2. Cutting out

LESSONS IN CUTTING OUT

Cutting out is, for most children, a fascinating occupation. Good cutting is as essential as good sewing to the finished appearance of a garment, for a badly-cut garment can never be well made; but for good cutting out a pupil must be gradually prepared by knowledge and practice of various kinds.

Without considering the imagination and ingenuity which are necessary for the planning of beautiful and uncommon garments, the mere correct and intelligent cutting of garments to be made in school involves:—

1. Practice in handling scissors and material.
2. Ability to measure accurately.
3. A sense of proportion.

1. Two kinds of scissors arerequired forneedlework—a pair with long blades for cutting out garments, and a small pair of embroidery scissors, with short, narrow, pointed blades which

67cut well at the points. The latter pair is useful for cutting buttonholes, embroidery, and other fine pieces of work. A girl should learn that to cut out garments well the scissors should be opened to their full width, so that a clean cut may be made with the whole length of the blade. Quicker and smoother work can be done with a large pair of scissors than with a small pair, but the weight must be accommodated to the pupils' capacity. A pair of scissors that would be too small for a teacher to use con­veniently may be quite large enough for a little girl.

Much depends also on the material to be cut. Paper is much easier to cut than cloth of any kind, but different cloths vary greatly in their resistance. A single fold of cloth may be easily cut, but a pupil may find it impossible to cut through two or four folds of material, as one usually does in cutting quickly from a paper pattern.

2. To measure accurately is essential to really good cutting, and, if measurements can be judged by the eye, there is a considerable saving of time and work. This, however, is a matter of experience and of careful attention, and can only follow a long period of careful calculation.

Children not yet familiar with inch measure­ments may use tape or string. A knot may be tied on the string, or a pin fixed in the tape to represent the distance to be measured on paper or cloth. The latter is the better plan.

Later, a ruler is useful for measuring com­paratively short distances. A very useful article is a small cardboard measure, marked in inches, half-inches, and quarter-inches. This is shorter and more flexible than a ruler, and therefore more manageable for measuring the depth of hems, tucks, &c. If possible, pupils should make such a measure for themselves, marking off the correct measurements from a ruler. This is, on the whole, a better appliance than a card or stiff paper merely notched at the desired depth of hems, &c. While the use of the notched card develops the habit of accuracy in measurement, the graduated card trains the eye at the same time to recognize the common measurements. When speed is a considera­tion, the notched card would probably be more useful.

Last of all, the pupil must learn to use an inch-tape. This is necessary for long measures, or for measuring on the round—on the human figure, for example. This is the most difficult exercise of all. Measures must be taken easily, especially measures of width, and allowance must be made at many points for motion or expansion.

3. The lack of a sense of proportion will spoil any kind of work. What is required in garment-cutting is correspondence between the garment and the figure of the intended wearer. The pupil should learn something of the general proportions of the human body, and constantly compare the pattern being cut with the lines of the human figure. That is why it is better for girls in school to make garments for themselves rather than for an unknown, or at least unseen, wearer. This is the most difficult thing to learn in cutting out, and ability comes only with much practice. A well-arranged course of cutting-out lessons would ensure the pupil's freedom from mere mechanical difficulties when she arrives at this more intellectual stage of the work.

The early cutting-out lessons may sometimes be given merely so as to obtain accuracy and skill, but, as a rule, they should be arranged so as to lead to the making of some real article, however childish.

The following list of lessons indicates the stages by which cutting out might be taught in schools:—

1. Cutting up small scraps of paper or cloth, which may be used to stuff dolls' cushions, pillows, or beds, and also dolls or animals, as suggested in stage 3.
This lesson gives practice in mere cutting.
2. Cutting to measure paper, then cloth. Geometrical figures may be cut merely for practice, or squares and oblongs may be made into dolls' clothes, or furnishings for a doll's bed, or pincushion, or any other little unimportant articles which could be sewed by the children.
This lesson gives practice in measuring and cutting accurately.
3. Cutting paper, then cloth, into shapes, e.g. dolls or animals, or balls for babies' toys. These would be sewn up, and stuffed with the cuttings
from stage 1.

This lesson gives practice in cutting curves, and introduces some ideas of shape and proportion.
4. Cutting, in paper and cloth, bands, collars, or other simple portions of garments to fit the pupils themselves. With this lesson, the pupil begins to get the idea of proportion in the human body.
5. Cutting paper patterns of garments, then the garments in material.

The previous exercises have prepared the pupil's hand, eye, and mind for this difficult piece of work.

To encourage habits of economy in the use of material, newspapers may be used for making paper patterns whenever possible. For cutting a new pattern they are not very useful, because the folds and lines are not clearly marked on them. But, after a pattern is once made, news­paper can be used for taking off copies of it, or for making adaptations of it.

TYPES OF GARMENTS

The books dealing with clothing which are published weekly or monthly give the impres­sion of hundreds of garments, each quite different from the other. As a matter of fact, the differ­ences are chiefly in detail. So far as essentials are concerned, garments belong to one or more of four, or at most five different types—magyar, bodice, sleeve, skirt, and drawers. It is doubt­ful whether the magyar type ought to be mentioned as a separate type, but it is the best form of garment with which to begin learn­ing to cut out, since it is the most elementary way of turning a piece of cloth into a garment.

All the other types mentioned can be adapted and combined in many ways, according to the varying fashions of the day.

If time permitted, the best way to learn cut­ting out thoroughly would be to choose each type in turn, working it into a garment, first in its simplest form, then with various typical adaptations, then in combination with other types. As a rule, one garment belonging to each type is all that can be attempted.

There is no reason why a girl should not sometimes cut out a garment from a pattern obtained from a book or given by the teacher, provided she is shown the meaning of all the lines and parts of the pattern, and also shown how to find out whether it will fit correctly or not.

The method of drafting patterns by propor­tion depends on the fact that a very definite scale of proportions may be found in the build of the human body. It is noticeable that the same proportion of parts does not hold in a child's body and in an adult's, nor in a man's and a woman's. It is also obvious that all do not conform exactly to the usual scale, since we readily observe that one person is very long-waisted, while another has particularly long legs. It is worth while for the teacher to know as much as possible about the usual relation of width to height, and the various differences between the usual measurements for men and women, boys and girls.

But, for the learner, most difficulties will be avoided if the various types already mentioned are worked out separately, and, if necessary, combined in a straightforward fashion, and if, in every case, at least one measure of length and one measure of width are taken from the intended wearer of the garment. Of two per­sons of equal height, one may be very stout and the other very thin, but the probability is that, though within very different limits, the parts of the width retain the same proportion with relation to each other. The same is true of the length. It must be allowed that a certain degree of chest development brings difficulties in fitting, but it is hoped that by the time a girl has this difficulty to contend with she will have gained a knowledge of principles that will help her to cope with it.

Cutting out by proportion is certainly the simplest and most reasonable method for school work. The memory is not burdened with many figures, but only, at first, with the recollection of a few principles; and there is also this ad­vantage that a whole class, having once made a beginning by measuring off the necessary length and width of these various patterns, can go through the remainder of the lessons to­gether, following the same instructions, while producing patterns of different dimensions.

The patterns which follow are nearly all based upon two measurements actually taken from the body—the most important measure of length and

the most important measure of width. These are not necessarily the greatest length and width. Many other measures may be taken so as to check the pattern, and no pattern should be cut in material until it has been tried as well as possible on the figure, and corrected where necessary.

Garments which require no Shaping

There are few garments which can be made entirely without being shaped by cutting, and those which are made so are apt to be rather bulky. Pinafores, aprons, children's petticoats, and skirts are practically the only garments made in this way, the extra fullness being gathered or pleated into bands.

While such garments are apparently very simple, they are not always as economical as shaped garments. Frequently the bands have to be cut out of fresh material, as there are no cuttings over. A gathered or pleated garment may also give more trouble in ironing than a shaped one.

TAKING MEASURES

To a certain extent, one can measure oneself, but measuring is more easily and more accurately done by another. In school, girls should work in pairs at taking measures. The girl to be measured should stand erect and steadily, and must refrain from trying to give help in measur­ing, as movement on her part may change the apparent length of a line, and make the measure­ments "come wrong". If measurements to or from the waist are involved, it is best to begin by pinning a piece of tape tightly round the waist, pressing it well down into position.

The most important measurements are taken as follows:— Shoulder to waist {front). — Measure from the neck point of the shoulder line to near the middle of front waist.

Neck to waist {back). — Measure from the nape of the neck to the middle of back waist.

Waist to knee.—Usually measured from front waist, but for the drawers pattern it is best to measure from the middle of the back waist to behind the knee, the hip joint being well bent. The foot may be rested on a chair or bench.

Neck.—Measure round the base of the neck easily. Chest.—Measure horizontally from armhole to armhole about 2 or 3 in. below the neck line. This line gives the usual level of a plain straight yoke.

Bust.—Measure easily round the widest part of the chest just below the armpits. This line may be quite horizontal in children, but in adults the measure should be kept fairly high at the back, and lower at the front so as to pass round the widest part of the figure.

Hip measure. — This is the widest measure in the body, and is found in adults by passing the tape measure easily round the body about 7 or 8 in. below the waist.

This measure is important for the correct fitting of skirts.
 
Scale of Approximate Measures (taken in inches) for Various Ages

DIAGRAM SHOWING HOW TO TAKE MEASURES

i. Neck Width, a. Chest Width. 3. Back Width. 4. Bust Width. 5. Waist. 6. Hip Measure. 7. Front Length. 8. Shoulder to Waist Measure.
9. Back Length. 10. Arm Length. 11. Armhole Measure n children, the distance below the waist would be much less, and the measure is useful for calculating the length of a band to be placed low on the dress.

Arm length.—Measure from just behind the top of the shoulder joint to the wrist, passing the measure round the bent elbow.

Armhole.—Pass the measure under the armpit and upwards over the shoulder joint. This measure may be taken pretty closely.

In measuring children for garments to be made in school, it must be remembered that they take a long time to make a garment, and are expected to grow a little even while wearing it.

A child's average yearly growth being 2 in., any garment made 1 or 2 in. longer than the present measure ought to fit for a considerable time. With regard to measures of width, as progress is much slower in this direction, and as children are usually measured in school above their ordinary clothes, an easy measure of width is probably sufficient to last for some time.

MAGYAR GARMENTS

Magyar garments are very suitable for chil­dren's wear, being simple in appearance, easy to make, easy-fitting, and simple to iron after being washed. For grown-up persons, the magyar type is most suitable for blouses and very loosely-fitting garments such as dressing-jackets or gowns, night-dresses or overalls.

A pinafore (fig. 1) is shown as the simplest type of a magyar garment, for all its four quarters may be of the same shape, if the neck is cut low enough.

Simple as the pattern is, a girl learns in cutting it some very useful lessons which will have to be applied again and again in cutting out garments.

1. A pattern, as cut in paper, consists of the smallest amount that will show the whole design.
2. In a magyar pattern, the most important lines are those which mark off the quarter bust measure, and the depth of the armhole. All lines and curves bounding the sides and sleeves must keep on the outside of these two lines.
3. Plenty of room must always be allowed for motion, even if it is only the motion of breathing, or the motion of putting clothes on. For this
   reason we add something to the actual measure­ ment of the quarter bust.
4. In finding the measurements of small parts of a pattern, compare them with the nearest

AB = length from shoulder to knee. AC = 1/4 width of bust (easy). At least x in. more allowed for side line to give ease in putting on and taking off the garment. Depth of armhole = 1/4 of whole length from shoulder to knee. Depth of neck = about 1/2depth of armhole. Width at bottom = about twice width at bust (more or less according to taste or width of doth available). Width of neck = about 1/2 width of bust. Neck may be cut square by the dotted line. 

points already found, e.g. compare depth of neck with depth of armhole, rather than with length of pinafore, and width of neck with width of bust, not with width at bottom.

1. A good curved line may often be got by rawing two straight lines and uniting them by  curve which must pass invisibly into the
   straight lines.
2. Other curves usually meet the neighboring lines of the pattern at right angles, e.g. neck curve at right angles to shoulder line and middle
   line of front and back, bottom curve at right angles to side line.
3. In order to prevent a garment from droop­ ing, sloping lines must be cut off to the same length as corresponding straight lines.

When the pinafore pattern is understood, it can be adapted so that patterns of other gar­ments are formed from it. In the diagrams, the original pinafore pattern is usually shown by dotted lines.

The same pattern will serve for a princess petticoat or a chemise (without gathers). Either may be cut a little shorter in the skirt, and a very little narrower at the bust. The petticoat would be better cut with the back neck a little higher than the front neck, and either may have the sleeve cut quite short (fig. 2, cc), or may be arranged to fasten on the shoulders. See p. 136.

By cutting less out at the neck, both at the back and at the front, and making the sleeve as

Adaptation of pinafore to dress pattern, showing: (i) how to cut the neck higher at back (a) and front (5); (a) how to cut the armhole (cc) when a sleeve is to be added; (3) how to cut the yoke and sleeve (da) shown in fig. 4; (4) how to cut for a long bodice or a jumper (ee). long as possible, the pattern may be used for a simple dress for a little girl. If the distance from the line AB to the end of the sleeve is equal to the half bust, the sleeve will reach to just above the elbow. If a longer sleeve is necessary, but cannot be procured from the width of the

material, a simple sleeve may be joined in to an armhole cut just below the shoulder, as shown in figs. 2 and 3.

The top portion of the pattern may be used for a deep yoke with sleeves (fig. 4) for either dress or night-dress, the skirt being formed of two straight widths of material.

The pattern may be cut lower down (see fig. 2) to form a jumper or a long bodice into which a short straight skirt would be gathered. As the skirt fullness gives sufficient width at the knees, this pattern may be cut a little narrower at the sides.

Fig. 5 shows how to cut a little magyar dress to be gathered into a small square yoke. Gathers for a chemise would be allowed in a similar way, only the neck is round instead of square, since the gathers are confined by a straight band. When gathers are allowed at the middle of back and front, the side seams are often cut straighter to permit the garment to be cut out of a limited width of material, or to avoid the tendency to stretch which a sloping seam always has.

In using the pinafore pattern to develop the pattern of a night-dress or a dressing-gown

Fig. 5.—Magyar Dress with fullness to be fitted into Square Yoke
(a) Back neck line of yoke. (6) Front neck line of yoke. (?) Back
neck line of dress, (d) Front neck line of dress. — .. — .. — .. Optional line, to reduce the side slope.

a b ~ measurement for half armhole. a c — measurement for quarter bust.
style. Allow very easy measures of bust and armhole. Having marked off these distances by folds, as shown by the dotted lines in fig. 8, allow sufficient length for skirt and sleeve, and follow the same method in drawing out the pattern as in the pinafore shape.

A baby's neck is so little developed that very slight curves downward will be sufficient.

A magyar dressing-jacket may be similarly planned out, but for a blouse a little more shape is desirable. The method of cutting a blouse is shown on page 84.

THE BODICE PATTERN

Cutting out the pattern of a bodice is a long step in advance of cutting out a magyar shape. The magyar shape hangs rather loosely on the body, while in cutting a bodice a real attempt is made to follow the exact lines of the figure. A good beginning may be made by trying to fit a piece of soft paper or old cloth on an actual child. The slope of the shoulder and the curves of the armhole, which were taken no notice of previously, now become obvious. The differ­ences between the lines of the back and the lines of the front, particularly at the neck and armhole curves, must be noted. Since the untrained eye does not readily perceive these differences in merely looking at a figure, especially a figure whose lines are disguised by the clothing worn, the pupils should be encouraged to find out the true lines of the human figure by feeling, as well as by looking. By drawing the forefinger along the curve of the back neck, then the front neck, the difference is readily perceived. To carry this impression clearly to the eye, the lines just discovered should be traced by the finger, first on the body, then in the air, and then, however roughly, with a pencil on paper. The same may be done with the armhole curves. It is important to have these ideas fixed in the pupil's mind, for such knowledge is necessary, not only

Fig. i.—Child's Bodice Length = shoulder to front waist measure. Breadth = 1/2 bust measure + 1/2 in. Front neck width = 1/6of 1/2bust measure + 1/2in. Front neck depth = front neck width. Back neck width = 1/6 of 1/2 bust measure. Back neck depth = 1/4 to 1/3 front neck depth. Shoulder depth = 1/2 front neck depth. Shoulder width extends 1/2 in. beyond chest and back width. Armhole line = 1/2 of shoulder to waist length. Side seam at distance of 1/4 bust from middle back.

for the making of patterns, but for the correct fitting of any garment in future.

To plan out the bodice (fig. i), first find the length from the top of the shoulder to the front waist. This is the greatest length of the pattern.

Next, find the bust measure, very easily. Only half this measure is necessary for the pattern, but to the half bust is added \ in. (in children's garments) or I in. (for full-sized patterns), to allow plenty of room for breathing and expan­sion of the chest. In drafting out the pattern, this extra 1/2in. or 1 in. is added entirely to the front portion. For very little children the 1/2in. may be necessary at the waist, but not at the neck.

The sheet of paper out of which the pattern is cut must therefore measure:—Length = shoulder to waist length; width = half bust + 1/2or 1 in. This sheet is folded in two lengthways to find the armhole line. The width is folded in three equal parts (after deducting the extra 1/2 in. or 1 in.) to give width of back, armhole, and width of chest. Each calculation shown on the pattern should be verified by comparison with the actual figure.

This garment fits much more closely than those already described. It is therefore left open right down to the waist at either back or front.

If the back and front of the bodice are to be cut separately in material, a seam line must be drawn at a distance of quarter bust from the middle of the back. If preferred, a little may be sloped off towards the waist at each side of the seam. This is not necessary in garments for very little girls, which may often be cut all in one piece from a wide piece of material.

A camisole (fig. 2) for a grown-up figure requires but a few alterations of the pattern already described. The neck line is comparatively narrower, therefore may be made equal to half the width of chest or back, minus \ in. The shoulder points may extend f in. to 1 in. beyond the vertical folds. The line of the side seam should start at \ in. to 1 in. less than quarter bust measured from the

Breadth = 1/2bust measure + 1 in. Front neck width = 1/2 in. less than 1/6of 1/2bust measure + i in. Back neck width = 1/2in. less than 1/6of 1/2 bust measure. Shoulder slope extends 3/4 in. to 1 in. beyond chest and back lines.

middle back, and should be sloped in towards the waist according to the figure—say 11/2 in. to the back and 1 in. towards the front.

The waist line is not horizontal, but curves up about 1 in. from the front to the side line. The back waist may be horizontal, or it may be necessary to slope it up a little more towards the middle back.

This shaped line at the waist is partly due to the fact that the waist line is not actually a horizontal line, but is a little higher at the back than at the front, so that the waist line of any well-cut garment shows a curve downwards to the front. But the amount of waist curve depends largely on the fullness of the chest. It will be noticed that both in length and in width the front of the woman's bodice is larger in comparison with the back than the front of the child's. The pattern shown is suitable for a moderate figure, but a very full chested person would require both more front width and more curve at the waist in comparison with the back portion.

The pattern given makes a high-necked, plainly fitting camisole, but it can very readily be adapted to other styles. Fig. 3 shows how to lower the neck, narrow the shoulders, and allow for front hems, and for tucks both at back and front.

The blouse pattern (fig. 4) differs little from  the camisole pattern, and indeed, with careful handling, one may be made to serve the same purpose as the other.

Line a = 1/2 in. above line b. Line b =■ back neck line. Line c = back shoulder line. Line d = chest line. Line e = armhole or bust line. Line f = back waist line. Back neck width — 1/3back width. Front neck width = back neck width + 3/4 in. Front neck depth = front neck width. Back shoulder = 1/4in. beyond line of back width. Length of front shoulder = length of back shoulder along a line from front neck to back shoulder. Side seam; at 1/4bust – 1 in. and 1/2 in. above e; at f" = 1/4bust — 2 in. Front length from neck to waist to be measured from the wearer.

The bodice pattern is placed first, however, because it is somewhat simpler for children to understand, and there are fewer figures to remember. It is also rather more suitable for children's clothes, while the blouse pattern is better adapted to the adult figure.

The chief differences in the new pattern are: (i) the shoulder line is thrown farther back, especially at the armhole end; (2) the side line of the front portion is sloped outwards to give a fuller effect in front; (3) the neck and armhole lines fit very closely; (4) the measure of length is no longer the longest possible, but the back length from neck to waist.

The paper on which the pattern is to be drafted may be cut exactly so far as the width is con­cerned, i.e. half bust measure + 1 in. The length, however, should be left indefinite at first, but sufficiently long, since the measure of length used is only a portion of the whole length re­quired. The width of the paper should be folded in three equal parts, after folding in the extra 1 in. The space from back neck to back waist should be folded in two to find the armhole line, the upper half folded in two again to find the chest line, and again the upper portion folded in two to find the back shoulder line (fig. 4).

A blouse may be made quite plainly from the above pattern. If tucks are desired, it is best to tuck the material first, and then use the pattern to cut out the blouse. If fullness is to be gathered in, however, it is usually necessary to make some alteration on the pattern. Fullness to be set into a straight yoke at back or front requires merely an extension of the width of the blouse (fig. 5), but fullness to be set into a sloping yoke necessitates a change of the

Fig. 5.—How to allow fullness for a Blouse with Yoke  extension of blouse for straight yoke. Extension of blouse for pointed yoke. — - — shape of pointed yoke.

sloping line of the blouse. The diagram (fig. 6) shows how to widen the shoulder line without altering the length of the blouse. The points to be changed are moved out in a horizontal direc­tion. Fig. 8 shows how to extend for a round yoke.

A yoke effect may be given to the front of a blouse without using an actual yoke. A piece

The shaded portion shows the yoke portion removed from the front . and added to the back. The front portion of the blouse is widened for gathering into the yoke.

of the front shoulder is cut away to the depth desired for the yoke, and this yoke-shaped piece is added to the back shoulder so that there is no shoulder seam (fig. 6).

A magyar or raglan blouse is adapted from the pattern of the plain blouse, and is made more loosely fitting in all its lines (fig. 9).

The back and front portions of the plain blouse pattern are laid on a fresh sheet of paper with the shoulder lines touching each other at the neck point, but separated by about 11/2in. at the arm-hole points. Each of the side lines is widened by about I in., and the waist lines deepened a little, then the two side lines are joined by a guiding line representing an easy armhole measure. Through the middle of this guiding line, a line round the bent elbow, the width of the sleeve being the measure round the arm at the bent

is drawn at right angles. This line forms the middle line of the sleeve. The length of the sleeve is measured from the neck to the wrist, elbow. The sleeve and side lines are joined up by a curved under-arm line.

The curve of the wrist requires alteration on account of the change of position of the sleeve seam. In an ordinary sleeve, this seam is brought well round to the front of the arm, but a magyar sleeve seam is placed under the armpit. Accordingly, the most hollow part of the wrist curve is brought round towards the front.

These arrangements complete a magyar blouse, that is, a blouse in one piece. To give the pattern known as raglan, a line is drawn from the curve
of the under arm to the neck both at back and front, so that the sleeve and shoulder form one portion cut separately from the back and front.

This line may be placed in different positions according to taste, forming various yoke patterns (fig. 10). The front of the blouse is usually cut a little full, and gathered into the yoke or the shoulder portion of the sleeve. The fullness is allowed for as already described.

THE SLEEVE PATTERN

The Sleeve Pattern

The simplest and most useful form of sleeve to begin with is the plain sleeve with one seam as usually cut for a blouse or night-dress. A sleeve with two seams is seldom now required except for coats. A very simple sleeve may already have been used to lengthen the magyar patterns, a style that also suits quite well for infants' garments, but an ordinary sleeve fits from the top of the shoulder to the wrist.

The measures required are:

1. Longest length measure = from back of shoulder to wrist, measured round the bent elbow.
2. Widest part of sleeve = armhole measure (measured exactly).

The evolution of a sleeve pattern can easily be shown by pinning an oblong of paper into a cylinder, and slipping it on the arm. It becomes obvious that something must be cut away under the arm, in order that the paper may reach comfortably to the top of the shoulder. It is also seen that the wrist line must be narrower than the armhole line, but a blouse sleeve usually has some fullness gathered into a band. The experiment shows the two main portions of a sleeve—a long arm portion with little shaping, and a much smaller shoulder portion, which is much shaped.

The important new principle brought out in the lesson on cutting sleeves is the necessity for making large allowance for the motion of the limbs. Because of this allowance, some of the measurements of the sleeve do not corre­spond with the actual measurements of the arm itself. For the shoulder, a quarter of the whole length is allowed (figs. i and 2). The shoulder does not really measure a quarter of the arm length, but part of this amount permits the bending of the elbow, which cannot be allowed for where it actually occurs. At the wrist again, where a horizontal line might be expected, a curve is drawn, which can easily be shown to allow for the elbow bend by slipping on the sleeve and bending the elbow, when the curve is seen to draw back.

Similarly, free motion is allowed for in the width. The armhole measure, instead of the width of the arm itself, gives the width of the sleeve; the wrist, which measures only about half the width of the upper part of the arm, has three-quarters of the width of the sleeve allowed it. The width to which the wrist line may be reduced is decided by the bend of the elbow.

If  the narrowest possible sleeve is desired, measure around the arm at the bent elbow, and let the width of the sleeve be marked accordingly at the elbow length on the pattern (fig. 2). The line from the armhole through this point must be continued smoothly to the wrist.

The peculiar changing curve of the shoulder por­tion requires ex­planation. The middle crease divides the sleeve into two portions. On one side of the line the curve is convex, represent­ing the upper por­tion of the sleeve which Covers theshoulder-joint.

On the other side the curve becomes concave, representing the under-sleeve, or the portion which slips under the arm-pit. The seam of this sleeve is never placed right under the arm, but always a few inches in front of the bodice seam.

The two side lines of the sleeve should be exactly alike, so that they may be smoothly joined together.

Variations in the Sleeve Pattern

1. If a band is to be added at the wrist, the depth of the band should be deducted from the sleeve pattern after draft­ing.
2. In a very narrow sleeve one-quarter of the whole length may be found too much for the shoulder height. The excess should be curved off.

1. Sometimes a child's sleeve or a night-dress sleeve is gathered so as to
   form a frill at the wrist. In that case, the side lines should be widened a little towards the wrist, as in fig 3.
2. A short sleeve for underclothing is cut much flatter at the shoulder, since there is no question of the elbow bend. See fig. 4.

1. In order to avoid gathers at the wrist, a back seam may be made from elbow to wrist (fig. 4). The side lines of the sleeve should be widened a little towards the wrist to avoid a dragged appear­ ance. The seam
   should not  be half-way across the sleeve, but nearer to the under side. The wrist line may re­quire lengthening. This back seam may be continued
   upwards to the shoulder line, thus dividing the sleeve into two portions.

Note.—This style of sleeve is very useful for simple dresses, but any faulty arrangement of the seams will give a puckered appearance between the elbow and the wrist. The amateur worker may avoid this by cutting a sleeve as in fig. 3, pinning it together, and trying it on. When the elbow is bent, the position of the seams can be easily discovered, and may be marked out by lines of pins.

6. If a specially full sleeve is wanted, the pattern of ordinary width may be cut up and separated to the necessary width. The shoulder and wrist lines must be joined up smoothly (fig 5). This is a safer method than planning a new pattern; since, however full a sleeve may become, the under-arm curve remains plain.

THE SKIRT PATTERN

The Skirt Pattern

The essential principle in cutting a skirtis to make the seams at right angles to the waist and bottom lines, so that they will appear verti­cal when the skirt is worn. As a rule, the skirt should be at an equal distance from the ground all the way round, and the seams ought to be at fairly equal distances apart, but these matters are largely regulated by fashion.

The skirt of a child's dress or petticoat is usually made of one or two straight widths of material, merely gathered or pleated to fit a band or bodice. A woman's skirt is some­times made in the same way, if the material is very thin, and if the prevailing fashion admits of so much fullness. As a rule, however, women's skirts and underskirts are shaped or gored, and the point to be noted here is that the hip measure is the important measure in a closely fitting skirt. It is here that allowance must be made for freedom of motion, and the waist and bottom edges must be accommodated to the correct hip measure. The wider the skirt is at the bottom, the narrower the waist line tends to be, and the narrower the bottom edge, the wider (before darts are made) will be the waist line. Also, the more the lines of the skirt pattern slope out, the deeper will be the curve of the waist and bottom lines. This must be so to preserve the correct angle at the junc­tion of the seam lines with the waist and bottom lines. (Compare figs. 3 and 4.)

In cutting an underskirt, especially for school work, economy of the material often takes pre­cedence of style. The first pattern shown, there­fore, while giving correct lines, aims also at getting the best value out of a piece of material. It makes a skirt rather full at the waist, but that is easily regulated by the use of darts, pleats, and draw-strings (fig. 1).

There is no need to use a paper pattern for such a simple garment, although girls may be justified in experimenting first on a piece of paper. For a more experienced worker it is sufficient to fold the cloth right away, so as to develop the pattern. In cutting an underskirt or a child's skirt, it is usually quite satis factory to measure the same length all round the skirt.

The side seams are curved off gradually to

Fig. 1.—An Underskirt cut from two folded widths of 30-in. Material
AB = 3-4 inches; CD = twice AB, alternative line for front; EF =
½ width of folded material.

reduce the width at the waist, but these curves would not be made if the whole underskirt were to be gathered.

Very slight curves are required at the waist line, to avoid angularity, and the sloping lines are cut off to the same length as the straight ones. If wider material is used, one width may be cut up as shown for front and gores, but less than a width must be used for the back. Three-quarters of a width would be quite enough if the material were 36 in. wide, and half a width if it measured 40 in. In cutting a dress skirtmore attention is given to style and less to economy of material. If the prevailing fashion admits of fullness at the waist, a very simple and economical skirt can be made by sloping a little off each side of two widths of ma­terial, and curving the waist and bottom edges a little to correspond (fig. 2). This makes a skirt with two seams only—one at each side. For other skirts, it is best to make a pattern in one piece, i.e. from middle front to middle back. This pattern, when correctly fitted, forms the foundation for various styles of skirts, the seams being placed according to taste, so long as the rule stated at the beginning is adhered to— viz. that the seams must appear at right angles to the waist and bottom lines.

Diagrams are given showing the cutting of narrow (fig. 3) and wide (fig. 4) skirts for an average woman's size. It will be easily seen that while the width of the waist line decreases, the depth of the curve increases. The narrow skirt is rather less than 2 yd. round the

Fig. 2.—Simple two-piece Skirt, cut from two widths of Material
— line of back gore, line of (narrower) front gore,
— • length of skirt below which material is allowed for hem.
^ It times half waist
Fig. 3.—Narrow Skirt

Measure across from A 11/2 times half waist measure, and down 3 in. Draw in the waist curve, which rises only 1 in. from front to side. Draw in the hip line 7 or 8 in. below waist line, and mark off on it 1/2 hip measure + 11/2 in. Draw the back line of skirt. Half-way between front and back lines mark a side line, and mark off on it the side length required. Draw in smoothly the bottom curve.

bottom, the wide one nearly 3 yd. Much depends on the relative proportions of waist and hip. In the diagrams, the average waist is taken as 26 in., the hip measure being 42 in., but, if the difference between the two is greater, the skirt pattern will always tend to turn out wider. The length also must be taken into account. A longer skirt would be wider round the bottom, a shorter one narrower; but it must be remembered that a bottom width that would appear narrow on a tall figure would seem wide on a short one, because the lines of length would slope out more. If the principle of skirt-cutting is once grasped, all sorts of variations can be made by varying the width at the waist, and the depth of the curve. In cutting a woman's skirt, it is best to take measures of length at the middle front, the middle back, and the side. These measures should be taken from waist to ground, and reduced by the number of inches above the ground the skirt is intended to reach. This helps to keep the skirt at an even distance from the ground all the way round.

The following calculations hold good for the average figure described above, but modifications would have to be made for particularly slight or for particularly stout figures. To find the waist curve: Fora narrow skirt—

Measure across 1/2waist + 1/2of 1/2 waist. Measure down about 3 in.

THE DRAWERS PATTERN

The pattern of drawers or knickers is not at all difficult to remember, but it is more diffi­cult than the other types of garments to work out ex­perimentally. To some extent it can be com­pared with the sleeve type. Both are garments to cover the limbs, and full allowance must be made for the motion of the joints. But the joints which chiefly regulate the pattern in the two cases are not corresponding joints, and the garment for the lower limbs covers a portion of the body as well as the limbs.

Width = 11/3 to 11/4 times length. Leg = 1/3 of total length. Opening = nearly half the length of the garment.

This garment certainly provides a good but also a difficult lesson in making allowances The two measures necessary for the con­struction of the pattern are the greatest length and the greatest width. The greatest length can be found by measuring from back waist
found that the half hip measure is insufficient for the width of one leg. If half as much again is added to the hip measure before dividing it by 2, it will be found a very reliable measure. There

to knee with the leg bent at the hip-joint, so that room may be allowed for free motion. The greatest width is not so easily found, since no actual part of the body really represents it. Hip measure, already mentioned in connec­tion with skirt - cutting, is the most useful measure, but while it obviously represents a measurement for a pair of legs, it is quickly

is also a well established rule that for a child's drawers the width should be 11/2 times the length; for a girl's 11/3 to 11/4 times, and for a woman's 11/6 times or less. This latter calculation always ensures plenty of width, so that by using the two methods of measuring to check each other, a pretty accurate estimate of the width should be arrived at (figs, 1, 2, and 3).

The garment obviously divides itself into two portions—the body and the leg. In a girl's garment, the body is usually found to occupy about 2/3 of the length, but in a woman's, the leg is nearly 1/2instead of 1/3of the whole length, while in a little child's garment 1/4is sufficient to allow for the leg. The width of the leg depends a good deal on its length. When the leg is short, it is also wide, or else the curve would be awkward, and would cause the garment to wear out quickly. The width allowed for the leg also depends partly on whether it is to be gathered into a band or left plain.

The slope of the waist line is usually equal to about \ of the whole length, and the dif­ference between the front and back lines is explained by the necessity of leaving room for bending.

Closed knickers may be cut as in fig. 3, using the dotted lines, and adding a circular band, p. 96. The style shown in fig. 4 makes a very neatly-fitting garment.

PATTERNS OF SMALL SECTIONS OF GARMENTS

Yoke

A yoke is the shoulder portion of a garment, originally intended to form a strong support for the remainder of the garment, now usually employed for ornament, the plainness of the yoke forming a contrast with the fullness of the rest of the garment.

A yoke can be formed from the upper part of the bodice pattern as shown on page 82, and may have the shoulder seam as in the bodice; or may be combined so as to avoid a seam. This latter method gives a saddle yoke.

Although the saddle yoke, when once correctly cut, is a very convenient form of yoke, it must be very accurately fitted, as, once cut, it scarcely admits of alteration. A yoke with shoulder seams, on the other hand, admits of alteration at these seams.

An American yoke is cut like a saddle yoke, but the front section is not equal in depth to the back one, being cut almost parallel to the shoulder line, and about 1 or 2 in. in front of it.

A quick and convenient way of cutting a yoke for night-dresses, overalls, and other very loosely fitting garments, is shown (figs. 1, 2, and 3). It shows little difference between back and front except in the depth of the neck curve, and there-

Square of paper, with length of side = chest measure. Fold in four each way. Shoulder line folded from 3/4 section up to 21/4 sections up from edge of paper; 1/2 chest width = 1/2 width of paper; neck width = 1/2 of chest width. Fold by the shoulder line, and cut back and front together at bottom edge and at armhole. Draw in back neck about 1/3 depth of front neck and back edge of yoke 1/2 in. wider than front neck, if for a back fastening.

fore is not so suit­able for a garment in­tended to be closely fitting.

All these yokes may be altered in shape at the bottom edge, so long as the remainder of the garment is shaped to match the yoke. Alterations for a round and for a pointed yoke are shown in Chap. V, figs. 5, 7, and 8, pp. 82 and 83.

Circular Band or Basque for Camisole or Blouse

The same shape serves for both of these, since they fit the same part of the body, but while a little fullness at the lower edge may be permitted in a basque, a band into which a garment is to be set should fit as neatly as possible.
Fig1. 3.—Cutting1 a Yoke with Front Fastening's Begin with back measurements, and make front a little wider.

Strictly speaking, a circular band has a waist line exactly semicircular, and this pattern suits some figures, but is too full for most present-day figures. It is certainly the simplest way to cut a shaped band, since the only calculation required is the length of the waist line. One third of the waist line will give a radius which must produce

a semicircle equal to the whole waist line. A parallel line gives the bottom edge of the band, which is, on an average, 4 in. deep (fig. 4).

Only a quarter circle need be drawn, forming half the band.

If the first method gives a shape too much rounded, a larger radius may be chosen, say 2 in. more than 1/3 of the waist line. A larger quarter circle will thus be produced, and the necessary length of band may be cut off from it.

The back and front lines must always be at right angles to the waist and bottom lines (fig. 5). 3 locust + z inches A still flatter basque may be produced by changing the circle into an ellipse. This shape is more suited to some figures, but it is not so easily shaped, as the formation of a good elliptical waist line must depend on the eye of the cutter.

A full waist measure should be taken, as this pattern is apt to turn out a little narrower than it

should be. In one direction measure along the edge of the paper 1/3of the waist line, in the other direction measure the same distance, then measure from that point 2 in. out and 2 in. down (fig. 6).

Draw carefully the quarter ellipse, taking care that no part of the line is either too flat or too much curved.

Draw a line parallel to the waist line for the bottom edge, and draw the vertical line for the end of the band at right angles to the waist and bottom lines.

All alterations on the depth of a band or basque must be made at the lower edge.

Collars

There are two extremes in the cutting of collars. The collar may be cut so as to stand upright round the neck, or it may be cut so as to lie flat on the shoulders. Between these two extremes there is room for innumer­able variations, but the principle of cutting is simple: the straighter the neck line of the collar is, the more it tends to stand up; the rounder the neck line is, the more the collar lies down.

Lying-down Collar

Place the back and front bodice patterns together on a fresh sheet of paper, with the shoulder lines touching at the neck end but overlapping each other by about 1 in. at the armhole end. This makes the collar fit more tightly round the neck.

Trace on the fresh sheet the neck line, the middle back line, and the middle front line, and part of the armhole line, to prevent the collar from becoming too wide. The outer edge of the collar may now be drawn as desired (fig- 7)- The neck edge of the collar should always be a little tighter than the neck line of the garment, or the collar will not set well.

The neck line of the garment may be altered from the usual round shape, forming a V shape at the front. The sailor collar and other

similar collars are suited to this style (fig. 8).

Standing-up Collar-band and Collar

Draw a line to represent half the width of the collar (fig. 9). At the front end measure up about ½ in., and draw from that point a curve running into

on a human or a lay figure, and all new patterns of collars should be tried on before being used. In trying on patterns of collars, it is better to use remnants of cloth rather than paper, which does not so readily fall into position, and the whole of the collar should be cut out for this purpose. How the collar fits at the back of the neck cannot be well judged from using only the half.

The straight line forms the neck edge, therefore the collar rises at the back to half its height. Length of neck edge = neck width -f- a few inches. A different style of collar may be obtained by making the curved line the neck edge.

Cuffs

Cuffs for a blouse or child's frock usually consist only of straight bands. This is quite satisfactory if the cuff is not very deep. If a really deep cuff is wanted, it should be made to fit the arm better.

When a properly fitting cuff is wanted, the width of the arm may be measured at the top of the cuff and at the wrist, but to each measure enough must be added to allow free motion. If the cuff is to be closed, the measure for the width at the wrist is taken from the closed hand. A smaller measure will suffice if the cuff is made to fasten round the wrist.
The side lines now being sloped, the top and bottom lines of the cuff must be curved (on the same principle as has already’ been discussed in the making of other patterns). The curves must begin and end at right angles to the side lines (fig. 13). The more sloped the side lines, the more curved will the other lines be.

A turn-back cuff is cut out in a similar way. Both top and wrist lines of the cuff may be shaped according to fancy after the first calcula­tions have been properly made.

PATTERNS OF GARMENTS MADE BY COMBINING VARIOUS TYPES

Patterns are sometimes very simply combined by taking the different patterns just as they stand and using them to form one garment, as in the case of a blouse, where the bodice and the sleeve are both required to form the complete pattern. The bodice is also used along with knickers or petticoat patterns, to form combination gar­ments known as cami-knickers and cami-petti-coat. Bodice, skirt, and sleeve are all required in the production of a girl's or woman's dress.

In most cases, however, adaptation as well as combination is required.

A princess petticoat (fig. i) can be shaped by a simple expansion of the bodice pattern. The pattern is placed on the new material at an angle to the selvedge line, so as to allow a little more fullness from bust to waist than in the case of a bodice or camisole. The pattern may be sloped away from the vertical line not more than 1 in. at the waist in children's, and 11/2 in. in women's garments. The under-arm point, however, should remain at the level at which it would have been if the pattern had not been tilted round.

The width desired at the bottom and the Fig. 1 – Princess Petticoat Pattern made for the Bodice Pattern. length of the garment having been decided.  Allowance made at back for opening.

the side line is drawn in, and the bottom line curved up to meet it so as to avoid droop­ing at the sides. In a child's garment, the side lines should be quite straight from armhole to bottom hem, but in a petticoat for a big girl or a woman the line of the bodice seam may be followed as far as the waist, and a straight line drawn from waist to bottom hem. The angle at the waist must be softened by a curve.

Allowance should be made either at front or back for finish­ing the opening without narrow­ing the garment. The neck line may be cut high or low. Instead of allowing for an opening, the garment may be fastened on the shoulders.

By lengthening and widening the bodice pattern as indicated already for princess petticoats, a night-dress without yoke(fig. 2) can be planned. The whole gar­ment should be very easy fitting, therefore the bodice pattern is placed at an angle to the fold of

the material, and the armhole is both deepened and widened. A sleeve which is pretty wide will be required. About 2 in. may be added to the armhole measure in calculating the width of the sleeve.

Precisely the same arrange­ment of patterns would give an overall or dressing-gown, but these garments would be cut open all the way down the front (or, if preferred, down the back, for an overall).

The same arrangement will give the pattern of a perfectly simple coat frock, or a child's frock, only the armhole must be kept rather smaller than in the case of the previous gar­ments, and the neck must be kept high.

A very neatly fitting princess petticoat for a woman (fig. 3), or an under slip for a thin dress, may be made by cutting the garment with more seams, and fitting in the parts more closely at the waist.

The front bodice pattern is divided in two by a slightly curved line from the middle of the shoulder to within 3 or 4 in. of the middle line at the waist. This section is continued by the front section of the petticoat pattern (fig. 3 a).

The other front section is narrowed so that it really fits the waist, and is completed by the side gore of the petticoat (fig. 3d).

The back bodice is also neatened until it measures about £ waist, and to it is joined the back section of the petticoat, the sloped edge being placed at the middle of the back so as to distribute the fullness of the garment (fig. 3 c).

In planning the side and back portions, care is required in drawing the necessary curves below the waist. The hip measure must be tested before the pattern is cut out, lest the curves may not be full enough.

This method of cutting may be used to make the pattern of a paneled dress for a girl or a woman. In a dress, the back may be paneled as well as the front. The dividing line for the back would be cut from the middle of the shoulder to within 2 or 3 in. of the middle line at back waist. The side pieces of a dress need not (especially in a girl's dress) be fitted in so closely at the waist, and the lines forming the side seam would be carried straight from the armhole to the bottom edge of the skirt.

Yoked Garments

The saddle yoke already shown on page 95 may be used for night-dresses, overalls, and dressing-gowns.

If a very neatly fitting yoke is required, it is safer to form it from the upper portion of the bodice pattern, fitting it well at the shoulder seams.
For the remainder of the garment, a more or less straight skirt is sufficient, the armhole curves being completed in this portion of the garment. This skirt is gathered, pleated, or smocked into the yoke.

For a child's overall, use two straight widths of material. Cut out the under-arm curve so as to give a good appearance, and sufficient width at the armhole.

For instance, if an armhole of 14 in. is required, and 7 in. is already supplied by the yoke, then the curve at each side of the skirt must measure about 31/2 in. The breadth of this curve is seldom more, but may be less, than 2 in. in a child's garment, therefore its depth would be about 21/2 in.

In a woman's garment, the width of the under­arm curve may be from 21/2 to 3 in., and the depth would, of course, depend on the depth of the yoke.
Whenever the bottom width of a garment is so great as to make it awkward to arrange the fullness in the yoke, the side lines are sloped off a little before the under-arm curve is cut (fig. 4).

Suppose half the width of the yoke measures 7 in., and half the width of material 18 in. There would be a plain piece of about 1 \ in. at either end of the yoke, and the armhole curve would

occupy 2 ½in. That leaves 14 in. to be set into 5½ in., that is the half yoke minus the 1½ in. to be left plain. Now 11 in. is quite enough to gather into 5½ in., therefore 3 in. may be sloped off from the top of the skirt at each side. When the material is rather narrow, this sloping off or goring may be used to give more width at the bottom of the skirt by cutting a sloping piece off one side, turning it upside down, and joining it to the other side (fig. 5).

Combinations

The garment known as combinations is made by combining the bodice with the drawers pattern. The front bodice and the leg portions are joined in one piece, but the back bodice forms a section by itself, joined to the other portions by seams. In patterns where the back bodice is joined in one with the front and leg portions, it is usually found that, between the bodice and the back leg, there is not sufficient allowance for free movement, espe­cially bending.

In placing the bodice and the leg portion so as to evolve the combined pattern, the correct arrangement with regard to the selvedge way of material should be observed. The middle front line of the bodice and the middle line of the leg are both selvedge lines when the garments are cut separ­ately, and should therefore be placed parallel with each other when planning the new pattern. The side line of the bodice should be placed just

above the side line of the knickers. The waist and front lines of the two patterns may not exactly coincide, but can very easily be accom­modated to each other. If the camisole front is widened by 1/2to 3/4 in., it will be sufficient after­wards to allow turnings of 1/4in. all round the pattern.

In order to avoid bulk at the back waist, lower the waist line of the knickers (at the back) by about 3 to 4 in., and curve slightly outwards the side line of the front bodice below the waist.

The back of woman's combinations should be neatened in a little towards the waist to avoid bulkiness. As much as 1 or 11/4in. may be sloped in at the back waist. A basque depth must be added equal to the number of inches deducted from the back waist of the drawers, and the line of the side seam must exactly corre­spond in length with the side line of the front bodice.

The garment may be cut lower at the neck, if desired; side openings may be cut as for closed knickers, and a short sleeve may be added.

A child's sleeping suit(fig. 8) may be cut after the same manner. It should have side openings, and it may open down the front or down the back bodice. If down the back, then the back must be cut wide enough to allow of hems and overlapping.

The chief difference is in the length of the leg, which must be extended until it is long enough to reach to the ankle. If it is not to be gathered into a band at the ankle, it must be gradually narrowed to a comfortable width.

Fig. 8.—Child's Sleeping Suit Dotted lines indicate the original bodice and drawers patterns. Allowance for overlapping and fastening shown at back.

Pajamas for girls or boys usually consist of two separate garments—jacket (or jumper) and trousers.

The trousers (fig. 9) are shaped from the drawers pattern, reduced slightly in width if necessary, and with the legs cut long enough to reach the ankle. The body part should be slightly lengthened.

should be narrow at the wrist, so as to avoid gathering into a band. A sleeve with two seams

The jacket or jumper (fig. 10) is merely an ex­panded blouse pattern, and the blouse sleeve

Fig. 10.—Pajama Jacket adapted from Blouse Pattern (no turnings shown)  may be used, or a sleeve with a back seam from elbow to wrist only, or merely a plain sleeve narrowed as much as possible towards the wrist.

ALTERATION OF PATTERNS

Sometimes a pattern is found to be just a little too large or a little too small. The pattern may still be used provided proportionate additions or reductions are made on its various parts. This is easily done if the original pattern has been drafted according to a definite system of proportions. If not, it is necessary first of all to find out roughly in what proportion the parts stand to each other.

Illustrations will be given of the enlargement or reduction of the typical patterns.

If the pattern is in every way too large or too small, both length and width require alteration, but in many cases width only or length only must be changed, and sometimes only a particular section of length or width requires alteration.

Magyar Pinafore or Dress

Suppose it is desired to add 2 in. to the length. Observe that the pattern divides itself in two portions at the armhole line. The portion above the line forms a quarter of the whole length, therefore a quarter of the 2 in., i.e. 1/2in.

.—Enlargement of Magyar Pinafore must be added to it, and three-quarters of the 2 in., i.e. 11/2in. added to the skirt (fig. 1).
To keep the garment in accordance with the average proportions, something should be added to the width. One inch extra bust measurement would be sufficient to balance 2 in. extra length, therefore it would be sufficient to add 1/4in. to the width of the quarter garment. This may be added to the middle front or back, but care must be taken that the shape of the neck has not been spoiled by the altera­tion.

After these changes have been arranged, hems and seams must be allowed for as usual.

To reduce the pattern, simply reverse this process. Fold up tucks or turn in the edges so as to reduce the upper portion by a quarter and the skirt by three-quarters of the difference required (fig. 2).

As the magyar pat­tern is very loose fit­ting, it may be suffi­cient to shorten or lengthen the skirt without changing the other lines.

Bodice Pattern

As the bodice length divides into two equal portions at the arm-hole line, an equal amount should be added to or deducted from the pattern at neck and waist, unless the garment is intended for a particularly long-wasted or short-wasted person, when the alteration would be made at the waist only.

Of the difference required on the bust measure, rather more than half would be made on the front portions of the bodice. The alteration

Fig- 3-—Proportionate Enlargement of the Bodice Pattern

may be made partly at the middle front or back, and partly at the side seam, provided the shoulder seam is lengthened or shortened a little at either end to preserve its correct relation to the rest of the bodice (fig. 3).

In dealing with the bodice pattern for an adult, however, it is quite probable that the alteration in width depends on the chest de­velopment, and that no alteration is necessary at the side seams, but only at the middle

back and front, particularly at the front (fig. 5). In making these alterations, care must be taken that the neck retains the correct size and shape.

Sleeve

As the sleeve is divided into two portions of length, the shoulder forming about a quarter of the whole length, the shoulder portion will have to be lengthened or shortened by one-

Fig. 7.—Reduction of Sleeve Pattern

quarter of the difference required, and the arm portion by three-quarters (fig. 6). As a differ­ence in the length of the arm does not always mean a corresponding difference in the width of the armhole, it will often be necessary to alter the length of the arm portion without changing the shoulder line at all (fig. 7). The width may be increased by adding a little at each side, but it is a better plan to slit up the sleeve and separate the parts as shown on p. 87.

To narrow the sleeve, a tuck may be folded down its length at the upper side of the sleeve, and the shoulder curve cut carefully to avoid angularity (fig. 7).

Skirt

Itis usually sufficient to add to or deduct from the bottom of a skirt, since a person who requires more length can probably stand the extra width that would be produced. If, however, it is desirable to keep the same width at the bottom of the skirt, each portion of the pattern should be cut across and separated to give the necessary increase in length, or folded up to reduce the length (figs. 8 and 9).

A fold along the selvedge way will alter the width without changing the slope of the seam. To widen the skirt, the fold would be made on the cloth; to narrow it, on the paper pattern.

In the skirt shown, a slight alteration in width may be made on each portion, or the whole difference may be made on the side gore.

Drawers

Proportionate reductions or additions must be made on body and leg portions. For example, in altering a pattern for girl's drawers, add twice as much to the body as to leg, unless it

appears that the leg is the portion which specially requires alteration. To increase the width, it is best to slit up the pattern along the middle line and separate it; to reduce the width, make a fold down the middle.

These alterations are made where the shape is least affected by them (fig. io).

Fig:, n-—Enlargement or Reduction of Circular Band
Circular Band

A circular band may be altered at the bottom edge and the middle back or front (fig. n).

Yoke

A yoke may be altered at the lower edge and at the armhole, care being taken that the neck is not thrown out of proportion (fig. 12).

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