Department of Dressmaking

W OM ANS
IM3TIT
oPDOMEc5TIC
AKE5 SCIENCES INC.

IN5TRUCTION PAPER-,
C TW i^ft EXAMINATION QUE5T10N5

Pattern Drafting
By M ary Brooks Picken

2—3

WOMANS INSTITUTE
©^DOMESTIC ART<5 &> <5CIENCE5, Lnc.
SCRANTON, PA.
 ADVICE TO THE STUDENT
Study a few pages at a time and in consecutive order. Pay
particular attention to the definitions; a correct understanding of
them is essential. If you do not understand any of the statements
or if you meet with difficulties of any kind, write to us for assistance.
It is our desire to aid you in every way possible. '
After you have studied the entire Section, review the whole sub­
ject, then write your answers to the Examination Questions at thirend
of this Paper. All that is necessary is to give the answers and write
in front of each the number of the question to which it refers.
W o m a n 's I n s t it u t e of D o m e s t ic A rts a n d S c ie n c e s , I n c .

CONTENTS
Page
Introduction ................................................. 1
The Making of Drafts................................ 2
Lines Used in Pattern Drafting............... 2
The Picken Square ..................................... 5
Taking Measurements ............................... 11
Average Proportion of Measurements... 21
Drafts and Drafting ................................... 22
Drafting Materials and T erm s................. 23
Drafting a Foundation W aist................... 24
Drafting a One-Piece Foundation Sleeve 37
Drafting a Collar and a Cuff..................... 39
Drafting a Shirtwaist Sleeve..................... 40
Regulating the Fulness of Sleeves............ 41

Copyright, 1915, by In tern a tio n a l E d u c a t i o n a l P u b lish in g C om p an y. Copyright in

Great Britain. All rights reserved
 PATTERN DRAFTING
IN TR O D U C T IO N
1. Although in dressmaking a knowledge of how to make seams
and stitches is very important, it is only preliminary. Following
closely is the work of drafting and making p a tte rn s , which are used
as models or guides in cutting out materials to be made up into
wearing apparel. To be able to make a pattern requires a knowledge
of p a tte rn d ra ftin g , which in connection with dressmaking means
the laying out and drawing of lines so as to form a draft, which when
properly cut apart is a pattern.
To be able to draft a pattern does not necessarily mean that a
person must know how to draw, for with pencil and paper, a smooth,
flat surface, and a special dressmaker and tailor’s square such work
is quickly accomplished. However, it is essential to have a good
idea of the lines of the human form, for closely allied with pattern
drafting is the taking of measures; indeed, these points are so closely
related that one depends on the other. Such knowledge is valuable,
too, in designing, cutting, and fitting and all operations to be learned
in dressmaking.
2. The system of pattern drafting taught in these lessons is such
that it adapts itself admirably to all of Dame Fashion’s changes.
It is the outcome of much thought, time, and experience, and it is
both simple and practical. The value of individual patterns such
as are made according to the system here taught can scarcely be
estimated. They are not only economical in their first cost, but they
make it possible to get accurate lines and thus help to save material
as well as time in cutting, in fitting, and in making alterations.
3. The purpose of this Section, then, as will be evident, is to give
instructions in the making of drafts, which go to form the patterns
used in dressmaking. The matter is presented in logical order.
C O P Y R I G H T E D BY I N T E R N A T I O N A L E D U C A T I O N A L P U B L I S H I N G C O M P A N Y . ALL RI G H TS R E S E R V E D

§2
A3—3
 2 PATTERN DRAFTING §2

First, the dressmaker and tailor's square—the Pickcn square—and

all necessary information for a complete understanding of it are con­
sidered; then the taking of measurements is minutely explained;
and, finally, the drafts are taken up. Some of the first drafts given
in these lessons are foundation drafts and are soon mastered. All
drafts are dealt with carefully, so that the beginner will receive the
benefit of criticism before proceeding to use them in cutting out mate­
rial, directions for this operation being given in the Section following.
As in the preceding lesson, it is advisable to pay close attention
to both the text and the illustrations. Carefulness and ambition to
master the points that seem hard, as well as practice in carrying out
ideas, are always required of the beginner in dressmaking.

T H E M A K IN G OF D R A FT S

LINES USED IN PATTERN DRAFTING

4 . Before entering into a description of the Picken square, it is

necessary to define the lines used in connection with dressmaking,
as well as the terms relating to them, so th at when they are encoun­
tered later in explanations of the square and directions for making
pattern drafts the beginner will have a clear understanding of them.
5. Lines in connection with this work are known according to the
direction in which they run and the shape they assume, as straight
and curved, parallel, horizontal, vertical, and diagonal, and according
to the manner in which they are made, as the light full Hue, the heavy
full line, the dotted line, the broken line, and the broken-and~dotted line.
6. A s tr a ig h t lin e is a line th at extends uniformly in one
direction, while a curved lin e is one th at is continuously bent so
that no part of it is straight.
______________________Parallel lin es, Fig. 1, are lines that lie in
_________________the same plane and n e v e r _____ __________
Fig-1 meet, no m atter how far F . 2
ig

they are produced. Any two parallel lines have the same direction
and are everywhere equally distant from each other.
A h o rizo n tal lin e, as shown in Fig. 2, is a line parallel to the
horizon or to the surface of still water.
§2 PATTERN DRAFTING 3

A v ertic a l line, as shown in Fig. 3, is a line perpendicular to a

horizontal line or the opposite of a horizontal line.

F ig. 3

A vertical line that meets a horizontal line at any point is said to

form a rig lit angle. Fig. 4 shows a horizontal line joined at right
angles to a vertical line.
By a diagonal lin e in pattern drafting is meant simply a straight
line that is neither vertical nor horizontal; that is, a slanting line.
All lines marked a in Fig. 5 may be considered as diagonal lines.
By a p arallelo g ram , Fig. 6, is meant any ----------------------------
four-sided figure whose opposite sides are par­
allel and equal. The lines forming it may be
horizontal and vertical, horizontal and diag­
onal, or vertical and diagonal, but in any case ----------------------------
the opposite sides must be equal and parallel. FlG*6
A convex curve, as illustrated at a, Fig. 7, is a curve that
rounds outwards; and a concave curve, as at 6, is a curve that
rounds inwards.
7. An a rc is any part of a line that forms a circle, which, in turn,
is a plane figure bounded by a curved line everywhere equally distant
from the center. Thus, the concave and convex
curves shown in Fig. 7 are arcs. In mechanical
drawing, arcs and circles are made with a drawing
instrument, but in the drafting of patterns use
may be made of a string tied to a pencil, as
illustrated in Fig. 8. The pencil should have a
F ig. 7
notch cut in it a short distance above its point,
so that the string tied to it will not slip out of place and thus inter­
fere with the correct drawing of the arc.
To draw an arc, say like that shown at a, Fig. 7, proceed as shown
in Fig. 8 (a). First locate a point, as a, at the place where the curved
4 PATTERN DRAFTING §2

line is to begin and another, as b, at the point where it is to terminate.

Then, for a center from which to swing the arc, locate a point, as c,
by measuring the distance between points a and b and then marking
off this distance so that the point is exactly the same distance from
point a as from point b. With all these points located, measure out

from the pencil on the string the distance from point c to point a or
point b and place a pin at this point, crosswise of the cord. Then,
with the pin directly over the center point c and held securely in
position with the forefinger of the left hand, and with the point of
the pencil at b and the pencil standing directly vertical, swing the
pencil from b to a, as shown.
§2 PATTERN DRAFTING 5

To draw an arc in the form of a half circle, as shown in view

(6), proceed in exactly the same manner as in drawing the arc just
explained, but locate points aand 6 on a horizontal
point c midway between these points on the same horizontal line.

8. The lines named ac- (a)

cording to the way in which (b)
they are made are shown i n ___
" (c)
Fig. 9.
The lig h t fu ll lin e , illus­ (d)
trated at (a), is used for con-
struction and fo u n d a tio n (e)
F ig. 9
lines.
The heavy fu ll lin e , shown at (6), is used to represent the pattern
lines.
The d o tte d lin e , shown at (c), consists of a series of very short
dashes. This style of line is used in designing to show new lines other
than the foundation and pattern lines.
The heavy d asli lin e , shown at (d), consists of a series of long
dashes; it is used in connecting points, as in the bottom of skirts.
The b ro k e n -a n d -d o tte d lin e , shown at (e), consists of a long
dash and a couple of dots repeated regularly. Such lines are used
to indicate the center of a pattern.

THE PICKEN SQUARE

9. The dressmaker and tailor’s square—the P ic k e n s q u a re

—used in connection with the drafting of patterns in these lessons
on dressmaking, and shown in Figs. 10 and 11, is a convenient and
ingenious device designed for the purpose of assisting the woman who
sews in laying out drafts for patterns in the quickest possible way. It
is similar in appearance to an ordinary L square, such as is used by
mechanics, yet it contains different graduations that serve to lighten
the labor of the user and keep her from working out fractions in
making measurements; and, in addition, it contains a number of
curves, based on the curves of the human form, that will enable any
one to get perfect lines for figures of any shape. To determine
just what curves were to be placed on this square, more than five
thousand drafts were made for figures of various shapes. These
 PATTERN DRAFTING §2

curves are so arranged th at they will blend with any line drawn
to correspond with the instructions given in the text of these lessons,
and by p la c in g the
square as directed a
pattern for any kind
of garment may be
d r a f te d , no m atter
how large or how small the figure may be, or how
close or how tight-fitting the garment is to be. It
will readily be seen th at a square constructed accord­
ing to such ideas will give perfect lines and thus be
the means of saving much time in the construction
and fitting of any garment.
1 0 . D e s c rip tio n .— The Picken square, as will
be observed, has two sides—the lower side, Fig. 10,
and the upper side, Fig. 11—and two arms—the long
arm, which is 27 inches in length, and the short arm,
which is 12 inches. The outer edge of each of these
arms is straight, and the inner edge of each has an
irregular curve, one known as the long-arm curve and
the other as the short-arm curve.
1 1 . On referring to Fig. 11, it will be seen th at
the long arm of the upper side of the square has inch
and half-inch graduations and that the short arm is
graduated into inches, fifths, and sevenths. The
long-arm curve of the upper side begins with an
arrowhead and extends to the point qq, and between
these points are 1-inch graduations lettered with
double letters, as aa, bb, etc., up to qq, the letters
in order, from aa to ii being 2 inches apart, and
those from ii to qq, 1 inch apart. The short-arm
curve extends from qq to the arrowhead at the end
of the short arm and is divided and lettered in the
same way as the long-arm curve, the letters con­
tinuing from qq to zz. In the long arm, between
the straight and the curved edge, are two ad­
ditional irregular curves. These curves are used
for the upper and under parts of the sleeve; one
F ig. io of them is called the jront curve and the other the
 ,
§2 PATTERN DRAFTING 7

back curve. The front curve is divided into four equal parts by the
points 1 to 5, and the back curve, into two equal parts, by the
points 1, 2and 3. it i r i ri 111111

12. As shown in
Fig. 10, the long arm
of the lower side of the
square is graduated into inches, thirds, and sixths,
and the short arm into inches, fourths, and eighths.
The short-arm and long-arm curves on this side are
marked off into 1-inch spaces and lettered with single
letters, instead of double letters, as on the upper side.
The short-arm curve extends from a to a point
midway between i and /, and the long arm, from
this point to z and a short distance beyond. On this
side, too, are the opposites of the curves on the upper
side; they are called the front and back curve and
the reverse front curve. The former is divided into
two equal spaces by the points 1 A , 2 B , and SC,
and the latter into four by the points 1 D, 2 E } SF y
4G, and 5H.
13. Purpose of the Curves.—To give a gen­
eral idea of the purpose of the curves on the Picken
square, it may be mentioned that the curve from f f
to the arrowhead on the long arm of the upper side
is used in obtaining the correct curve for waists,coats,
and skirts, from the waist line to the hip line, and
that for waists and coats, from the waist line to the
bust line; also, it is used in obtaining the lines in
sleeves, from the elbow up and down. These curves
are used, too, for the same purpose in making drafts
for underwear and children’s garments. When very
tight-fitting garments are worn, the curves are more
prominent; then, the curve from dd to ii is used for
the under-arm curves of waists, coats, and under­
wear. For the straighter lines extending from the
waist line to the bust line, the curve from the
arrow point on the long arm to f f is employed,
and for the lines more prominently curved the curve
between gg and nn. F ig. 11

[5]
6 PATTERN DRAFTING §2

curves are so arranged that they will blend with any line drawn
to correspond with the instructions given in the text of these lessons,
and by p lacin g the
square as directed a
pattern for any kind
of garment may be
d ra fte d , no matter
how large or how small the figure may be, or how
close or how tight-fitting the garment is to be. It
will readily be seen that a square constructed accord­
ing to such ideas will give perfect lines and thus be
the means of saving much time in the construction
and fitting of any garment.
1 0 . D escription.—The Picken square, as will
be observed, has two sides—the lower side, Fig. 10,
and the upper side, Fig. 11—and two arms—the long
arm, which is 27 inches in length, and the short arm,
which is 12 inches. The outer edge of each of these
arms is straight, and the inner edge of each has an
irregular curve, one known as the long-arm curve and
the other as the short-arm curve.
1 1 . On referring to Fig. 11, it will be seen that
the long arm of the upper side of the square has inch
and half-inch graduations and that the short arm is
graduated into inches, fifths, and sevenths. The
long-arm curve of the upper side begins with an
arrowhead and extends to the point qq, and between
these points are 1-inch graduations lettered with
double letters, as aa, bb, etc., up to qq, the letters
in order, from aa to ii being 2 inches apart, and
those from ii to qq, 1 inch apart. The short-arm
curve extends from qq to the arrowhead at the end
of the short arm and is divided and lettered in the
same way as the long-arm curve, the letters con­
tinuing from qq to zz. In the long arm, between
the straight and the* curved edge, are two ad­
ditional irregular curves. These curves are used
for the upper and under parts of the sleeve; one
Fig. io of them is called the jront curve and the other the
 §2 PATTERN DRAFTING 7

back curve. The front curve is divided into four equal parts by the
points 1 to 5, and the back curve, into two equal parts, by the
points 1, 2, and 8.
12. As shown in
Fig. 10, the long arm
of the lower side of the
square is graduated into inches, thirds, and sixths,
and the short arm into inches, fourths, and eighths.
The short-arm and long-arm curves on this side are
marked off into 1-inch spaces and lettered with single
letters, instead of double letters, as on the upper side.
The short-arm curve extends from a to a point
midway between i and j, and the long arm, from
this point to z and a short distance beyond. On this
side, too, are the opposites of the curves on the upper
side; they are called the front and back curve and
the reverse front curve. The former is divided into
two equal spaces by the points 1A, 2 B , and 3C,
and the latter into four by the points 1 D t 2 E } 8F,
4G} and 5H.
13. Purpose of th e C urves.—To give a gen­
eral idea of the purpose of the curves on the Picken
square, it may be mentioned that the curve from f f
to the arrowhead on the long arm of the upper side
is used in obtaining the correct curve for waists,coats,
and skirts, from the waist line to the hip line, and
that for waists and coats, from the waist line to the
bust line; also, it is used in obtaining the lines in
sleeves, from the elbow up and down. These curves
are used, too, for the same purpose in making drafts
for underwear and children’s garments. When very
tight-fitting garments are worn, the curves are more
prominent; then, the curve from dd to ii is used for
the under-arm curves of waists, coats, and under­
wear. For the straighter lines extending from the
waist line to the bust line, the curve from the
arrow point on the long arm to f f is employed,
and for the lines more prominently curved the curve
between gg and nn. F ig. 11

[5]
8 PATTERN DRAFTING §2

The front armhole for any garment is drawn by adjusting the

square from jj up or down to conform to the different points on the
draft. In drafting armhole lines for large measures, the curve
from ii to it is used, and for small measures the curve from mm to ss.
The back-shoulder curve for a garment is drawn along the line
from mm to gg\ and the back-armhole curve, from the arrowhead
on the short-arm curve around to uu or ttf depending on the size of
the armhole. The short-arm curve from the arrowhead to it also
forms the front-neck curve, and is used in obtaining curves in yokes,
collars, cuffs, and lapel lines, and in outlining various points in
flat designing, as is explained in the more advanced Sections.
The front curve between the straight and curved edges of the
long arm, upper side of square, is employed in drawing the front
upper curve of sleeves, and the back curve, in drawing the back under
curves. The points on these two curves make it possible to secure
curves for any size of armhole, no m atter how large or how small it
may be or what style of sleeve may be worn.
14. The curves on the lower side of the square serve practically
the same purpose as those on the upper side, and their arrangement is
such that in many cases the lines may be drawn from either side of
the square, which plan saves time and confusion in turning. The
curve from j to m is the back-neck curve.
The reverse front curve of the sleeves, from ID to 5H, and the front
and back curve, from 1A to SC, are used in drawing lines similar to
those made by the front curve and the back curve on the upper side
of the square.
Definite instructions for the use of these curves, both on the upper
and the lower side of the square, are given in the work of making
drafts.

15. P urpo se and Use of th e Scale.—The purpose of the grad­

uated scales on the upper and lower sides of the square is to avoid
calculations and the use of fractions in connection with the drafting
of patterns. To understand these scales thoroughly, as well as to
appreciate their value, it will be advisable for the beginner to lay out
each one on a sheet of paper with a pencil and the aid of the square
itself, using as a guide the illustrations shown in Fig. 12.
16. Begin by drawing seven horizontal parallel lines on the sheet
of paper, making them about 4 inches long and spacing them about
§2 PATTERN DRAFTING 9

1 inch apart, as shown by the heavy full lines in the illustration.

Then, using the straight edge of the long arm of the square, and the
inch marks on it as a guide, divide each of these seven lines, begin­
ning at the left end of each, into inches, as shown. Draw a vertical
line f to 1 inch in length and at right angles to the horizontal line
at each inch division, and mark the first vertical line on each of the

(a )
F ig. 12

seven horizontal lines 1, the second 2, and the third 3, as is clearly

shown.
Next, with the scale of halves on the square, divide the first inch
of the first line into two equal parts, or halves, and then treat the
second and the third inch in the same way, as shown in view (a)
of the illustration, using short vertical lines to indicate these divisions.
 f

10 PATTERN DRAFTING §2

In this way, six half-inch spaces are secured in a 3-inch space when
measured on the scale of halves on the square. Thus, as will readily
be seen, to find one-half of any given point by means of the square,
for instance, if the bust measure is 40 inches and the drafting direc­
tions say to find one-half of 40, it is not necessary to determine what
one-half of 40 is; all that has to be done is to locate the point oppo­
site 40 on the scale of halves on the square.
Next, as in (5), divide the second line of inches into thirds; that is,
divide each of the three inches into three equal parts, as shown by
the short vertical lines. To locate these points exactly, place the
scale of thirds on the square along the line to be divided and mark
the short vertical lines opposite each ^-inch mark. Thus, when
directed in the instructions to locate a point one-third of the armhole
measure and the armhole measure, for example, is 15 inches, simply
measure out to 15 on the scale of thirds of the square.
Proceed in the same manner with the remainder of the lines,
dividing them in the order given into fourths, fifths, sixths, sevenths,
and eighths.
17. Fig. 12 (c) shows the scale of fourths, meaning that each inch
is divided into four equal parts, as shown by the small vertical lines.
To find one-fourth of 10 with the square, simply measure out to the
point opposite 10 on the scale of fourths.
View (d) shows each inch divided into fifths. This scale is located
inside the scale of sevenths on the upper side of the square. When,
for example, the instructions say to find one-fifth of 12 inches, measure
out on the scale of fifths to a point indicating 12, thus avoiding the
fraction that would result in finding one-fifth of 12 by arithmetic.
View (e) illustrates the scale of sixths; each inch is divided into
six equal parts, as shown by the short vertical lines. If, for instance,
a neck measure is 12 inches and the instructions say to find one-
sixth of 12, locate the point with this scale.
View (/) shows the scale of sevenths—that is, each inch is divided
into seven equal parts, as shown by the short vertical lines—and
view (g), the scale of eighths, each inch being divided into eight equal
parts. Points are located with the scale of both sevenths and eighths
in the manner explained for the preceding scales.
1 8 . The beginner should be careful not to become confused by
the various curves and the different scales on the Picken square. All
of them are useful and will become clear as the work of drafting
§2 PATTERN DRAFTING 11

is taken up methodically. If some of the points seem hard to grasp

in this preliminary study of the square, they will surely be understood
as soon as a practical application of the square is made.
1 9 . Abbreviations Relating to tlie Square.—To simplify
the directions relating to the use of the Picken square in pattern draft­
ing, the following abbreviations are employed: For upper side, mean­
ing the upper side of the square, U. S.; for lower side, L. S.; for
long-arm curve, L. A. C.; for short-arm curve, S. A. C.; for front
curve, F. C .; for back curve, B. C.; for front and back curve, F. B. C .;
and for reverse front curve, R. F. C. It will be well to memorize
these abbreviations, observing the square in so doing, in order that
no confusion will arise in following out the drafting directions.

TAKING MEASUREMENTS

2 0 . The taking of measurements in dressmaking is a matter that

should not be regarded lightly, for, as has been inferred, the accuracy
of the measurements governs the accuracy of the drafts made from
them. Seventeen measurements are required for drafting the foun­
dation waist, sleeve, and skirt. They are (1) the neck, (2) the bust,
(3) the front, (4) the chest, (5) the width of back, (6) the length
of back, (7) the center-back depth, (8) the armhole, (9) the inside
sleeve length, (10) the elbow, (11) the hand, (12) the waist, (13) the
hip, (14) the dart, (15) the front length, (16) the side length, and
(17) the back length.
2 1 . A great aid in the work of taking the measurements just
enumerated is the Woman’s In stitu te m easure slip , Fig. 13.
This slip is so arranged that a complete record of measurements and
notes relating to the work in hand may be kept. As will be seen,
there is space at the top for a person’s name and address and
telephone number; the date on which the measurement is taken;
and the name of the magazine from which a design is selected and
the design number. Next comes the list of measurements arranged
in the order in which they should be taken, and then follows space
for recording details relating to the work, all of which should be
evident from the slip. Such slips can be made on the typewriter
or they can be obtained already printed in pads of fifty or one
hundred.
 W o m a n ’s J n s t it u t e "
Me a s u r e S l i p
Name
41
--v /.
Address 4L Z - 4 G tsf. ■ ,L ln ~
Telephone No___ .D ate. 4 -2.
=^=
M agazine. . Design No.
Name of M easurement Size

Neck-
4
B ust-
Front. <
=* -o
Chest- 4
Width of B ack ____
Length o f B ack____
Center Back Depth- f t -4L -
Armhole__________ _ -
Inside Sleeve Length-
Elbow_____________ -/^ U -
H and-
Waist. IL 4
Hip__
Dart. t
Front Length- 4 V ___
Side Length_
¥
B ack Length- ft?
Designed by_ e ^ z £ l __ Cut by__
Pattern—_________________ Garment.
Material MarfB by____
F ig. 13
12
 §2 PATTERN DRAFTING 13

22. In taking measurements, the form of the person who is being

measured should always be carefully considered. Two figures may
have the same neck, bust, and waist measure, and yet be so different
in the chest measure and in the width and the length of the back
or the front that their forms assume entirely different proportions.
Individually drafted patterns take care of all such differences if the
measurements are correct; therefore, the importance of knowing
just how to take measurements correctly and of taking them with
great accuracy cannot be emphasized too strongly.

Practice in taking measurements is of great advantage to begin­

ners. The measures of several different figures should be taken,
as should also the measures of one figure two or three times, so as to
come to an appreciation of the importance of placing the measuring
tape correctly and thus getting the measurements the same each
time.
23 . The procedure in taking measurements is simple; yet it is
essential to study the illustrations, noting just how the tape is placed
14 PATTERN DRAFTING §2

for each measure, and to read carefully the instructions relating to

them. It is also a good plan before taking measurements to com­
pare the tape with the square to see th at the graduations are
accurate.
The person whose measurements are to be taken should be made
to stand erect, but not in an unnatural manner. Frequently, some
persons stand up straight, with their shoulders thrown back. Such
a position of the body should not be permitted, unless it is natural
for the person whose measurements are being taken, because a
garment made according to such measurements will appear not to
fit well when the person assumes a
natural position.
Before taking the various measure­
ments, directions for which follow, it is
necessary to form lines on the person
about to be measured by means of
tapes. A tape should first be tied
snugly around the waist, as shown at
A , Fig. 14, pushing it down well and
observing it during the measuring proc­
ess to see that it docs not creep up.
Next a tape should be placed around
each armhole, as shown at B , being
careful to have it fit well up around
the arm and up to the point of the
shoulder, where it should be pinned
to the garment in order to keep it in
place.
The person taking the measurements
should never be guided by the lines
of the waist or the skirt that a woman
is wearing, but should place the tape
exactly where it belongs on the figure, regardless of where the arm­
hole, neck, or waist line comes in the garment she has on.

24, The neck m e asu re is taken in the manner shown in Fig. 14,
usually around the base of the neck. This rule applies when the
person has no collar on or is wearing a soft collar. If a stiff collar
is being worn, then the measure should be taken snugly at the top
of the neck and f inch added to this measure.
 794 OS

131
16 PATTERN DRAFTING §2

25. The b u st m easu re, as illustrated in Fig. 15, is taken around

and over the fullest part of the bust and loosely over the fullest part
of the shoulder blades to the center of the back. It is well to stand
directly behind the person in taking this measure. Hold the tape
together in the back; step around in front to see that it is over the
fullest part of the bust. Insert two fingers crosswise underneath
the tape over the bust to avoid drawing the tape too tight.

26. The fro n t-le n g th m easu re is taken, as shown in Fig. 16,

by placing the end of the tape at the prominent bone at the back of
the neck and around the base,
and then down over the fullest
part of the bust to the center
front of the waist line. The
front measure is taken from
the back of the neck because
of the fact that there is no
definite place on the shoulder
from which to take it.

27. The ch est m easu re is

taken, as shown in Fig. 17, by
placing the tape 2 inches below
the top of the breast bone at
the neck and then m easu rin g
across from the outside edge of
one armhole tape to the outside
edge of the other.
28. The w i d t h - o f - b a c k
m easu re is taken, as shown in
Fig. 18, across the back from the
outside edge of one armhole tape to the outside edge of the other
and about 4 inches below the neck in the back, as shown at a.
Care should be exercised in taking the chest and the width-of-
back measures that the tapes around the armholes do not slip
down out of position.

29. The length-of-back m easure, as shown in Fig. 19, is

taken by measuring from the prominent bone at the base of the neck
to the bottom of the tape at the waist line.
§2 PATTERN DRAFTING 17

30 . The center-back-deptli m easu re, as illustrated in Fig. 20,

requires first that a tape be placed across the back directly under the
arms and up across the chest in
front, pinning it securely and exer­
cising care that the tape sets in a
straight line across the back from
armhole to armhole. Then, with

F ig. 22

a tape line, the measurement is made from the prominent bone at

the back of the neck down to the top of this tape.
3 1 . The a r m h o l e m e a s u r e , as
shown in Fig. 21, is taken by placing
the tape around under the arm, bring­
ing it close to the body, and then up
around the arm to the shoulder point,
as at a, taking care not to draw it tight.
3 2 . The i n s i d e - s l e e v e - l e n g t l i
m easu re is determined, as illustrated
in Fig. 22, by having the arm held out
straight as shown and then measuring
from the tape around the armhole at the
hollow of the arm down to where the wrist
joins the hand, as at a.
3 3 . The elbow m e a su re is taken
by bending the arm, as shown in Fig. 23,
and then placing the tape around the
arm at the elbow joint, as at a.
A3—
^3
18 PATTERN DRAFTING §2

3 4 . The hand measure, as illustrated in Fig. 24, is taken by

le a .S lir in c r a r n n n r l - xi_ _ ------- ±- • — i - J *----- x1- - jLl---------- 1

3 5 . The w a i s t m e a s u r e is
taken, as shown in Fig. 25, by
placing the tape line snugly around
the waist exactly where the waist
band of the skirt should come.

3 6 . The h ip m e a s u r e , as
shown in Fig. 26, is taken around
the fullest part of the hips, which
. as a rule is from G to 10 inches
dc ow t e waist line. The tape should not be drawn tight; it should set
aioun tie igure in an easy manner, but should be close enough to

hold uP all the way around. A pin should be placed in the skirt
e si e o\er tie hip even with the top of the tape when
 §2 PATTERN DRAFTING 19

taking the hip measure, as shown in the illustration, so as to aid

in taking the dart measure.

37 . The d a r t m easu re is
taken, as shown in Fig. 27,
from the waist line to the pin
over the fullest part of the hip,
as shown at a.
3 8 . The f r o n t - l e n g t h ,
m e asu re , as illustrated in Fig.
28, is taken by measuring from
the tape around the waist at
the center front down to the
floor.

39. The s id e -le n g th m e a su re , as in Fig. 29, is taken from the

tape at the waist over the fullest part of the hip down to the floor.
20 PATTERN DRAFTING §2

40, The b ack -len g th m easu re, as illustrated in Fig. 30, is

taken from the tape at the waist at the center back down to the floor.

41. Average M easurem ents.—So that the beginner in dress­

making may become familiar with the different measurements and
 L e n g th
B a c k
H lN H |N Hie* h Ic* Hie* hIc* H |C * Hie*
00 ON O HI HI cs CO CO

4 3
CO CO CO rt- tI-

« -go Hie* h Ic* Hie*

00 ON o O ►H cs Cl CO CO
J2 c
CO <u CO CO CO T "3"
h 3

+J *5
+3
S w H |C * h ’c* h [c*
2 c CO CO ON ON O HI HI CS CO
I—
* CO CO CO CO CO

r^J
CO ■4-3
V- Hie* HIC* C l i n H |H CClH H[e* h Ic*
co

O I
VO vO vO 00 00 ON O n
Q

DO a Hie*
S
w £
CO
CO
Th
co
vO
CO
00
CO
o
^t*
cs to VO 00

u
fc -^>
w « !-* H |H H l H Hie*
"ctf CO tO tO HI cs CO
CN cs CS CS cs CO CO CO co co
£

c h i* ph' n h Ic*
CO r - 00 00 00 00 00 ON O n ON
w

<u £ h Ic*
> o Hie* Hie*
ON O n 0 M M HI cs CS CS CO
9a ; M H M M HI HI M
CO 3

<u g r C
Hie* Hie* Hie* Hie*
y > to
'in 8j C vO vO vO 00 00 00 00 ON
c ^ S HI M w HI HI M M M IH HI

c O HlM Hie*
£ o CO tO to VO VO
►H Ht M HI IH HI HI M
M
O ^ ^
■p u H|e* «!■* Ml-* Hie* H[e* Hie* « |- *
g « 5T VO vO vO
d « Q

.C
H |C * CO]-* P5|-* Hi-*
'G o ^ - . 'o
c o r f "T to to to to to to to
G pq hi M M w w HI M IH M

£ L _ • o*
ZC Hie* H |e* Hie* h Ic* Hie*
W CM CS CO CO to t o VO
S o r t
'c3
£ «
M M IH M IH
M M
M HI HI

is
4->
VI h |-* Hie* h |-* H|CS H i-* Hie*
u CS CS to to VO VO
H CO

fl M
1-1 hi M
M HI
M HI

4->
G Hie* « |H n!e* h | c* h Ic* H i-*
o ON Ov O n oc s O HH CS cs cs CO
Ih
Ph M cs CN cs cs cs CS

•g H|C* h Ic* h Ic*

G CS CS CS CO CO CO rt- to
M M IH M HI Hl HI HI
M

o cs T j- v O 00 o cs T t- VO 00
CO CO c o CO CO
PQ
21
22 PATTERN DRAFTING §2

their relative proportion to one another, the measurements of five

hundred women were taken and averaged and arranged into a table,
designated here as Table I. This table will serve as an excellent
guide in taking measurements, because by referring to it the beginner
will be able to tell at a glance whether or not the measurements she
takes are in the correct proportion one to another.

DRAFTS AND DRAFTING

GENERAL A D V IC E

4 2 . In taking up the making of drafts, it is well to fix firmly in

the mind that they are constructed on a scale of proportions from the
actual measurements of the individual, and may therefore be used at
all times. Only five drafts are considered in this Section, but a
sufficient number are given in the Sections th at follow to enable any
desired style to be developed.
The rules given for these drafts hold good always; it is simply
necessary to study them and to practice making them so as to mas­
ter them thoroughly and thus come to an understanding of garment
construction. Time and patience, of course, are necessary at the
beginning; and while it may take 3 or 4 hours to make the first draft,
yet when thorough familiarity with the lines and points is gained a
draft may be made in from 5 to 10 minutes.

43 . In the making of a draft, the beginner should try fo com­

prehend what every line in the draft represents, and she should test
the draft by the measurements followed in making it before attem pt­
ing to cut any material by it. The making of such tests should be
kept up until she is absolutely sure of her ability and has no more
fear as to her accuracy in performing such work.
If an error is made in any of the drafts submitted for inspection,
the beginner must not be satisfied simply to correct it as directed.
A better plan is to make one or more additional drafts of the same
kind, so as to overcome the danger of making the same mistake again.
Such practice is excellent, for when the same kind of draft is to be
made from different measurements for actual work, there will be
little or no danger of spoiling materials.
 §2 PATTERN DRAFTING 23

D R A F T IN G M A T E R IA L S AND TERM S

44. Drafting* Surface.—Pattern drafting requires a large,

smooth surface on which to work. An ordinary sewing table may
be used, but a larger tabic is more convenient. A table with a pol­
ished surface should be avoided, as it is frequently necessary to use
a tracer, which is liable to injure the finish of such a piece of furniture.
The most convenient and inexpensive drafting and cutting board
conceivable is a light-weight board covered on each side with fibrous
paper having a smooth surface and known in the trade as compo
board or beaver board. It can be purchased from lumber dealers for
about 4 to 6 cents a square foot. A good size to select for general
home use is 4 feet by 8 feet; a board of this size is convenient, as it
can be used for drafting and is wide enough to accommodate material
of average width. In addition, its length makes it possible, as a
rule, to lay out a suit or a dress length and to place all the patterns
on the cloth at one time.

45. D rafting Paper.—For practice drafts, use should be made

of all the plain wrapping paper that comes to the house. News­
papers may be used, but they are not so satisfactory as wrapping
paper, because the drafting lines and points are difficult to distinguish
on account of the printing on the paper.
For regular drafts, a good quality of medium light-weight paper
about 32 or 36 inches in width should be employed. I t may
be white or common manila, or wrapping, paper. Such paper can
usually be obtained from local merchants or paper dealers, and should
not cost more than 1 to 2 cents a yard. Enough paper should be
procured to draft the various patterns for oneself and all the mem­
bers of the family, for as progress is made with the lessons it will be
advisable to practice first on wrapping paper and then to draft p at­
terns by measures that have been taken, so as to have such p at­
terns ready when they are needed to make up any particular garment.
Practice and application in drafting will convince any woman of its
wonderful possibilities and will create in her the desire to test out
and use the drafts given in the various lessons.

46. D rafting P en cil.—For making the lines, points, etc. in

pattern drafting, a moderately soft lead pencil should always be
used. Ink and crayon are not so satisfactory; in fact, their use
24 PATTERN DRAFTING §2

requires more time and with either of them a beginner cannot locate
the different points so accurately as with a lead pencil.

47. Term s, A bbreviations, and Letters Used in D rafting.

To avoid any confusion later, it may be well to mention th at a line
in pattern drafting is referred to by the letters between which it lies;
for example, the term line A C means the line between point A and
point C on a draft; the line DE, the line between two points D and E ;
and so on.
It will be well, also, to observe th a t the letters on the square are
small, as a, b, c, etc., and that the letters on the drafts themselves
are large, or capitals, as A, B } C, etc. This method of lettering is
followed so as to avoid confusion in referring to the drafts and to the
Picken square.
For the person unfamiliar with linear measure, it will be well to
remember that there are 12 inches, abbreviated in., in 1 foot, abbre­
viated ft., and 3 feet or 36 inches in 1 yard, abbreviated yd. The
abbreviations for these measurements are used from this point on
in giving directions for drafting, making up garments, and so on,
and familiarity with them will not be amiss.
Other abbreviations, which relate to the Picken square, have already
been explained.
Where it is thought necessary, a full-sized drawing of the founda­
tion draft is given. Such drafts are marked Plate I, Plate II, etc.,
in the order in which they are taken up, so th at they may be referred
to easily and intelligently.

D R A F T IN G THE F O U N D A T IO N W A IS T

48. In the draft of the foundation waist, which is shown small

in Fig. 31, and full size in Plate I, which is a model draft, eight
measurements are used, as follows:
I nches
§2 PATTERN DRAFTING 25

Before attempting to do any drawing, the beginner should care­

fully read the instructions relating to the making of this draft,
and, with the Picken square, go over the model draft, so as to become
familiar with the points referred to in the work. For instance,
the foundation line A C, which should equal the length of the
back, may be measured to see that it is correct; then, the bust
line; and so on until the entire draft has been tested up according
to the instructions laid down.

It is advisable, too, before beginning to draft a pattern with the

square to locate points with the different scales and curves and
to draw lines along both the long and the short arm, as well as to
draw curves along the long-arm, the short-arm, and the sleeve
curves. Fig. 32 serves to show the way in which to hold the square
in locating points and making straight and curved lines. Thus,
view (a) illustrates the square in position for locating points along
the scale of half inches and for drawing a line along the long arm
26
§2 PATTERN DRAFTING 27

with the square U. S. up; view (b) shows the square L. S. up and
held in position for locating points along the scale of sixths or thirds
and for drawing a line along the long arm; and view (c) shows the
square U. S. up and in position for locating and drawing a line along
the long-arm curve. The position of the hands in each view should
be observed and imitated closely, because it is necessary to hold
the square firmly in position while drafting.
49. For drafting this foundation waist, a piece of drafting
paper 32 in. by 36 in. is required. Practice paper should be used
for the first drawing or so, in order not to waste any of the
paper to be used for the
re g u la r drafts. This
paper should be laid on
the drawing surface so

— -® — '

th at its short, or 32-in..

edge is next to you.
Then, with the Picken
square and a lead pencil
and the model draft,
Plate I, at a convenient
place for observation,
the d ra w in g may be
started. The instruc­
F ig. 33 tions should be read
carefully as the work is
being done, and refer­
ence may be made to the model draft as often as is necessary to
establish accurately the position of the various points and lines.
However, the model draft in any case, now or in the future, should
not be copied, nor should an attem pt be made to transfer the lines
to another piece of paper.
50. The actual drafting is begun as follows, the measurements
already given being the ones employed: Place the square, U. S. up,
so that the long arm is J in. from the right edge of the paper and
the short arm 9 in. from the top, as shown in position I, Fig. 33.
28 PATTERN DRAFTING §2

With the square in this position, draw a light vertical line the full
length of the long arm, and thus form the foundation line.
From the top of this foundation line, the square still being kept
in the position just described, draw along the short arm of the
square toward the left a horizontal line about 3 or 4 in. long, form­
ing what is called the back-neck line.
Next, on the foundation line, locate the points A, B, C, and D }
as shown in Figs. 31 and 33. Point A is marked f in. from the
top of the foundation line; point B, the center back depth, in this
case 7 in., below A \ and point C, the length of back, in this case
15 in., below A. Point D ,
which represents one-third
of the center back depth,
is located one-third of 7 in.
above B }in this case, oppo­
site 7 on the scale of thirds,
the square, L. S. up, being
placed so that the long
arm rests on the founda­
tion line and its comer is
at B.
c
51.
point E } for the back-neck
curve on the back-neck line,
as follows: With the L. S.
of the square up and the
short arm on the founda­
tion line, as shown in position 2, Fig. 33, measure one-sixth of the
neck measure to the left and mark the point E. In this case, the
mark is made opposite 13 on the scale of sixths, because the neck
measure is 13 in. Then, bring the square" around so that the point j
on the curve touches point E of the draft and the edge of the curve
touches A, and connect the points E and A with a heavy curved
line, as in position 3 .
N ote. A waist of this kind should set easy on the figure and be sufficiently
loose across the back and through the bust. Therefore, 4 in. is always added
to the original bust measure, 1 in. to the chest measure, \ in. to the width-of-
back measure, and 1 in. to the original front length; instead of drafting this
wrnst for a 30-in. bust, a 14-in. chest, and a 13J-in. width of back, a 40-in.
bust will be used with a 15-in. chest and a 14-in. width of back, and a 22J-in.
front length instead of a 21 J-in. length-
 §2 PATTERN DRAFTING 29

52. With the U. S. of the square up, the short arm on the
foundation line, and the corner of the square at point B , as shown
at position 4, Fig. 34, draw a line to the left one-half the length
of the bust measure, or 18 in., plus 2 in., which makes the bust line,
in this case 20 in. in length. Letter the termination of this line F.
While the square is in this position, locate and mark point G
to the left of B one-half the width-of-back measurement, plus £ in.,
in this case 6£ in. plus £ in., or 7 in. Next, locate and mark point H
by placing the short
arm of the s q u a r e ,
U. S. up, on the bust
line and its comer at
G, as shown at posi­
tion 5 Fig. 35, and
,

measuring along the

long arm the length
of one-half the arm­
hole measure, or 7J in.
in this case, making
the mark at 15 on the
scale of halves. Then
connect points G and
H with a light verti­
cal line.
With the L. S. of
the square up, and the
short arm on the bust
line, c o r n e r of the
square at G} as in posi­
tion 6 Fig. 35, locate
,
F ig. 35
and mark the point G2 one-eighth of the armhole measure to the left
of G. As the armhole measure is 15 in. in this case, this point Go
should come opposite 15 on the scale of eighths. With the short
arm of the square, L. S. up, on the line G H, its corner at H, and its
long arm extending toward the left, as in position 7, Fig. 36, locate
point I one-eighth the armhole measure below point H. In this
case, as in locating point G2} the mark is made opposite 15 on the
scale of eighths. While the square is in this position, draw a light
line to the left 3 or 4 in. long. Then, with the scale of eighths, mark
on this line point J one-eighth the armhole measure to the left of H.
30 PATTERN DRAFTING §2

53. Next, draw the front-shoulder foundation line. Place the

square, L. S. up, so that its comer touches D and the straight edge
of the long arm touches J, as shown in position 8, Fig. 36, and
draw an 8- or 10-in. light diagonal line up from J. Then, mark
the hack-shoulder line, or curve, by placing the square, U. S. up,
so that mm on the L. A. C. is at E and the edge of the curve touches /,
as shown in position 9 Fig. 36, and drawing the heavy curved
,

line from E through I and about f to 1 in. beyond I. Measure

to the left of I on the back-shoulder curve f in., using the scale

F ig. 36

U. S. of the square up, the long arm vertical and touching point C2,
and the comer at / , locate / 2i in- below / , using the scale of halves.
The front-shoulder curve is now drawn from L to / 2| a heavy line being
used. The square, L. S. up, is placed so that curve point n is at L
and the curved edge touches J 2, as in position 10 Fig. 37. The
,

front-shoulder line from J to L is drafted shorter, and then in making

up the garment, to avoid any possibility of a wrinkle, the front
shoulder is carefully stretched before basting so that it will be just
the same length as the back-shoulder line.

54 . For the front neck, a point is located one-sixth of the neck

measure to the left of L, using the scale of sixths, and marked M.
 --- 5

/X

31 F ig. 3S
34 PATTERN DRAFTING §2

square is adjusted properly. If the armhole is small, point j j must

be raised; if it is large, point j j must be dropped below / 2.
Draw the back armhole next, bringing the square around until
the arrowhead of the S. A. C. falls on Go and then adjusting the
curve to touch point K, as shown in position 9 Fig. 41.
( ,

57. Next, the foundation under-arm line is to be drawn. Place

the square L. S. up, so that its short arm is on the bust line and
the corner is at G% as shown in position 20 Fig. 42. Then draw
,

a light vertical line from Go down along the long arm of the square,
making it 14 to 16 in. long.
The back waist line comes next. Place the short arm of the
square, L. S. lip, on the foundation line so that the comer is at C}
as in position 21, and draw along the long arm a light horizontal
line that connects point C and the foundation under-arm line,
marking R at the point where these lines meet.
Next, several points must be located in order that the under­
arm line can be given its proper shape. First, measure down 4 in.
 §2 PATTERN DRAFTING 35

below R on the foundation under-arm line and locate point S,

and then locate point U 1 in. to the right of R and point V 1 in.
to the left of R. Then, for the center-back line, locate point T
| in. to the left of point C on the back waist line.
Next, connect points U and G* with a heavy line, placing f f
of the L. A. C., U. S. of square up, on U and the edge of the curve
on Gi (in this case, the point bb is nearly at G«), as shown in posi­
tion 2 2 , Fig. 43. Then connect G« and V, placing the square
so that mm touches V
and the edge of the curve
touches Gi (in this case,
the point gg is nearly at
6k), as shown in posi­
tion 23.
The center-back line is
next drawn. Place the
corner of the s q u a r e ,
U. S. up, on point A and
have the long arm touch
at point T,as shown in
position 2 4 . Then draw
th e c e n te r-b a c k line,
heavy, from A through
T and extend it 4 in. be­
low T, locating the point
Wat the termination of
this line.

58. The front waist

line is the next line to receive attention. With the L. S. of the
square up and the straight edge of the long arm of the square
pointing toward the top of the paper, place the point m of the
L. A. C. at point V and have the edge of the curve touch N, as
shown in position 25, Fig. 44; then draw a light line along this curve.
Next, measure down 4 in. from N on the center-front line and
mark the point X . Then connect the points 5 and X with a
heavy line in the same manner as V and N were connected—that
is, with m of the L. A. C. on 5 and the curve touching X — and
draw a heavy horizontal line to connect 5 and W. The last curve
and line drawn forms the outside line of the skirt part of the waist.
36 PATTERN DRAFTING §2

Finally, with a pencil, go

over the center-front line
from O to X to make it
heavy, and connect points
V and 5 and points U and
5 with heavy curved lines.
D To connect V and 5, place
B the square, L. S. up, so that
q on the L. A. C. touches
V and the edge of the curve
touches 5, as shown in po­
sition 2 6 . To connect U
and 5, place the square,
U. S. up, so that ii touches
U and the curved edge
touches 5, as shown in
position 27.

F ig. 43
59. Cutting the
D raft Apart.—The draft
of the waist is now complete
and it is ready to be cut
apart, but for drafts that
are to be s u b m itte d for
inspection, it will not be
necessary to do any cutting
D apart. This point will be
B well to remember at this
time, as well as in connec­
tion with other drafts. Be­
gin to cut on the center-back
c line; then cut in the pattern
lines, in the order mentioned,
on the center-front line, the
neck curves, the front and
back s h o u ld e r lines, the
front and back armhole lines,
the front and back under­
I__I arm lines, and, finally, the
Fig. 44 skirt part of the waist.
§2 PATTERN DRAFTING 37

To mark the armhole of the waist so that the seam of the sleeve
may be joined to it properly in fitting, measure to the left of G2
on the front armhole curve one-eighth the armhole measure and
cut a small notch in the pattern.

D R A F T IN G A O N E -P IE C E F O U N D A T IO N SLEEVE

60. The measurements to be used for drafting a plain, one-

piece foundation sleeve, shown small in Fig. 45, and full size in
Plate II, are the same as those used for the model draft, namely:
I nches
Armhole............................................................................. 15
Inside sleeve length.......................................................... 17
H and...................................................................................... 8
The procedure in making this draft is as follows: Fold a piece
of paper about 24 in. by 27 in. through the center, lengthwise. With
the folded edge next to you, measure in 8 in. from the right edge
of the paper and locate point A. Place the square, U. S. up, so

that its corner is at A and its short arm is on the fold and draw
a light line along the long arm one-half the armhole- measure minus
\ in., in this case opposite 14 on the scale of halves, and letter its
termination B. Turn the square L. S. up, and with its comer on the
fold at A and its short arm on line A B , measure to the right of A
and locate point C one-third the armhole measure from A ; in this
case, opposite 15 on the scale of thirds. Connect points B and C
with a light diagonal line, and then locate point D on this line B C
midway between B and C. Next, with the square L. S. up, place
the comer on D and the long arm along line C D, and draw a light
line along the short arm one-eighth the length of line B C, in this
case opposite 8f on the scale of eighths, and letter its termination E .
 38 PATTERN DRAFTING §2

Next, draw the top curve. First, place the square, L. S. up,
so that 1A of the F. B. C. is at B and the curve touches E , and con­
nect points B and E with a heavy curved line; then, adjust the
square so that 3 C falls on C and the curve touches E , and complete
the heavy curved line from C to E. Next, draw the lower curve.
First, adjust the square so that 3C of the F. B. C. falls on C and
the curve touches D, and connect points C and D with a heavy
curved line; then complete the lower curve, turning the square,
U. S. up and placing it so that 1 of the B. C. is at D and the curve
touches B.
The armhole and inside measurements determine the length of
the sleeve. The space from A to B regulates the length taken
up by the armhole. If the shoulders of a shirtwaist or a blouse
are to be drafted very long, this space should be shorter; if there
is to be a puff in the top of the sleeve, it is necessary to make this
length greater. Later lessons will serve to bring out this matter
more fully.
The point F is the inside length to the left of A on the fold of
the paper. With this point located and the short arm of the square,
U. S. up, on the fold and the corner of the square at F, draw a
light vertical line the length of onc-half the hand measure plus
i in., in this case in., or 9 on the scale of half inches, and letter
its termination G. Then locate point H \ in. below G on the
line F G, and point 7, \ in. to the left of point F. Connect G
and B with a light diagonal line.
Next, draw the heavy line H 7, placing ll of the L. A. C. of the
square, U. S. up, on I and having the edge of the curve, near pp}
touch H. Then with the L. S. of the square up, draw the heavy
lower-arm curve, placing k of the L. A. C. on H and having s touch
line B G. Complete the drafting by making heavy the line from
the end of this curve to point B.

61. Cut the draft apart by cutting through both thicknesses

of paper from C to E ; from E to B ; from B to H ; and from H to 7.
Then open the paper out and cut on the pencil line, through one
thickness of paper, from B to D and from D to C.
 §2 PATTERN DRAFTING 39

D R A F T IN G A COLLAR A N D A CUFF

62. D rafting a Collar.—For drafting a collar, as shown in

Fig. 46, a sheet of paper 7 in. wide and 16 in. long is required. First
fold this paper through the center, crosswise, and, with the folded
edge next to you, locate on the fold the
points Ay By and C. Point A should be
1 in. to the left of the right edge of the
paper; point By 3 | in. to the left of A]
and point Ct 1 in. to the left of B.
These positions hold true regardless of
the size that the collar is to be. Next,
place the square, U. S. up, so that the
straight edge of the short arm touches the
fold of the paper and the corner of the
square is at point C} and draw a light
vertical line one-half the neck measure
and mark its termination D. In this
F ig. 46
case the draft is made for a 13-in. neck
measure; therefore, the line CD is made 6J in. long. Then, with
the square still in the same position, slide it to the right until its
corner is at point A and draw a heavy vertical line of the same
length as line C D just drawn, marking its termination E. Next,
form the parallelogram thus begun by drawing a heavy hori­
zontal line to connect points D and E. Finally, draw the neck curve

that f j of the L. A. C. touches point B and the

edge of the curve, near bbf rests on D and making
this line heavy.
The pattern is cut out as follows, the paper
remaining folded: From A to E\ from E to D\
and from D to B.

6 3 . Drafting a C uff. —To draft a cuff, as

shown in Fig. 47, fold a piece of paper 5 in. wide
and 12 in. long through the center, crosswise. With the folded
edge next to you, measure in on the fold 1 in. from the right
edge and locate point A \ then locate point B 2\ in. to the left of
A and point C f in. to the left of B. These points are always
the same, regardless of size of the hand measure, which will vary
40 PATTERN DRAFTING §2

in different cases. Next, place the square, U. S. up, so that its

short arm is on the fold and its comer is at C and draw a light
vertical line the length of one-half the hand measure plus \ in.,
lettering its termination D. In this case, the cuff is drafted for a
hand measure of 8 in.; therefore, the line C D is made 4J in. long.
Then slide the square, still in the same position, to the right until its
corner is at point A and draw a heavy vertical line of the same length
as line C D , in this case 4§ in. long, and mark its termination E.
Complete the parallelogram by connecting D and E with a light
line. Next, locate point F \ in. below D on the line C D } and con­
nect points B and F with a heavy line, placing the square, U. S. up,
so that f f of the L. A. C. is at B and the edge of this curve, near dd,
is on F. Finally, connect F and E with a heavy line, placing// of
the L. A. C. on F and the edge of the curve, near dd, on E.
Form the pattern by cutting the draft out as follows, keeping the
paper folded: From A to E\ from E to F; and from F to B.

D R A F T IN G A S H IR T W A IS T SLEEVE

6 4 . In drafting a shirtwaist sleeve, Fig. 48, the procedure is

the same as that for a plain one-piece sleeve, Fig. 45, until it becomes
necessary to locate point F. For this shirtwaist-sleeve draft, the
measurements for which are the same as those for the draft shown
in Fig. 45, point F is located to the left of A on the fold the inside
length minus the width of the cuff. A 2|-in. cuff is used for this
sleeve; therefore, by deducting 2\ in. from 17 in., inside, it is neces­

sary to locate point F the inside length minus the cuff length, in
this case 14| in., to the left of A. With the short arm of the square,
U. S. up, on the fold and its corner at F, draw a light vertical line
the length of one-half the hand measure plus 1J in., in this case
5 | in., and mark G at its termination. Then locate point H 1 in.
 §2 PATTERN DRAFTING •il

below G on the line F G and I 1 in. above F on the line' F G. Next,

with the short arm of the square, U. S. up, on the line F G and its
comer at J, draw a heavy line parallel with the fold, making it the
length of one-half the hand measure plus J in., in this case 4 | in.,
and place the letter J at its termination. Then connect points B
and G with a light diagonal line.
Next, locate point K \ in. to the right of G on the line B G} and
draw a heavy curved line from K to F, placing ll of the L. A. C. of
the square, U. S. up, on K and the edge of the curve, near hh, on F.
Then turn the square L. S. up and, with m of the long-arm curve
on K and r touching line B G, draw a heavy curve from point K
to the line, and make the rest of the line to point B heavy.
The cuff part of the sleeve should be drawn next. Place the
square so that one straight edge is on the line F G and its comer is
at H, and draw a heavy line to the left equal in length to the width
of the cuff, in this case 2\ in., and letter its termination L. Next,
locate point M the same distance to the left of F, and connect these
points L and M with a heavy vertical line. Complete the draft
by making the line below point H heavy.
G5. The draft is cut apart as follows: First cut off the cuff
by cutting through both thicknesses of the paper from F to H\
from H to L; and from L to M. Then cut the sleeve through both
thicknesses by cutting from C to F ; from F to B\ from B to K ,
including the curved line on the right of K ; and from K to F. Finally,
open out the draft and cut on the curved line from C to D\ from D
to B] and, for the cuff opening, from I to J.

R E G U L A T IN G T IIE FU LN ESS OF SLEEVES

In making a plain waist, it is advisable to have the sleeves

a trifle larger than the armholes and to ease in the slight fulness,
owing to the fact that the material for the sleeves and that for the
armhole portions are cut on a different grain; likewise, the tip of the
shoulder and the curve in both the armhole and the sleeve demand
that the armhole of the sleeve measure more than the armhole of the
waist. Therefore, sleeves cut with the aid of the drafted patterns
shown in Figs. 45 and 48 will, when sewed in the armholes of the
waist, be a trifle full for average measurements. Each sleeve will
measure 2\ to 2f in. more than the armhole of the waist, which amount
of fulness is generally very satisfactory. However, if it is desired to
42 PATTERN DRAFTING §2

have a sleeve that fits absolutely plain in the armhole, make line A B
one-half the armhole measure, minus 1 or 1£ in., and locate point C
one-third the armhole measure, plus J to i in., to the right of point A.
This will produce a pattern that is only 1^ to 2 in. larger than the
armhole measurement of the waist. When a sleeve cut according to
such a pattern is carefully adjusted in the armhole, there will not be
even a suggestion of fulness.
In developing or designing a pattern for any type of sleeve you
may desire to copy, remember that the length of the shoulder and the
size of the armhole of the garment should be carefully determined
upon before the upper part of the sleeve is drafted. Short, narrow
shoulders require a longer, narrower sleeve for that portion above
line A B, and in fitting any sleeve this portion must receive the
greatest amount of attention.
If it is desired to have a sleeve full at the hand, make line F G,
Fig. 45, the same or greater in length than line A B and have the
wrist and under-arm lines straight.
If a tight-fitting sleeve is wanted, take out the fulness in fitting by
putting a dart at the back, extending it from the wrist to a point 2 in.
below the elbow.
 PATTERN DRAFTING
EXAM IN A TIO N QUESTIONS
(1) Name some of the advantages of drafted patterns.
(2) Describe an arc.
(3) What is the purpose in pattern drafting of: (a) a light full
line? (6) a heavy full line?
(4) What is the purpose of the Picken square?
(5) What are the advantages of the scales on the Picken square?
(6) With the square, how would: (a) one-sixth of 14 be deter­
mined? (6) one-eighth of 20 be determined?
(7) (a) Why is it necessary to take accurate measurements?
(b) How many measurements are used in pattern drafting ?
(8) How should the person whose measurements are being taken
stand ?
(9) (a) Describe the taking of the bust measure. (6) How is
the center-back-depth measure taken ?
(10) What measurement determines the length of line A C in the
waist draft?
(11) How is the square placed to draw the bust line, or line B F,
in the waist draft ?
(12) How is the square placed to draw the foundation front
shoulder line?
(13) Describe the cutting apart of the waist draft.
(14) When does a draft become a pattern?
§2
2 PATTERN DRAFTING §2

(15) Submit for inspection a waist draft made according to the

following measurements: Neck, 12 in.; bust, 36 in.; front, 20 in.;
width of chest, 13 in.; width of back, 13 in.; length of back, 14J in.;
center-back depth, 6 | in .; and armhole, 14 in.
(16) What two measurements determine the length of the sleeve?
(17) Submit for inspection a plain foundation-sleeve draft made
according to the following measurements: Armhole, 14 in.; inside
length, 16§ in .; hand, 8 in.
(18) In what way does the shirtwaist sleeve differ from the plain
foundation sleeve?
(19) What measurement determines the length of line I J in the
shirtwaist sleeve?
(20) Describe the cutting apart of a shirtwaist sleeve.

SPE C IA L N O T IC E
In connection with the study of P a t t e r n D r a f t i n g , you are hereby cautioned
to follow the instructions very carefully and to practice making the drafts accord­
ing to the exact measurements used for the foundation drafts shown in Plates I
and II. Do not attempt to make a draft from any measurements except those
for the foundation drafts until you are satisfied that you can make perfect drafts
according to those measurements. Then, before you attempt to make a draft
from your own or some other individual measurements, make drafts according
to the measurements given in Examination Questions Nos. 15 and 17 and send
only these drafts, together with your answers to the other questions on P a t ­
t e r n D r a f t i n g , to us for inspection. After you receive our criticism on these
drafts and your answers to the questions and are awarded a passing mark on
them, you will be ready to make drafts according to any measurements.