ilr£^E^~==== JL=~E£ ==]ES^I=S3Mt^^=!E^^Eli^^3BI^^C^^[ "^ TT 520 .R788 Copy ^ THE PUBLISHED BY The Leading Pattern Co. 228 SECOND AVENUE Cot. 14th Street NEW YORK, N. Y. '^1= 3 |^~E] (^=3HE=iE3 C^H^^HEI E^E^lKEsE^l [ l^ ^' =3 1 I F "% THE practical ^feetcfjer A complete and practical method of sketching FOR Women's, Misses', Junior's, Children's and Infant's Garments. Specially designed for self-instruction BY Prof, i.^'rosenfeld ll PUBLISHED BY QIlj^ foa&ing f attrnt (En. NEW YORK, U. S. A. 1915 ^. =» l 1111:^=11 -I P =1 1 i r==ii= ,^ COPYRIGHT BY ISIDOR ROSENFELD ENTEREp IN THE LIBRARY OF CONGRESS WASHINGTON, D. C. 1915 fi^- ©CI,A411032 AUG i j 1915 THE PRACTICAL SKETCHER INTRODICTION Recognizing the needs of a practical method for garment sketching, I have set my mind to build a solid base of well-controlled and system- atic outlines for practical sketching by which the method is not only to bring the necessary outlines but also to simplify the system of body sketching for all kinds of women's, misses', juniors', chil- dren's, and infants' garments. The systematic outlines of sketching given in these pages are based on positive constructions whereby each diagram fulfills the requirements of a certain body foundation for sketching by which a practical method of sketching can be mechanically controlled. The Author wl?A [) 6 THE PRACTICAL SKETCHER THE PROBLEM OF GARMENT SKETCHING. When beginning to sketch it is necessary for us to remember that when sketching the garment . there is no such thing as a set of measures which build the sizes of sketching, all there is necessary is, that we need to employ a certain amount of space by which the entire sketch is carried out. A sketch is therefore built by bases of inches, 1 in - ch, I2 inch, or '4 inch. You will note that the instruction in the foJ- lowing pages, the entire method is given and de- scribed by inch spaces. These spaces are the divisions equally divided according to the height of the body which will, no doubt, prove that in order to make the proportional sketch it is nec- essary for the sketcher to remember to have some knowledge of obtaining proportions according to height measure for which a diagram and descrip- tion is given in the continuing pages by which this method will be fully described. It is also necessary to remember that each and every different kind of garment meaning, waists, skirts, and dresses, occupy a part of the entire height division for instance, the waist foundation occupys 2 units of this height division . The skirt occupys 5 units of height division and when the entire amount is added, which means 2 for waist and 5 for skirt, which fully amounts to 7 units which shows that we are to employ these 7 units for the full body which combines the waist and the skirt and makes a dress foundation. THE PRACTICAL SKETCHER The jacket, coat, and cape foundations are to be built on a complete foundation whereby we recognize the lengths and full effects of the body and the lengths therefore for, these garments are distinctly showing the various spaces of the entire body. For the different sizes of juniors', children's and infants' garments the system of body sketching can also be distinct so as to be able to tell the different growths in inches which enables us to obtain the correct body sketch for every garment. It shall be understood that the outlines for sketching for each and every model for women' misses', juniors', children's, and infants, size shall be built according to its proportional height so that we are able to obtain the correct division of each model size and it will be necessary for us to remember that we have to post ourselves to the height of each model size. The height sha^^ therefore be remembered for eacli and everY model size which are as follows : Women's size 36 proportional height is 5 ft. 6 in. Misses' size 16 " " " 5 ft. 4 in. Juniors' size 15 '' " " 5 ft. 1 in. Childs' size 10 " " " 4 ft. 8 in. Infants' size 4 " "" .3 ft 8 in. THE PRACTICAL SKETCHER THE PROPORTIONS FOR BODY SKETCHING In beginning to prepare foundations for body sketching it is necessary that we obtain the found - ation for the total height by which we can fully describe the spaces for each part of the body and in order to obtain the same note the diagram here- with showing that the entire height whereby we may learn that the first unit covers the head space from the neck to the natural waist length occupys 2 units and the space between the waist length to the ground occupys 5 units for the skirt length. It is therefore necessary to memorize that we are to occupy 7 units of the body as the head space is not necessary when sketching the garment. Remember that the amount of space which makes up the entire form you will note each space measures 1 inch in height which makes this outline a 1 inch space sketch outline and this is why we call the size of this sketch a 1 inch space. This drawing can be planted on a ' •_> inch also and no doubt the sketch will be one half of this size but as a rule the 1 inch space sketching is the most suitable one and therefore employ the 1 inch space for all further instruction. THE PRACTICAL SKETCHER 9 4. f^' 10 THE PRACTICAL SKETCHER LESSON NO. L 4 7 5 8 1 Z 6 9 ^ In order to begin the sketching foundation line, make up your mind the space which is the size of sketching as mentioned in the front pages of this work. Now for instance, we begin the foundation of the blouse or waist sketch with a 1 inch space which is the most practical one. As we are now to begin a foundation for a waist or a blouse make 1 equal inch spaces as shown on the diagram, from 1, 2, 3, 4, 5 and 6. The space between ! to 4, 2 to 5 and 3 to 6 is 2 inches each and now divide the space from 1 to 4 and 3 to 6 and draw a line from 7 to 8 and o. which you will, no doubt, notice is a box of r equal inches. Follow diagram on top. THE PRACTICAL SKETCHER 11 LESSON NO. 2. 9 1 B 1 ^ 10 h 6 3 2 11 To continue, use the foundation of Lesson No. 1, and continue with dividing the opposite space between 1 and 2, which makes 3, and then divide the space between 1 and 3, which make 4, and cross lines from 4 to 5 and 3 to 6. These lines will be used for the shoulder and neck space. Now divide the space between 1 and 7, which makes 8 and draw a straight line down to 11 . Now again divide the space from 7 to n, which makes 9, and draw a line from 9 to 10. Note that the two lines at 7 and 9 are raised up a '4 of an inch. These are for preparing for the neck part Note that this particular lesson described on the diagram is preparing a front view, whereby the bust will appear lo the right- hand side and therefore watch carefully the diagram. Follow diagram on top. 12 THE PRACTICAL SKETCHER LESSON NO. 3 To continue, we are now to prepare the neck and shoulder space and therefore we first begin the neck part. Take the equal space between 8 and 1 and 7 and 3 and make the curve of the neck from 7 to 8 as shown on the diagram. Then ex- tend bias lines from 7 and 8 up towards 9 and 10. The line should be a trifle bias to the inner part of the neck and then make a curve at the top which is from 9 to 10 and a lower curve for the top part of neck at 12 to follow the effect of the bottom curve from 7 to 1 1 to 8. Now make connections for the shoulder from 8 to 2 and 7 to 4 and curve them as shown. Con- tinue from 4 to 6 for the bust curve, from 5 to 6 is about }i of an inch which is a one quarter part of a one half space or of a 3^ 2 inch. The other shoulder to the left side which is at 2 and 0, you will note, give a sleeve or an arm- hole curve and the space between 2 and is about }'8 of an inch and the space between 2 and the outside curve is a double amount and this curve has to be partly studied to show the proper or nat- ural detail of the sketch. THE PRACTICAL SKETCHER 13 LESSON NO. 4. p^ 1 y L I 1 y \ % ^ a - X 7 y 6 A i;; 12 np This lesson will finish the entire front sketch for the blouse or waist and therefore continue to curve from 6 to 7, down to 8. 7 is about >4 space between the line at 6 to the bottom line, which is 8. 8 is about ]i space of an inch, or 3^2 space between the line and the center line. You will note that 9 is ^ij space of the other side and between 9 and 10 is about \ of an inch allowance, which makes then the proper belt effect from 10 to 8 and curve them to the parallel space about li of an inch for belt effect, as shown on the diagram, from 8 to 12, and 10 to 11. Now continue making the sleeve curve, from 3 down to 4, and from 2 curve out a trifle round- ness down to 5, and make a hollow circular curve, from 4 to 5, which finishes the bottom length 'of sleeve and the length for same is guided by the full waist length. The part sleeve which is shown at the right-hand side is only continued from 7 to 0, to show that the sleeve is hidden by the bust and this completes the lesson of sketching the blouse or shirt waist. 14 THE PRACTICAL SKETCHER LESSON NO. 5 BLOUSE SKETCHING Left Hand Side Bust Effect. Note that this sketch is the same as Lesson No. 4, with the only difference, that this outline is showing the reverse way of sketching the bust effect and that the bust for this sketch is showing towards the left and not to the right. The sleeve and shoulder is showing towards the right hand side. It is therefore not necessary to repeat this lesson. All you may do is to study carefully the first ones and reverse this accordingly. THE PRACTICAL SKETCHER 15 LESSON NO. 6 10 11 1 h 5 6 9 8 7 3 2 BACK VIEW OF BLOUSE To begin the back view, it is again necessary to produce the diagram of the first lesson. When such is complete divide from 1 to 2, which makes 3 and from 3 to 1 which makes 4, and draw Hnes. Then divide between 3 and the middle line which makes 7. and from 7 to the middle line, which makes 8 Again divide from the middle line to 5, which makes 6 and from the middle line and 6, which makes 9, and make all these lines. Note that lines 8 and 9 are dra wn up ^^ of an inch to 10 and 1 1 . preparing for the next space. 16 THE PRACTICAL SKETCHER LESSON NO. 7. 1 r 1 8 ^ u -J <., ^ 6 5' \ 4 3 9i^-— " BACK VIEW. Continued To advance for the back view sketch divide equally the space between the upper top line and and lower line which appears at 1 and 2 and draw slant lines in for the neck from 2 to S and from 1 to 7, as shown on the diagram. Then connect shoulder lines from 1 to 4 and 2 to 3. 3 and 4 are I of an inch in from the straight line Then divide •on the bottom line between the edge line and cen- ter line on both sides, half r^pace, which makes 9 and 1 and the space between 9 and 1 is the orig- inal width ofbackatthe waistline, which makes the proper space for belt at the waist line. This makes it ready for continuation on the next lesson. THE PRACTICAL SKETCHER 17 LESSON NO. h BACK VIEW Complete. In order to complete the back view, it is now necessary to continue the curving of the shoulders for the sleeves, from 1 down to 7 and 2 down to 8. The space of curve line is 7 and 8, which is about l inch extended from the original outline of the box which always means j 8 of the box space which we use for sketching. The sleeve length of this sketch is situated according to the full length of the waist, which reads to 7 and 10 and 8 and 9. The space between 7 to 10 and 8 to 9 is about 3 2 inch or ' j of this box space and connect to 18 and 19 for the underarm Space which is about jo space between the waist line and breast line and then it is necessary to make a round curve from 1 to 3 and 2 to 4 . Be careful and study these curves as they are the most important part for sketching. The belt effect between 3 and 5 and 4 and 6, you will notice is about ji of an inch for 1 inch space of sketching. 18 THE PRACTICAL SKETCHER LESSON NO. 9 r ' A- ^ ^ ^<^ r \z \ 1^ I\ 11 V — V 8 1 5 .62 10 BACK VIEW Left Hand Side To draw a sketch of back view left hand side with trifle side view, it is necessary to draw the same foundation lines and all we immediately have to see what changes are to be made. There- fore note when giving a back view, left hand side, it is meant that the left shoulder from 13 to 1 is built the full width and the right hand side of the shoulder from 14 to 2 is narrower than the original The space between 2 and 11 is ^ of an inch in from the outline at 11 instead of ^z of an inch and the other shoulder at 1 there is none taken off but the full width of space is used for the full width of shoulder but otherwise there is no difference in the entire body effect with the exception of the main sleeve for which the curve is about equally divid- ed on the outline from 1 to 7 and 8, not as the :sleevecn the left hand back sketching. THE PRACTICAL SKETCHER 19 LESSON NO. 10 / 1 y^ — < a /' IE r "^\ \ \ V /' VJ -.y 7 1 h. 6 9 10 BACK VIEW Right Hand Side In order to make a sketch of the back view, right hand side, note the difference between the left hand and flat back sketch. The difference in this, in the right hand view, is this is built just the opposite way. The full width of shoulder at the right hand at 1 takes the entire space just as the shoulder in Lesson No. 9, from 13 to 1. The other side from 1 1 to 2 is \ deducted instead of \ of an inch. All curves, otherwise, are made the same as all other backs. The sleeves of this form are just the same as the left hand side view, which is both ways about equal space for the curve of the sleeve from 1 to 9 and 10. The left hand side sleeve for this sketch is drawn a trifle curvy down to 7 and 8 reaching about the full length of waist in a hidden form to extend Vi inch from 5 to 7. 20 THE PRACTICAL SKETCHER LESSON NO. 11. STYLE BLOUSE SKETCHING This lesson is giving the full details of how to sketch a certain style of blouse when the founda- tion of sketch is already prepared. Note that the diagram on the opposite page is fully prepared with foundation lines. Before beginning the same look well at the diagram and see the position of the foundation sketch used for this diagram. You will note this one is the left hand sketch, which means the bust is built towards the right. The foundation for this, you will find in lesson 5, in the front pages and in order to begin the style, it will be necessary to prepare the foundation and use same as prepared, then continue with the fol- lowing outlines to make the stylish sketch. To begin, note, the first thing we do is to begin the collar curves for the direct breaking for the neck at 1 and 2 and then continue with the curving towards the shoulder from 1 to 3 and 2 to 0. Notethat the collar at the arm side is show- ing narrower considering the amount of the width of shoulder given at that place and that is because the shoulder at this place gives the full width, as it is the main shoulder line, otherwise, the collar at both sides is the same width and continue mak- ing curves for collar. The beginning of the opening which is placed at 10 which ishalf way between the space of 3 and 4 and a trifle in from the center line towards 10. This is done because there is a button stand allowed and as the lapping is done towards the arm side. Note the front buttons down bias towards 12, which is placed between the breast line and waist line The curving of the yoke from 8 to 1 2 up to - is followed according to the slantness of the front buttoning. The lap-over is the style which is placed towards the arm side, which is taken tqual epace between 7 and 5 on the waist line, which makes 6 and raised up to the breast line. For fur- ther details watch closely the diagram and follow closely this particular style. THE PRACTICAL SKETCHER 21 LESSON NO. 11 Av \ • 3 £$/ V. i V "' "-T"^'^^^ ^T^ f^J!! 4' '/ ^"^ ii^ Ml \ 12 7 yl- i v^ — 1.^' L-^ 1 Vc 22 THE PRACTICAL SKETCHER LESSON NO. 12. STYLE BLOUSE SKETCHING BACK VIEW The back part of this style is simple. The collar curve, which you will note on the diagram i is raised on the line, from 1 to 3. The curving at the shoulder part is rounded up to meet the effect of the front collar curving to harmonize with the same proportionately. The yoke effect, which is shown on the back, is shown a trifle higher to 2 and 4 with a slight curve effect, which is as a rule, to be used when this style of yoke is formed at the back. The original back view of this diagram where the foundation can be first learned, which is the proper thing to do before making use of a style forming the back is to be found on page 17, lesson 8, where all details are given how to obtain the complete foundation of back view. This is merely an outline of how to build a style on the same. Note that the foundation lines for either front or back are not necessary to be drawn when a style is needed, only the original curve lines can be made. It is understood that this can only be done when the student has full acquaintance with the foundation lines, whereby the necessary curves can already be made freehand, which, no doubt, comes after practice according to the foundation lines. THE PRACTICAL SKETCHER 23 LESSON NO. L^ 3 1 4 2 In order to begin sketching the foundation for a skirt, remember that the skirt is to occupy 5 sections of the total height which means that 5 one-inch spaces are to be used in length and draw lines as follows : from 1 to 2 make 5 inch spaces and from 1 to 3 ; 2 to 4 is 2 inches and cross lines as shown on diagram, which will make spaces 5 inches in length and 2 inches in width and see next lesson for continuation. 24 THE PRACTICAL SKETCHER LESSON NO. 14 1 Jl^,,^_ 1 t^:===?\ — n z p^ V 1 1 ' 2 To complete the front view , begin the waist part and divide between 1 and the center line at X, which makes 5 and the center line at X to 3, which makes 6 and curve the waist effect from 5 to 6. Then connect for the hip from 5 to 9 and 6 to 8 and note the connection at the hip is a trifle in from the straight side lines. For a narrow bot- tom on skirt have y^ of an inch in at 2 and 4 and for the wide bottom skirt increase at 2 and 4, ^ >ofaninchat each side. THE PRACTICAL SKETCHER 25 A WORD ABOUT SKIRT SKETCHING IN ALL DIFFERENT VIEWS In sketching skirt foundations for different views, it will be necessary to remember that skirts may be sketched in 4 different views ; front view, right hand view, left hand view , and back view. Each of these is placed on one particular founda- tion as shown on page 23. It is therefore neces- sary for the student to remember the different details in changing the actions for each different view. The front flat view, which is the very first, is begun with the waist part which is equally divid- ed in 4 equal sections, from 1 to 5, 5 to X, X to 6, and 6 to 3 which are equal proportions at the rate of ' 2 irich each as the entire space from 1 to 3 is 2 inches. The hip is continued as shown on diagram The right hand side view is altogether differ- ent than the front view showing the waist action entirely towards the right hand side. The begin- ning of waist is at the edge line at 1. The side seam is ja of an inch in from the one half of dia- gram from X to 1 1 . The left hand side view is just the opposite direction of the right hand side view, which i s the reason of operating on the same with the opposite directions, but the action and amount in space is all the same as the right hand side view. The back view is a trifle similar to the begin- ning part of the flat front view with the under- standing that the waist is equally divided into 4 equal parts of the entire foundation, from 1 to 9, 9 to 5; 5 to 7, and 7 to 3, The space at the bottom from 4 to 8 is }i of an inch decrease and from 2 to 10, at the right hand side is % inch increase and connected towards 11 up to 9. 26 THE PRACTICAL SKETCHER LESSON NO. 15 RIGHT HAND SIDE VIEW In beginning the side view always prepare the first lesson of skirt foundation and guide yourself for the front line according to line 1 and 2. From 2 to 3 allow H of an inch and connect the same up to 1. In order to establish the right waist point deduct about \ of an inch at X towards 11 and curve for waist from 1 to 11 and continue for the hip from 1 1 towards 8 down to 4 as shown on the diagram. The space from 7 to Sis '4 of an inch for in- crease of hip and the raise from 4 to 9 for bottom curve is also \ of an inch. Then curve the bottom as shown on the diagram, 9 to 6 and 2 to 3. The guide line for front may be used from 5 to 6. This ■completes the right hand side view. THE PRACTICAL SKETCHER 27 J2 y J^^^ io / 1 1 / 1 4,/^^ ^^ c ^ 28 THE PRACTICAL SKETCHER LESSON NO. 16 LEFT HAND SIDE VIEW The left hand side view is an actual copy of the right hand side view and it is therefore only necessary to use the opposite directions in spaces and all actions necessary. The belt for both or probably all skirt sketch- es shown herewith are /{ of an inch. The upper curve is followed always according to the lower curve as shown on the sketch, from 1 to 11. and the above curve as shown on the diagram on 1 2 is the opposite lower curve at 5. THE PRACTICAL SKETCHER 29 30 THE PRACTICAL SKETCHfiR LESSON NO. 17 BACK VIEW OF SKIRT In order to begin the back view of the skirt sketch, it will be necessary to prepare the founda- tion lines as shown in the first lesson, from 1 to 2 crossed to 3 and 4, 5 inches in length and 2 inches in width and then divide the same lines between 1 and 3, which makes 5 and between 2 and 4, which makes 6. The straight side of the skirt, which is towards the left hand side is divided equally be- tween 3 and 5, which makes 7 and from 4 to 8 is ]i of an inch and connect 7 and 8 for a straight side seam of skirt. Then 9 is H of the space of 1 and 5 and the trace line, which is preparing the back seam, is J2 space between 5 and 9. From 2 to 10 is 3^9 inch and connect with a curve line up to 9 to meet 2 spaces up from the bottom at 11, as shown on the diagram. The trace line at the bottom, which prepares the back seam at the bottom is ^4 of space between 6 and 10, which makes 1 2 . The curve of the waist line at the back is rounded up a way from 7 to 9; fol- low the upper curve above 7 and 9 accordingly, which makes the opposite diagram of the front sketch . THE PRACTICAL SKETCHER 31 32 THE PRACTICAL SKETCHER LESSON NO. 18 BACK VIEW OF SKIRT WITH TRAIL EFFECT The trail effect, back view, which you will note is as a rule used for evening wear and there- fore has an increase on the bottom in length of 1 additional inch from 2 to 5, and 1 additional inch in width from 5 to 6. The foundation is drawn the same way. The waist is equally divided in the center as the front view of skirt as shown on the diagram. X is the center of 1 and 3, and from X to 7 and 8 is equally <. z 40 THE PRACTICAL SKETCHER LESSON NO. 22 THIRD COMPLETE FOUNDATION FOR A DRESS In further progressing with the dress found- ation it is now necessary for us to make prepara- tions for curving and, as a rule, we first begin with the neck. Therefore, draw a hne up at X and 7 for about J4 of the foundation space, which means if this foundation space is 1 inch, it must be ji of an inch and then curve the collar slant especially on the left hand side towards 7. Then curve the shoulder from 7 to X towards the neck down to the bust curve. The bust curve, you will note, is crossing the line, which is drawn from 8 to 9 about ^2 space between breast and waist line. 10 is 3^ space between 9 and the center line and continue with a straight line from 1 to 1 1 . 11 is ' - of the box from the right hand outside to the center. Now curve from the bottom of neck, from 7 to X and also the upper part of the neck to show the hollow of neck, as shown on the diagram. See the next diagram and description for the •entire completeness of the dress foundation. THE PRACTICAL SKETCHER 41 ^^^^T i ' i'iii"tnni«M:ui ii niii,^ O-J y X w 6 1 ^ ../ 9 ' XX n . 42 THE PRACTICAL SKETCHER LESSON NO. 23 COMPLETE DRESS FOUNDATION RIGHT HAND SIDE VIEW Now to continue to complete the entire foun dation by preparing the entire outHne for the dress as follows : Draw the armhole and sleeve at the left hand side from 7 down to 9 with a medium curve to meet the straight effect from 7 to 8 and then draw a curve from 7 towards 10 to the out- side elbow of the sleeve with a much fuller curve than the inside curve of the sleeve. See to it that the length of sleeve is rested on the hip line and to show there a hollow part or an opening of the cuff at 9 and 10. Now make a curve from 8 to 11 which makes the left hand side seam, which is ^^8 of an inch in from 1 3. Then curve from 8 towards 1 1 down to 1 2 for the full continuation to 1 2 , which meets the bottom of the dress. Note that 8 is about ^; of an inch up between I2 space of breast and waist line. This sleeve foundation is showing the natu- ral armhole in depth. Now continue in prepar- ing the right hand side sleeve, which is hidden between bust effect the following way. 6, which is showing the full length of sleeve, is }2 space between the straight line and the edge line of the dress, right side, and continue to curve about one sixth of an inch in on the straight line at 3 so that the sleeve shows a trifle curve effect similar to the full sleeve shown on the left hand side and finish the full length of sleeve both alike. THE PRACTICAL SKETCHER 43 44 THE PRACTICAL SKETCHER LESSON NO. 24 COMPLETE DRESS FOUNDATION LEFT HAND SIDE VIEW This foundation is the same as the previous lesson called complete dress foundation right hand side view. The foundation is different only in the opposite way of built. The bust is built towards the left instead of the right, therefore, follow instructions exactly like the one before with the opposite dimensions and no other addi- tional time is to be wasted. The reason this outline is given is to suit the •different tastes and ideas of people who may want to make their sketches towards the left instead of the right. We practically advise all sketchers to make useof mostly the right hand view, but many timesit isa caseof habit and we, therefore, show this particular left hand view, otherwise, there is no different point regarding mechanical details, whatsoever. Regarding a more clear proposition of gar- ment sketching, as we have already explained we are showing a complete foundation without sys- tematic lines but only by traced lines, which is .given in the next pages of this book. THE PRACTICAL SKETCHER 45 46 THE PRACTICAL SKETCHER LESSON NO. 25 COMPLETE DRESS FOUNDATION BACK VIEW In order to begin this lesson it will be most advisable to see the beginning of back view of the blouse, which is shown on pages 15, 16 and 17 as they show the beginning of how the same is conducted. The difference is that this time we use the entire foundation for the dress, which con- sists of 7 one inch spaces in length and 2 one-inch space in width and note the following ; The first or top space is divided by 5 and 6, on which the shoulders rest and from 5 to 12 and 6 to 11 is 5 of an inch in. The line at 7 and 8 is the neck line where the neck is raised up at 9 and 10 the same as on the blouse sketch. 13 and 14 is the i space of each inch space and from 1 1 to 13 and 12 to 14, make also the same curves and the continuation with the hip curve from 13 against 19 to 4 and from 14 towards 20 down to 3, 19 and 20 is Ji of an inch in from the outlines, which gives a medium size hip. No doubt, the hip wants to be larger and also the bottom of the skirt is to be larger. The sleeves for this diagram is conducted the same as the back blouse, lesson 8 shown on page 17. Otherwise, there is very little difference between this dress or blouse foundation. THE PRACTICAL SKETCHER 47 48 THE PRACTICAL SKETCHER LESSON NO. 26 COMPLETE DRESS FOUNDATION RIGHT HAND BACK VIEW This diagram is showing the back with the right hand view and the difference between this and the flat back view is as follows : Note first of all the center of this foundation which is the same as others. The center line is shown on the top line at 23 down to X at the waist line. Then 22 is Yi of the box space between 2 and 23. The space between 22 and 23 is this time used as the neck space, which means that when the shoulder and sleeve is shown right hand view, the neck in such case, is placed in the left hand view and, therefore, at 6 we build the shoulder narrower 5;-: of an inch in from the straight line. The right hand shoulder is connected /- space in of the shoulder line showing at 19. This foundation is also similar to the back blouse right hand view shown on page 19, but it is differently built on account of a more fuller waist. The waist line from X to 13 is ^3 of the box space towards the right hand and from 12 to 1 1 is one- third of the box space, or the space between X and 1 1 is -' 3 of the entire space between X to 1 2 . Con- tinue to curve from 1 1 against 14 down to 15 for the fuller bottom, and from 13 to 16 continue a straight line to the bottom of 17. From 3 to 17 is one-third of the box space, which means if this box space is 1 inch , the space from 3 to 17 is snug ^"8 of an inch: THE PRACTICAL SKETCHER 49 50 THE PRACTICAL SKETCHER LESSON NO. 27 COMPLETE DRESS FOUNDATION LEFT HAND BACK VIEW This diagram is showing the lesson before with one trifle exception, that this is the left hand side view and. therefore, is to be built the same as the right hand side view with the following dif- ferences : Instead of having the neck built on the left hand side it is built, this time, the opposite way towards the right hand space of the outline. 23 is also the center line and 22 is ^ of the box space between 2 and 23. The shoulder is also placed in the opposite direction. The waist and the continuing of fullness of the bottom is also built the reverse way. It i would be advisable for every student to make always a full study of the right hand side view first and to follow the left hand side view just the opposite way. THE PRACTICAL SKETCHER 51 52 THE PRACTICAL SKETCHER LESSON NO. 28 DOTTED OUTLINE FOUNDATION FRONT AND BACK VIEW These 2 diagrams are showing the front and back dotted outline foundation, which are an exact copy of the front and back foundation given with full description and systematic outlines in the front pages. The reason for doing so is to show the clear views of these diagrams without any systematic outlines. The same can, no doubt, be obtained only when the student has a full knowledge of how to produce the foundation by systematic outlines only, because sketching or free hand drawing needs training just as well as everything else and to train ourselves to such mechanical controlling that this is the particular reason that all sketching ontlines are shown with systematic- al productions in most of the work given in this book. Now, in order to make use of these diagrams it is necessary to practice each and every diagram so long that you are able to make it a free hand outline as given herewith. Then when we have the taste for sketching any style of garment, we are ready to continue the same on the clear figure drawings. To obtain the best results watch the next lessons of how to sketch a style on a system- .atic foundation. THE PRACTICAL SKETCHER 53 54 THE PRACTICAL SKETCHER LESSON NO. 29 STYLISH DRESS FOUNDATION WITH SYSTEMATIC OUTLINES In order to prepare a style on the foundation the first thing necessary is to build the collar and see how deep the opening is supposed to be. Im- mediately decide if there is buttoning in the front or back. The front diagram shown herewith is buttoning in the front, therefore, an allowance is made a trifle towards the side. The line at 8 is shown in the center, which is drawn down from 10 the center line of the entire foundation. Note that this foundation is facing the right hand side, therefore, call it the right hand side view. The neck is placed to the left hand side, which simply means looking from the left to the right. Next the belt effect and see if there is any fullness in the waist making the heavy marks at the waist to point out the fullness in the blouse all around the waist. When there is a belt, place the same fromthenatural waist line. At the same time mark the style of the front of skirt. If there is a buttoning in front of the blouse of the dress, make the continuation of same as shown on this skirt in front down to 11 . Remember, mark this style of cuffs the same as the collar. This collar happens to be scallopped follow the cuffs the same. The BACK view is always built on Y^ the size of scale. If the regular style is 1 inch, the back is % inch. Copy the back part of the collar and cuffs to show the exact outlines of front. Con- tinue with the fullness of the back around the waist so that it will harmonize also with the front. THE PRACTICAL SKETCHER 5 5 44 /^ "-S ^1 A " 5^ u J.^ iU ! V 1 f i 56 THE PRACTICAL SKETCHER LESSON NO. 30 STYLE OF SUIT FRONT VIEW In order to begin this suit, it is understood that the entire foundation is to be used, as the suit consists of a jacket and a skirt, which covers the entire body. Before beginning this style note the position of the foundation. Ihe position of this entire diagram shows a right hand view and to continue the style begin first with the jacket the following way. Situate the opening of the lapel in front according to your taste, which is this time with 5-' space of the breast and the waist line. Then take about ^i of shoulder, which is shown at 5 and continue with the collar and notch lapel, lost to the buttoning place. Note that 3 at the breast line is the opening, is closed, which shows that the center line from 3 to 4 is the guide to show how much ever lapping there is. Note extension at the collar all around the neck, which is shown at 9 and 10. The left hand lapel at 6 is, as a rule, built wider to show the side effect of the entire garment. At the right side we are showing the exact space of every part of the garment. Ihe scallop and gathering at 7 and 8 shows ys space between the waist and hip line. The skirt part is built on the same fashion- able outlines as the jacket to harmonize with the •out-growing points regarding style and effect. THE PRACTICAL SKETCHER 57 58 THE PRACTICAL SKETCHER LESSON NO. 31 STYLE OF SUIT BACK VIEW This is the back view of the diagram shown before. Continue the finishing outHnes of the back with the same style. Before going any- further remember 2 things when showing the back view. 1 . The back view is always shown on \'z size of original front sketch. 2. The back view con- tinues the finishing points of style shown on the front view and always shows the finishing details of such beck en a flat back view. To carry out the finishing details of the back , continue the width of collar according to the front and judging the width of collar according to the width of shoulder as shown at 1, 2 and 3. At 4 and 5 arc seams at the lower part of armhole. 7 and 8 is the waist line. 9 is above the waist line and the 2 opposite points are below the waist line. 10 is showing an open split by the 2 opening lines lost up to the hip line. The forming of the bottom of jacket is shown somewhat short against the back, showing that this back is a long trail and gives the understand- ing that the front of this jacket is a cut-a-way fron^ The skirt part, as not having any particular out- line of style, only continues the lengthening part as an ordinary outline THE PRACTICAL SKETCHER 59 60 THE PRACTICAL SKETCHER LESSON NO. 32 STYLE OF COAT FRONT VIEW Before beginning this sketch, note that the sketch is placed on a left hand side form and you may therefore refer for beginning instruction for such form on pages 44 and 45. When you are fully acquainted with such form continue with the style of the coat the following way. Extend the collar around the neck at 11 and 12 and follow the width of shoulder as shown on diagram at 1 and 2. Continue with the lapels from 3 to 10 down to the opening place, which is about between the waist and hip line. At 1 there is no regular armhole shown but a yoke, which makes it a kimono effect coat. Now continue the curving of the cut-a way front Curve first the left hand side lost to 8 and note that the curve begins from the center Hne. The guide for the center line you may use from 1 2 to 9 down to the bottom by which you may also note at 9 lapping over for button stand. Then continue from 9 to 7, which will finish the right hand side. Always remember when making a cut-away front make the inner side shorter looking and the outside, which is this time the left hand side at 8, longer. The pocket place according to this dia- gram is a trifle below the hip line, which may be used for all long coats. Sleeve lengths, as a rule should only come to the hip line. THE PRACTICAL SKETCHER 61 62 THE PRACTICAL SKETCHER LESSON NO. 33 STYLE OF COAT BACK VIEW In making a back sketch it should be remem- bered that the back, as a rule, is sketched flat to see the entire effect of the back. This rule may be changed in showing an important part of the side view, which happens very seldom. Remember, it is not necessary to sketch the back the same size as the front, but only on Y^ the size and we, therefore, make use of the ,^ o inch spaces for this back foundation which has already been explained in the last stylish back view for a suit. To begin note at 1 and 2 is beginning the arm effect where the sleeve begins to show its effect. This back is showing a kimono effect coat and the yoke effect below 1 and 2 is about 2 inches below the armhole. 3 and 4 is at the waist line where it shows a trifle shapy effect. This gives an idea that this is not a full coat but a half fitting coat. Then extend the lost fullness towards the bottom from 3 to 5 and 4 to 6. Follow the curving at the bottom according to the continuation of the cut- a-way effect of the front shown before this. THE PRACTICAL SKETCHER 63 64 THE PRACTICAL SKETCKEF LESSON NO. 34 PROPORTIONAL DETAILS ON MISSES SIZES In beginning the section of misses' sizes pro- portional sketching, it is necessary to make a few remarks which are as follows: Remember that the misses' size of proportional outline of sketch- ing is about the same as the women's size. The only part which we may have to change is to make the sketch a trifle shorter, which will not be much recognized on the sketch and therefore, does not pay to make this little change. It will be neces- sary for everyone who would like to know this trifle change to look en the beginning pages of this work where the height of each proportion is given and it will be found that the 16 which is the model size for misses' sizes, measures in height 5 feet 4 inches, which means 2 inches shorter than the total height. The waist length is >2 inch shorter, the skirt length is I4- inches shorter and balance of the 2 inches amounts to 3^4 of an inch decreased in the head space. In order to simplify this action, it would be necessary for sketching misses' sizes to take somewhat smaller space for equal propor- tions of sketching, which means instead of 1 inch make use of 78 of an inch space and the entire dia- gram is smaller in proportion. Follow rules as before with exception when making a full length garment dress, suit or sepa- rate skirt to show the skirt is worn shorter than the women's size. Otherwise, follow proportions as shown on opposite diagram and use rules as ex - plained before for further diagrams for misses' sizes. THE PRACTICAL SKETCHER 65 6. a K 66 THE PRACTICAL SKETCHER LESSON NO. 3 5 4 7 5 8 1 2 6 9 5 FOUNDATION BLOUSE FOR MISSES' SIZE In order to begin proportional outlines for misses' sizes draw the same lines as for women's sizes as diagram shown above. Remember the little difference that the space between 1 and 2, 1 and 7 and 2 and 8, which is an even square of 1 inch used for women's size. For misses' size may be used { of an inch smaller to decrease propor- tionately the outcome of misses' size body for blouse, waist or jacket which means if these boxes will be decreased proportionately they will show the proper feature for misses' sizes. Sec next lesson for further instruction. THE PRACTICAL SKETCHER 67 LSSSON NO. 36 COMPLETE RIGHT HAND FRONT VIEW MISSES' SIZE This foundation represents the front, right hand side view for misses' size 16, which shall be conducted the same as the women's model which is shcun in the front pages of this book. The space at all points shall be proportionately divid- ed according to the outlay of its original box lines. ioT instance, 7 which is showing the height of bust should always be half space between the center and edge lines or the space at 6 shall in- crease the bust, which is always J8 of an inch. Use all other details according to instruction by which a complete and proportional outline will be obtained. 68 THE PRACTICAL SKETCHER LESSON NO. 37 1 r 1« > L- *jLi 1*" 80 THE PRACTICAL SKETCHER LESSON NO. 44 CHILD'S MODEL BEGINNING FRONT OUTLINES To begin the child's model foundation lines for the entire body, which may be used for dress, coat or suit we are to employ the entire foundation from the neck to the ground as shown in juniors' sizes which will show a difference be- tween the juniors' and child's bodj'. Note the dif- ference in height and that the very same spaces are used in equal divisions with one difference, that the spaces are somewhat shorter built for the child's model. To begin foundation lines draw lines as usual and use spaces about 3 a of an inch shorter than spaces for juniors' sizes between 1, 2, 3, 4. 5, 6, 7 and 8 and you will find 7 equal spaces. Whatever amount of spaces you decide to make for child's outline from 1 to 2, etc. make the double spaces in width from 1 to X and X to 3. The line below 1 and 0, which is at 12 and 13 will be the resting line for the shoulder points. Take special notice of the important details necessary for child's size, which are as follows : On a juniors' foundation | of the total height is raised from the bottom line up, which is from 8 to 7 showing the proper length of dress or coat. For child's size you will find two-eighths of the height, which is from 8 to 6, shows that for child's sizes, dress or coat, is to be a great deal shorter, whereby, the length of such garments will reach somewhat below the knee. This is important and should be carefully remembered in sketching out- lines for children's garments. THE PRACTICAL SKETCHER 81 isl X kc 17 18 n u L S2 THE PRACTICAL SKETCHER LESSON NO. 45 CHILD'S FRONT MODEL COMPLETE In complctcing a child's front foundation continue sketching for the body foundation as fol- lows: Complete the neck by dividing about i 9 space from to X, which makes 16 and from X to 1 5 is J of the space between X and 1 . Curve im- mediately from 15 to 16 and both sides of the raising lines from 15 to 16 curve slanting way in for the neck part. Then make the round circle at top for the neck, as shown on the diagram. From 1 to 17, which is showing the shoulder point, is about ,^/5 space in. Connect from 15 to 17 and 16 to 18 with a full or a trifle increased amount to the outside line, which is drawn from to 10. Continue the right hand sleeve from 17 with a medium out.vard curve somewhat below the hip pass 4. The left hand sleeve, which is beginning from the shoulder point at 18 straight down towards 1 1 belcw hip line and the outside curve is made full from 18 lost somewhat below as shown on the diagram. Then continue to curve the same hidden from the arm for the full length and width of coat or dress down to 14 and the right hand side from 17 down somewhat curvy at 3 out and somewhat fuller to 13 and then make a bottom curve from 13 to 14, which completes the length of this founda- tion. Make a waist eftect curve from 3 to 12 and 11, as shown on the diagram to show the low waist effect which is similarly curved to the collar, as shown to 15 and 16. Otherwise, this founda- tion is complete. THE PRACTICAL SKETCHER 83 15V 1 ^y^ — "^ (l f J8| a n 4 \z 5 K |l> 6^" — r— 7 8 ^ lU '10 84 THE PRACTICAL SKETCHER LESSON NO. 40 CHILD'S MODEL BACK VIEW The child's back foundation is similar to the one showing the front with one exception that the neck Hnes are equally placed on this foundation, which is shown on both sides of X at the top line to 12 and 13, which means that the back founda- tion is always to be drawn flat and not side effect as the front. In addition to the same, this diagram shows the position of feet showing the back part only cr an action towards the front and note the same on the diagram. Great care should be taken in this matter to recognize the front or back view correctly by the action of the feet. Watch both diagrams of the front and back and you will then :note the difference THE PRACTICAL SKETCHER 85 15 Pi \] n y^ vh /€ 10 Jl 11 17 86 THE PRACTICAL SKETCKER LESSON NO. 47 CHILD'S MODEL BACK VIEW Complete. To complete the back view for a child's foundation, immediately raise the shoulder point from 12 to 13 to the line below 1 and 0, for which that line is particularly used. Curve the neck at Hand 15 somewhat slanting in from the straight line and curve round effect upwards from 1 2 to 15 and 13 to 14. Continue curving the body from the shoulder point down from 1 to 10 and to 1 1 a trifle shapy and continue to the bottom to 18 and 19 as shown on the diagram. At the same time note the difference between this and the juniors' size, which is a great deal more curved at the waist line. It will tell you that the child's gar- ment is supposed to have a fuller effect in the waist. The sleeves for the back foundation are alike. Begin from the shoulder and full effect curving to 16 and 17, which is a trifle below the hip line. The inner seam of the sleeve of this dia- gram is not noticeable because it is hidden by the full effect of the waist. The sleeves are showing the action towards the front. Otherwise this diagram is complete. THE PRACTICAL SKETCHER 87 1. Pi«.]ai.i.nnii .»'™il»«» 88 THE PRACTICAL SKETCHER LESSON NO. 48 INFANT'S MODEL FRONT FOUNDATION In beginning infant's front foundation for the entire body which may be used for a dress or a coat, we employ the entire foundation from the neck to the ground as shown in the child's size. Note the difference in height, each space is some- what less than the child's size. It is immaterial what space is used for the child's body sketch, for the infant's we use I less to make the founda- tion look shorter in order to correspond with the age of the child. Otherwise divide the spaces as usual. For the full length garments which is to be the dress •or coat is to be built to the knee which is similar to the child's model. The outline is to be followed according to the instruction of child's model with the exception which is mentioned above. Other- wise the difference between the child's and infants jnodel is verv trifle. THE PRACTICAL SKETCHER 89 i ^^ v6J f 1 a 11 i \Z 5 4 'S" 7 i — 1~ 8 ^ ■^y '10 90 THE PRACTICAL SKETCHER LESSON NO. 49 INFANT'S MODEL BACK FOUNDATION To complete the back view for the infant's model foundation immediately draw the same foundation as for the child's model with the differ- ence as mentioned in the front that each space is to be I less than the child's. Otherwise all rules and regulations for body sketching are to be about the same with the e.xception that when a style is to be built on top of this foundation, the style of garment may be built somewhat fuller in width which is an important action in infant's garments. In order to fully understand the necessity of ■describing the infant's model height it would be advisable to see the front pages of this book where each model size is specified under a differ- ent height by which we may learn the difference in height for each and every different model. THE PRACTICAL SKETCHER 91 92 THE PRACTICAL SKETCHER STYLISH CHILD'S MODEL On the opposite page you will find cut show- ing front and back view of child's stylish model, from which we learn the following outlines : The child's dress is built on a loose form. If it is a dress or a separate blouse and skirt, the length of the total garment reaches only to the knee and the waist effect, as a rule, shows below the waist line, although this rule may be changed from tine to time according to whatever style there may be. When copying styles see that the entire action of the front view shall be transacted the same way at the back which may be referred to the fullness of blouse at the waist or the style of collar. Take into consideration the collar effect, the both look alike, the front and back. You will note the additional stripes shown. Either 2 models give a direct outline of how to follow measurements for child's garments or where the proper place of such measurements are taken THE PRACTICAL SKETCHER 93 94 THE PRACTICAL SKETCHER ORIGINAL IDEAS To originate new ideas, it is somehow or other something not everyone can do, but in order to obtain such method, I will herewith give a few points on the topic, which may enlighten those who are interested to produce something of their own. To begin something of our own we must go to work and begin something entirely different from anybody else and we need to know or think of a certain foundation that such style of garment is to be built on, which may be similar to the music writer. The words and the action of a song may be new but the melody is probably not en- tirely new. The melody is the foundation of its draft and no doubt that such melody is not sup- posed to be a simple copy of some other song, if the song is supposed to be a new one, but somehow or other, it is a connection of some other tune and v;hatis new is the words and actions. We are about in the same position to obtain something new which mr.y be called our own original outlines We first have to create in our mind what we are to make up and then build such style. I posi- tively warn everyone not to do anything unless he has a foundation of some kind of outline as no house of standard work is built without any foun- dation. It is therefore necessary to remember many other principle points to go on with this ■original work. THE PRACTICAL SKETCHER 95 Before starting such production, make a record of the following details: What is your garment supposed to be; a blouse, jacket, coat or cape. Length of your garment, length of sleeves. What style of fitting. What style of front, single or double breasted. Style of lapel or collar, if the garment is supposed to be lay-over, button -up collar or collarless. Cuffs or no cuffs on sleeves. Style of pockets and flaps. How many pockets shall the garment contain, how many buttons and button holes and what style or size. How shall the lengths of the garment be cut, if cut-a-way front with round back or straight bottom. After you have completed such record, you are about ready to begin to make the foundation of your pattern. Now decide or particular re- member the size of your model sizes that you have to use and see particularly if the style of garment you are to originate is suitable for that model size or section for all sizes, which you may originate, as it is important to remember that some styles will be practical for women's and misses' sizes and will not be practical for any other smaller sizes as junior's children's and infant's Therefore, de- cide well before making this important step and see that your time will not be wasted. 96 THE PRACTICAL SKETCHER LENGTHS FOR ALL MODEL PATTERNS In order to make suitable lengths for model sizes, we need to look into this matter a great deal differently than producing lengths for size 36. To begin it is first necessary to see about misses' sizes, which the model size is 16 and may be foUov.'ed according to the size 36. Remember when deciding about lengths for different sizes, it is necessary to look upon the different heights of the different model sizes, as they are a great deal shorter in length, especially the junior's children's and infants' sizes. In the front page of this book the proportional height for each model size is given and follow that rule in conjunction with the style for each and every season because the lengths of garments may be ccrtrolled by the style. At the same time there is another thing to re- member when speaking of styles, the length of garments may be controlled under 3 different out- lines which are as follows : Height of form, size of garment and style. These may be connected with the follov;ing suggestions. When referring to model sizes, especially, misses', junior's, children's and infant's we are to look upon the age and then the height and size. Use these points to serve as a protection of not misleading the great importance of knowing correct lengths for all kinds of women, misses's, junior's, children's, and infant's garments. •HE PRACTICAL SKETCHEK 97 This cut represents the natural looks of a skeleton foundation of a kimono, which is for filling in of style as may be required from time to time. 98 THE PRACTICAL SKETCHER I .V D E X Page. Title I Introduction 5 Problem of Garment Sketching 6 - 7 Proportions for Body Sketching ^-9 Blouse Beginning Foundation 10 Blouse Foundation Continued 11 Blouse Foundation Continued 1 2 Blouse Front View complete 13 Blouse Left Hand Side View 14 Back View of Blouse 15 Back View continued 16 Back View complete 17 Back View Left Hand Side 18 Back View Right Hand Side 1 9 Style Blouse Sketching 20-21 Stylish Blouse Back View 22 Skirt Foundation 23 Skirt Foundation complete 24 Skirt Sketching in Different Views 25 Skirt Right Hand Side View 26-27 Skirt Left Hand Side View 28-29 THE PRACTICAL SKETCHER 99 Page. Skirt Back View 30-31 Skirt with Trail Effect 32-33 Stylish Skirt Sketch 34-35 Complete Foundation for Eress or Suit 36-37 2nd Complete Foundation for Dress 38-39 3rd Complete Foundation for Dress 4 0-4 1 Dress Right Hand Side View 42-43 Dress Lett Hand Side View 44-45 Dress Complete Back View 46-47 Complete Dress Right Hand Back View 48-49 Complete Dress Left Hand Back View 50-51 Dotted Outline Foundation 5 2 -53 Stylish Dress Foundation 54-55 Style of Suit Front View 56-57 Style of Suit Back View 58-59 Style of Coat Front View 60-61 Style of Coat Back View 62-63 Proportional Details on Misses' Sizes 64-65 Misses' Size Blouse Foundation 66 Misses' Blouse Right Hand Front View 67 Misses' Blouse Back View 68 100 THE PRACTICAL SKETCHER Page. Misses' E louse Complete Back View 69 Proportionsof Juniors' Model 70-71 Juniors' Model Beginning Outlines 72-73 Juniors' Front Model Complete 74-75 Juniors' Model Back View 76-77 Juniors' Model Back View Complete 78-79 Child's Model Beginning Front Outlines 8()-81 Child's Front Model Complete 82-83 Child's Model Back View 84-85 Child's Model Back View Complete 86-87 Infant's Model Front Foundation 88-89 Infant's Model Back Foundation 90-9 1 Stylish Child's Model 92-93 Original Ideas 94-95 Lengths for All Model Patterns 96 Kimono Sketch Foundation 97 LIBRftRY OF CONGRESS Wherever you are, 0j|™|M||ill Whenever you are No matter w^ho you are You need a ^^Practical Designer' System Book because it is What it shall be > And vs^hat it has to be And what it is A complete library en designing and pattern rnakinr; with grading and special pattern cutting, for women's, misses', junior's and children's garments contains 164 diagrams occupying 302 pages. PUBLISHED BY (5Ijr ffiraftitig fattrru (En. School of Designing and Pattern Cutting 228 SECOND AVENUE Cor. of 14th Street NEW YORK LIBRARY OF CONGRESS 013 973 143 8