skirt. However, this is not the point to be illustrated. The idea to be grasped by the student is how to draw fullness which goes in and out of the bottom of the skirt. In Lesson III we shall learn how gathers at the top of a skirt are drawn.

XX is the edge of the fold and hangs straight down to the bottom of the dress form. X is where the fold touches this line. 0 is on a Tine with X, but the skirt being full, 0 appears farther back. D^aw so, gradually bringing the bottom liue of the dress out to the next X, etc. The hem follows the bottom line of the dress, not of the form. The opening of the skirt runs down to X, the nearest puint. 0 is back.

All stitching must be evenly spaced, an even distance from the seam, and not too near it. On the left of the skirt the stitching is drawn on the hem, on the right side the way to draw is explained. Until the student can judge distances, measure from X up to the top of the hem, which is the same width as from 0 to the top of the hem. Mark with dots at these points and between them, and draw fight lines through these points. When you are convinced that the hem follows the bottom line of the dress, draw the stitching.

If the skirt is not as full in places, X and 0 will run together, as illustrated on the right side of the skirt. To do this once in a while will make a more graceful drawing.

Note where the three principal wrinkles come on the sleeve.

As an application of this lesson, cut out ot a fashion paper a pen and ink drawing

(about six inches in height) oi a simple dress illustrating what you have learned in this lesson; a dress with collar, cuffs, belt, pockets, stitching, buttons, and fullness at the bottom. Cut off the head, feet and hands, as the dress is all you need. Draw a three-quarter view form facing the same way as the clipping, and dress it in this dress, using the principles learned, not merely copying the lines. Do not bend the arms. Draw like Fig. B.

Learn how to draw the form facing the other way and dress it in a simple dress. If you find this difficult, take a sheet of tracing paper, trace off Figs. A and B of Lesson I, turn this tracing wrong side up and you will have the form facing in the opposite direction.

the bace: form

It is not necessary to repeat in every lesson details as to how to study, as the student is expected to remember and apply all previous lessons on each new lesson. Take each lesson slowly, learning it completely, then proceed to the next one.

The back form is drawn sometimes full and sometimes three-quarter view. In this lesson we take up the full back in detail, but a small three-quarter back view is illustrated in the upper right-hand corner of the lesson plate. The center line in this view is vertical and at one side of the middle of the drawing. The near armhole is hollowed in and the fai armhole is lost. Study the full back (Fig. E) at first and later draw the three-quarter view.

Draw layout D for full back, drawing the lines in order, 1, 2, 3, 4, 5, 6, 7. The student can see for himself just what these lines do. Do not make the waist too small. Remember that the waist goes into the skirt two and one-half times and that the center line is in the middle of the drawing, and runs straight down.

On layout D draw Fig. E, placing the

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