(1939)Pattern Drafting
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tailoring...
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L I B R A R Y OF THE
NEW YORK STATE COLLEGE
OF HOME ECONOMICS
CORNELL UNIVERSITY
I T H A C A , NEW YORK
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Date Due
RETURN TO
ALBERT R. MANN LIBRARY
ITHACA, N. Y.
Cornell University Library
TT 515.G8
Pattern drafting, pattern grading, garme
3 1924 003 596 545
o
o
L
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Tattern Drafting
^Pattern Grading
Qarment Making
Qarment Fitting
By
Edmund Qurney
Send All 0rders for Books to Dunn Bros.
Price $5.00
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Printed by Dunn Bros., 421 East Sixth Street, Los Angeles
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Clr
All rights reserved. This book, or parts
thereof, must not be reproduced in any
form without permission of the publisher.
THIRD AND REVISED EDITION
PRlNTED lN THE UNlTED STATES OF AMERlCA
Copyright 1939
by
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EDMUND GURNEY
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I
TABLE OF CONTENTS
Page
20—Living.
20—The satisfying life.
21—Preface.
22—To the teacher of sewing and garment
making.
22—To be happy.
23—To all who sew.
23—Nothing is, or can be too good for you.
25—Description of individual types and pos-
tures.
26—Description of measures.
28—Measures.
28—Standard table of measures.
28—Will power.
29—Three kinds of people.
30—The morning hope and evening content-
ment.
31—Pattern drafting by the Gurney self-grad-
ing method.
33—The Gurney sure-fit curve chart.
34—How to use the Gurney curve chart.
34—If any little love of mine.
36—Pattern drafting.
36—Drafting the dress back.
36—Drafting the two-piece dress back.
38—Drafting the dress front.
38—Drafting the two-piece dress front.
40—Adapting" the normal size standard pat-
terns to individual requirements applic-
able to all makes of patterns.
42—Fitting the round shouldered individual.
42—My business.
44—Fitting the round shouldered individual
(continued).
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45—A quick easy method of adapting commer-
cial patterns for the round shouldered.
45—Altering ready-made garments for high
shoulders.
46—Pin tucks in the back.
47—I'll not confer with sorrow.
48—Fitting the individual with large bust.
49—Our greatest glory.
50—Fitting the large bust (continued).
50—I am.
51—Fitting the large bust (continued).
52—To make pin tucks in the front.
53—To enlarge a pattern over the bust with or
without the use of pin tucks.
Page
54—The primary cause of ill-fitting garments.
54—Shrinking woolens.
54—A little art, a little care.
55—Cutting the material and making gar-
ments.
55—Yesterday.
56—Drafting the sleeves with the use of the
Gurney curve chart.
57—Sleeves and sleeve measurements applic-
able to all makes of patterns.
57—Of rules that say "don't".
58—Drafting sleeves.
58—Oh, for faith and strength to win.
59—To draft the straight dress or coat sleeve.
60—The tight sleeve.
60—Hidden deep.
61—To draft the tight sleeve.
62—The straight coat sleeve made tight on the
wrist.
TABLE OF CONTENTS (Continued)
Page
77—Adapting the dress pattern for woolen
garments.
77—There is great economy, etc.
78—The costume slip.
79—To draft the costume slip.
79—All in the dark we grope along.
80—The kimono dress.
81—To draft the kimono dress.
81—A kindly deed.
82—To draft Peter Pan collars.
83—Maximum roll collar.
83—I wish, I can, I will.
84—The Gurney method of sure-f1t collar
drafting.
85—Roll collars.
86—To draft the shirt waist.
86—There is only one way to be happy.
87—The shirt waist.
88—The transposing of darts to obtain various
styles, applicable to all makes of patterns.
88—Fig. 1, the Gurney basic method.
88—Fig. 2, for gathers at the front.
89—Fig. 5, for shirring at the shoulder.
89—Fig. 6, for gathers at the armscye.
90—Fig. 7, for gathers at the V opening.
90—Fig. 8, for gathers at the neckline.
90—Fig. 8, for tucks at the front neckline.
91—Fig. 9, for fullness at the waist.
91—Fig. 9, for two darts at the side seam.
91—Fig. 10, the choker neck.
92—Fig. 11, for gathers or shirring at the ex-
tended shoulder seam.
92—Blest be the tongue that speaks no ill.
93—TO draft the Eton jacket (Bolero).
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94—To draft the plain coat.
94—The man who trusts men.
95—Think.
95—Remember.
96—To draft the plain coat (continued).
96—Kindness.
98—Pressing and removing shine.
98—Let me today.
99—To enlarge a coat pattern over the bust.
99—Loving words.
100—To draft the jacket.
101—To draft the jacket pattern.
101—Silence.
Page
102—To draft a jacket pattern with a seam in
the center of the back.
104—To draft the fitted coat.
105—The fitted coat.
106—To draft the coat raglan.
108—The raglan coat (continued).
109—The raglan coat and sleeve.
110—To draft the dolman coat.
110—Believe in yourself.
112—To draft the dolman coat sleeve.
112—The world is wide.
114—To draft the swagger coat.
114—Smile a little.
115—To draft the swagger coat (continued).
115—Now.
116—To draft the dress raglan.
116—There are loyal hearts.
118—To draft children's dress and coat patterns.
122—To draft children's sleeve patterns.
123—The Gurney method of basting sleeves in
TABLE OF CONTENTS (Continued)
Page
142—The Gurney method of drafting sure-fit
skirt patterns.
142—Drafting the plain skirt front.
143—Drafting the plain skirt back.
143—Example.
144—To draft the gored skirt.
144—To draft the panel skirt.
145—To draft the yoke skirt.
146—To draft the circular skirt.
146—Better trust all and be deceived.
147—To make the inverted pleat.
148—To make the plain skirt and dress placket.
150—The Gurney sure-fit method of making
the concealed talon, hookless, sliding,
fastener skirt placket.
152—Meditation.
153—To make a dress hem in silk, crept and
very light weight woolen.
153—To sew hooks and eyes on a skirt belt.
154—To make a hem in heavy woolen material.
154—Making and finishing the hem for the
pleated skirt.
156—Easy method of making corners.
158—Skirt slacks.
159—Measures required for skirt slacks.
158—Drafting skirt slacks front.
159—Shorts for sport garments.
159—Banish the future.
160—Drafting skirt slacks (continued).
161—Skirt slack back.
161—Shorts for sport garments.
161—Today will be my busy day.
162—Economical cutting of slacks.
162—Making slacks.
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163—Economical cutting of slacks (continued).
163—The easiest thing to find fault.
164—The Gurney sure-fit men's and boys'
shorts.
165—Normal standard measures.
165—When a bit of sunshine hits ye.
166—To draft men's and boys' shorts.
168—Wishing.
169—How to cut shorts.
Page
170—How to make shorts.
172—The song of the shirt.
172—Blessed are they who have the gift.
173—Shirt measures.
173—Methods of taking shirt measures.
173—Proportionate standard shirt measures.
173—How much easier.
174—To draft men's and boys' shirts.
175—Yoke and neck curves for all sizes.
175—To make the French front with Indian
head facing.
176—Shirt collar.
176—Neck band.
176—Cuffs.
178—To make the French shirt front with the
facing material cut on the front.
179—To draft the shirt sleeve.
180—The Gurney easy and correct method for
making the shirt sleeve placket.
181—Men's shirt sleeve placket.
181—Oh, for faith and strength to win.
182—The Gurney method of making bound
pockets and buttonholes in light weight
woolens, silk or lingerie materials.
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I
Pattern Drafting
Dress Pattern
Drafting
Dress Sleeves
Dress Making
INDEX
Page
Before drafting patterns it is advisable to first read
pages 22, 23, 25, 26, 31, 34, 54, 55
Gurney Sure-Fit Curve Chart 32
To make the Gurney Curve Chart.... 33
To use the Gurney Curve Chart 34
Dress, one piece, to draft the back 37
Dress, one piece, to draft the front 39
Dress, two piece, the back 37
Dress, two piece, the front 39
Adapting patterns to individual requirements applicable to all makes
of patterns 40
Dress pattern, for woolens 77
Raglan dress 116
Butterfly ("Bat") sleeve dress 118
Shirt waist 86
Children's dresses... 120
Kimono dress 80
Costume slip 78
Before drafting sleeve patterns read chapter on sleeve measures ap-
plicable to all makes of patterns 57
To draft sleeves.... 57
The Gurney sure-fit curve chart 32
How to use the sure-fit curve chart for sleeves 56
Straight dress sleeve 58
Blouse sleeve 58
Tight sleeve 60
Medium tight sleeve 61
Sleeve variations 61
The Gurney comfortable short sleeve 68
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Short or long sleeve with gathers at the top 70
Long or short sleeve with gathers at the bottom..... 71
Balloon long sleeve 72
Balloon short sleeve 72
Bell sleeve 74
Bishop sleeve 74
To enlarge the sleeve at the top for the large arm 66
To enlarge the sleeve, large arm sleeve 67
Gurney method of basting sleeves in the garment 123
Gurney method of basting sleeves in the garment 123
111 fitting garments 54
Shrinking woolens, etc 54
Cutting the material 55
Tailor tacks, how to make. 134
Placket opening 148
Talon zipper placket 150
INDEX (Continued)
Page
Dress Making Dress hem, Making the... - 153
(Continued) Pressing and removing shine. — 98
Dress Transposing Fig. 1. The Gurney basic method— 88
of Darts to Obtain Fig. 2. For gathers at the front 88
Various Styles Ap- Fig. 5. For shirring at the shoulder..... '... 89
plicable to All Fig. 6. For gathers at the armscye 89
Makes of Patterns Fig. 7. For gathers at the V opening. 90
Fig. 8. For gathers at the neckline.. 90
Fig. 8. For tucks at the front neckline...- 90
Fig. 9. For fullness at the waist 91
Fig. 9. For two darts at the side seam 91
Fig. 10. The choker neck 91
Fig. 11. For gathers or shirring at the extended shoulder seam 92
Fig. 3. For gathers at the waist 39
Collars See pages 136, 138, 82, 84, 85
Corners Easy method of making 156
Pin Tucks in Back Pin tucks Fig. 3 37
Pin tucks Fig. 8... 46
Pin tucks Figs. 5, 6, 7... 47
Pin Tucks in Front Pin tucks Figs. 9, 10, 11 52
Pin tucks Figs. 1, 2 53
Fitting Garments
Round Shoulders
and Large Blades
Large Bust
Coat and Jacket
Pattern Drafting
To Draft
It is advisable to first read the chapters, pages 25, 26, 31, 40
See illustrations and instructions on pages 42, 43, 44, 45, 46, 47, 94
See illustrations and instructions on pages 48, 49, 50, 51, 52, 53, 99
Primarily for all coat drafting the regular dress patterns are used,
as described on pages .37, 39
The Eton bolero jacket 93
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Plain long coat back 95
Plain long coat front 96
Jacket with French fitted back 100
Jacket with seam in center back 102
Fitted long coat 104
Raglan coat 106
Raglan coat (continued) 108
Dolman coat 110
Dolman coat (continued) 112
Swagger coat.... 114
Children's coat... . 120
INDEX (Continued)
Page
Coat and Jacket
Sleeves
To Draft The straight sleeve 59
The straight sleeve made tight at the wrist 62
Two piece jacket sleeve 64
Two piece coat sleeve.... 64
The balloon sleeve 72
The bell sleeve...... 74
The fancy sleeve.. 75
Coat Making Ill fitting garments—primary cause of. 54
Shrinking woolens 54
Cutting the material and garment making 55
Coat lining, how to cut 131
Two piece sleeve lining, how to cut 132
Relining coat 130
Tailor tacks, how to make.... 132
Coat making short steps 136
Gurney Method of
Basting Sleeves
in Garment 123
Pressing, Removing
Shine 98
Collars Straight collar 139
Plain collar 140
Easy Method of
Making Corners 156
/
Capes To draft the cape 124
Grading Patterns To grade the dress back 126
To grade the dress front 127
To grade the straight dress sleeve 128
To grade the straight coat sleeve 128
To grade the straight tight sleeve 129
Skirts Sure-fit pattern drafting
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The plain skirt—the front. 142
The plain skirt—the back 143
The gored skirt 144
The flared skirt 144
The panel skirt 144
The yoke skirt.. 145
The circular skirt 146
The inverted pleat 147
INDEX (Continued)
Skirt Making
Skirt Slacks
Shorts, Men's and
Boys'
Shirts
Necktie Making
Pockets and
Buttonholes
Page
The skirt placket 148
The talon zipper placket 150
Putting on the belt 151
Hooks and eyes 153
To make the hem in heavy woolens 155
Making the hem for a pleated skirt 155
Skirt slacks, to draft.... 158
To draft the front.... 159
To draft the back 160
Economical cutting of slacks 161
Making of slacks 162
Shorts for sport garments 159
Shorts for sport garments (continued)... ., 161
Men's and boys' shorts 164
Normal standard measures... 165
Drafting men's and boys' short patterns 166
How to cut material for shorts 169
How to make men's and boys' shorts 170
Shirt measures 173
Method of taking shirt measures '. 173
Standard shirt measures 173
To draft men's and boys' shirts (See Pages 175-181)
135
To make buttonhole loops 125
The Gurney method of making bound pockets and buttonholes in light
weight woolens, silk or lingerie materials 182
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Bound buttonholes 184
The patch pocket for dresses 185
The Gurney method of making the inset stand pocket for woolens,
lingerie, silks, etc— 186
The inset stand pocket 188
The in and out flap pocket 190
Patch pocket for woolens. 191
Corded pockets and buttonholes 192
The Gurney new high grade method of finishing buttonholes 194
The older method of making piped buttonholes and pockets 195
The braid or bias tape pocket 196
The welt pocket 198
The welt pocket with pressed-open seams 200
The pressed, open-seam bound pocket or buttonhole 201
. HE poems in this book are a gathering of
several years and were copied from news-
papers, magazines, etc. They were selected
because of their uplifting, encouraging and
educational contents. As far as possible, the
authors have been quoted. It is sincerely
hoped that this explanation of acknowledge-
ment and recognition will, in a measure,
compensate for the printing of these poems.
Cordially yours,
EDMUND GURNEY.
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;
LIVING
ON'T go through life as if you
were following a script written
by another. Live your lije with a zest
and a freshness of interpretation that
will set you above the ordinary indi-
vidual. Life is a garment, and wise is
the man who cuts his own
pattern.
THE SATISFYING; LIFE
For those who seek the larger happiness and the
greater effectiveness upon human beings there can be
but one philosophy of life. The philosophy of con-
structive altruism. The truly happy man is always a
fighting optimist. Optimism includes not only altruism
but also social responsibility, social courage and ob-
jectivity for the benefit of his fellowmen. This is the
golden way of life. This is the satisfying life. This is
the way to be happy though human.
—JT. Beran Wolfe.
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[20]
In the year 1631 a peasant found a baby
basket containing a little boy, a purse of money
and a note stating that whoever found the
basket and took proper care of the baby would
never know want. It also stated that the much
desired and beloved infant was, because of de-
formity, not desired as a ruler of its family.
Accordingly money was for some period con-
tinuously received from an unknown source for
its upkeep. As the boy grew older he developed
a desire for sewing, thus the lad was named
Lodivicus (loves sewing), meaning in the Flem-
ish or Dutch language, Geerne-naien. This was
the start of the Gurney tailoring family, and
the trade has until now been continuously in
the same family under the same name. How-
ever, as education has progressed the name has
gradually changed first to Geernaei, then to
Geernay and further as the French language
became more in commercial use to Gernay.
An early branch of the family moved to
England, another to the United States. No
record was ever kept, only as it was related
from parent to son. No search has ever been
instituted, but it appears the name was again
changed to the more easily used language of
the country to Gurney.
Regardless of my love for the trade, I have
several times tried to give up the tailoring
business. However, Providence or destiny de-
creed otherwise and has indicated that I could
be of more benefit and service to my fellowmen
by doing precisely what my father, grandfather
and great-grandfather have done.
Hence, it has always been my desire to popu-
larize the Science of Tailoring and sewing by
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making it attractive and accessible to all minds
desirous of learning it. I am the last descend-
ant of the Gurney family in the trade and aim
to simplify the work of all who sew or teach
sewing. Therefore, with this purpose con-
stantly before me I have written this book con-
taining practical knowledge of an art which is
as interesting as it is useful and profitable.
—Edmund Gurney.
[21]
TO THE TEACHER OF SEWING AND GARMENT MAKING
This is an age of production. Teaching trans-
lated means, instilling self confidence and con-
structiveness for ease and economic production.
Teaching is creating a hankering, a dreaming
and a thrilling desire for further accomplish-
ment to productive self independence.
I believe that all who wish to can accom-
plish. It is up to us as teachers to banish the
student's complex of "I Can't" and to instill
in its place ambition and pride in the students'
efforts. All people are not equally gifted, there-
fore, we must compliment and encourage the
reticent pupil. Many times we find that the
student who grasps things quickly frequently
forgets them just as readily, and because of
this fact our "retarded" pupil often becomes
our most efficient student.
Very frequently I observe seamstresses who
have exceedingly good garment making talent,
working hard and apparently very fast. How-
ever, because of unsystematic methods and im-
proper handling, their work does not progress
in accordance with their laborious efforts. The
reason for this is that no one has ever taught
them how to handle their work for progressive
and rapid sewing. Perhaps many of you teach-
ers have members in your classes who will be
going out into the sewing world without fur-
ther training. Are you presenting them with
the knowledge and the materials necessary to
simplify their work and make it enjoyable for
them ?
To Be Happy
Think things conitructlvely; don't defame.
Thlnk things good; don't betray.
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Think things hopeful; don't thlnk fear.
Thlnk faith in Providence.
Then hang on, blng on, no matter what they >ay.
Slng on, cling on, things wlll come your way.
Slttlng down won't help a blt;
Only way to get there ls by keeplng up your grit.
—E. G.
[22]
TO ALL WHO SEW
Dressmaking does not consist solely of neat
and elegant sewing—it is knowing the purpose
of the stitch; whether it is permanent, will
show, etc. Too many or too few stitches are the
marks of a "home-made" dress, and that is an
outstanding feature which we wish to avoid.
Perhaps the first item that enters our mind
when we think of making sewing easier is good
equipment. Good equipment consists of: (1)
sharp scissors, (2) small pins as large ones
leave pin marks, (3) short needles, (4) a tape
measure that will not stretch or shrink, (5)
white tailor's chalk for making lines, etc. (col-
ored chalk should never be used because it does
not rub out), (6) a yardstick, (7) a thimble of
the correct size, (8) a table or working space
which will provide ample room for cutting pur-
poses, (9) a sewing machine of your own
choice, which you keep in good condition at all
times, (10) an iron, pressing block, pressing
cloths and sponge.
There is never any occasion in sewing for you
to have the needle pointed away from you or
toward you. (We, in daily life, often have pins
and needles enough in our hearts without stick-
ing them in ourselves.) The needle must at all
times be inserted so it will be parallel with the
body, thus the hand needs no special turn and
the arm is free for the right sewing. Also when
sewing, the garment should rest on all four
fingers; thus, the work will slide off the hand
holding it and will constitute progressive sew-
ing with the least handling and effort.
Do not try to put the whole garment on one
needle or on one length of thread. Use shorter
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lengths of thread in basting and hand sewing
as then you will not be spending all your time
in untangling the thread or pulling it out arms
length between each stitch. Also, never "kiss"
your needle or pins before inserting them in
the material as they will leave marks.
With these few suggestions, and with the
information in the remainder of the book, all
of you can become adept in garment and pattern
making and fitting. Think of things only in a
constructive manner and you will find that it
will all be so easy and enjoyable.
Nothing IS, or can be too good for YOU.
Whatever is worth doing, is worth doing WELL.
Always do the very best you can, just for YOU.
Thusly! there will be no excuses or alibis,
And You will be contented.—E. G.
[23]
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Fiy.J
[24]
DESCRIPTION OF INDIVIDUAL TYPES AND POSTURE
With few exceptions we are born with normal
posture and it is up to our individual selves to
remain normal. The distance from the tip of the
middle finger of one hand to the tip of the mid-
dle finger of the other with our hands out-
stretched is equal to our total height. The Cre-
ator made us upright, intending us to be and
act upright. He made us just as wide as we are
tall, consequently, we are upright and square.
This accounts for the saying, "Be true to your-
self," and if you are true to yourself, "upright
and square," you will think only of things con-
structive and feel good all of the time.
Nature intended us to be and walk erect with
our chin parallel with our shoulders. If we do as
Nature tells us, we will be well balanced, in Fig-
ure 5; up and doing, tireless, good-feeling, ever
active and always ready to go. We can all enjoy
this type of posture with a little practice each
morning in walking on our tip-toes with the
palms of our hands forward and our chins up.
This will create energy through your whole
body and give you the sensation of being pro-
pelled forward. You will feel light and airy and
you will be able to walk on eggs with heavy
shoes without cracking them!!!
Figure 4 is just the opposite of Figure 5. She
is pepless, usually tired, and looking for some-
thing on which to rest, hence her slightly round
back and shoulders.
Figure 1 is the high shouldered type of indi-
vidual, and usually have a broad face and short
neck.
Figure 2 is the sloping shouldered type of
individual and usually have a narrow face and
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long neck.
Figure 3 is the large person with very round
back and usually with a large bust.
These figures all illustrate the normal types
of individuals and it is natural for us to won-
der what design of clothes should be worn by
each.
To dress in good taste, the contour and phys-
iognomy of the face should be of primary con-
sideration. Second, vivacity; third, posture
attitude; fourth, facial complexion; fifth, height
and size; sixth, sedateness; seventh, color of
hair and eyes.
Frequently twin sisters who look exactly alike
are so different in action that the same dress
will be becoming to one and not to the other.
One of the two is vivacious and has a certain
attractive swing. She can dress conspicuously
and our eyes are unconsciously responsive in
following her across the ballroom. However, her
sedate sister wearing a duplicate dress does not
appeal to the eyes the same as the vivacious
sister. Thus, the same dress is becoming to the
one and not to the other.
The same is true in nature, as for instance
the multiple colored butterfly moves slowly to
display her colors; whereas the single light col-
ored butterfly moves quickly because she real-
izes her tiring effect on our eyes. Regarding
color, note the different colors in a bed of pan-
sies. I have never seen a pansy but that it had
some little bit of life color, orange (the sun
color). Orange means life and light and a little
bit of orange is always flattering to all other
DESCRIPTION OF MEASURES
The All Wise Nature has made us all subjects
to its laws. The division of each and every part
of the body is a positive unit measure and cor-
responds with the whole body as Nature in-
tended.
The inch! What is the inch, why and whence
the inch? The inch equals the width of the
thumb, four times the width of the thumb
equals the width of the hand, and three times
the width of the hand equals the length of the
foot. Thus, 12 units, twelve inches is the length
of the foot. Why twelve inches? Twelve, be-
cause it is divisible in fourths, halves, thirds,
and sixths without fractions. We are eight
hands, 64 thumbs or 64 units high. Therefore,
64 inches is the basic height and is divisible in
fourths and eighths without fractions. The
length from the neck to the waist is one-fourth
of our total height, etc. For widths, twice
around the wrist over the wrist bone equals
once around the neck taut under the chin. Three
times around the neck equals once around the
bust. The basic standard size from which all
patterns are made larger and smaller is the
twelve-inch neck, the 34-inch bust, and the
64-inch height.
I do not advocate taking a lot of measure-
ments on the individual as no two persons will
take them alike. Instead of doing that, use the
combined wrist and neck measures to derive
the correct size pattern. Take the wrist meas-
ure tight over the wrist bone and multiply it
by six to obtain the bust measure as: the wrist
measures 6 inches multiplied by six equals 36
inches for the bust. Take the neck measure
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taut under the chin and multiply it by three to
obtain the bust measure as: the neck measures
12 inches and multiplied by 3 is 36 inches for
the bust. This method of measuring has proven
96 percent correct for all sizes and makes of
patterns.
The actual bust measure of an individual may
be either larger or smaller than the size derived
in this method. This does not mean that the
size of the pattern obtained by the neck meas-
ure is not correct. Lines "A" in Figures 3 and
5 illustrate the normal figure and lines "B"
illustrate individuals with larger busts. How-
ever, both individuals "A" and "B" on either
figure require the same size pattern. Please note
that the measure across their backs has re-
mained the same and that only the measure-
ment across their bust has changed. Therefore,
to properly fit these individuals use the size
pattern indicated by their neck measure and
adjust the pattern to fit the bust as discussed
in the chapter on fitting, pages 40, 42, 44.
Although Figure 4 has a smaller bust than
Figure 5, she still requires the same size pat-
tern as Figure 5 because of the width across
her back. Thus, please observe that the neck
measure is a positive unit of measure for the
required width of the back, and that no matter
how large or small a bust the individual may
have she must use the size pattern indicated by
her frame.
Because of the more general athletic forms
and because of the types of material used today,
patterns are much larger than they used to be,
When taking measures it is "PRIMARILY IMPORTANT" to "eye fit" the individual.
By this I mean to take note of her posture, to observe whether her shoulders are high as
Figure 1; sloping as Figure 2; round as Figures 3 and 4, or normal and erect as Figure 5.
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[27]
MEASURES
When taking measures always stand back of
the individual.
1. Tie a tape around the waist.
2. Insert pins at the sides and the back 7
inches below the tape for the hipline.
3. Insert a pin 8 inches, maximum 9 inches
from the neck in front for the bust line. The
bust may actually be lower than 9 inches but
9 inches is the maximum depth from the neck
that the bust measure is taken.
4. Insert pins 7 inches from the neck in the
back.
5. Take the bust measure snugly but not
tight over the pins.
6. Take the waist measure.
7. Take the hip measure taut but not tight
over the pins.
8. Take the length from the neck to waist.
9. For a dress or coat take the length measure
from the neck to the floor and subtract the
amount that the garment is desired shorter.
10. For the sleeve length make a two inch
fold on the tape measure. Insert a pencil in this
fold and place the pencil tight under the arm
at the armscye, and take the sleeve length and
subtract two inches from this.
11. For the skirt take the waist measure, hip
measure and the desired length.
In the measuring illustration you will note
that the neck measure is taken taut around the
neck close under the chin and that the wrist
measure is taken tight over the wrist bone.
STANDARD TABLE OF MEASURES
Size (Bust) 32(14) 34(16) 36 38 40 42 44 46
Waist.. 25 27 29 31 33 35 37 39
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Hip 35 37 39 41 43 45 47 49
48 50 inches
41 43 inches
51 53 inches
WILL POWER
That which one wills to do, he has the power to do. A
knowledge of this, requires faith. When faith moves, the
soul begins its flight. Every act of will requires an object.
He who wills must will something, and he must have faith
in the thing he wills to do.
[28]
MEASURES
"There are three kinds of people in the world—the Can'ts, the Won'ts, and the Wills. The Can'ts fail in everything,
the Won'ts oppose everything, and the Wills accomplish everything."—WILLIAM T. ELLIS.
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[29]
The Morning Hope
The morning star the night succeeds
I therefore meekly pray,
May God in all my works and deeds
Keep me from harm this day.
May He in love restrain me still
From tones of strife and words of ill,
And wrap around and close my eyes
To earth's absorbing vanities;
May wrath and thought that gender shame
Never in my breast abide
And painful abstinences tame
Of wanton flesh the pride.
So when this weary day is over
And night and stillness comes once more
I may repeat in gleeful mirth,
I am harmony, I am peace, I am good-will to all, and all.
GOOD MORNING
The Evening Contentment
Now that the daylight has died away
And night and stillness has come once more
The Maker of this World I pray
To watch my bed above.
Let dreams depart and phantoms fly,
The offspring of the night,
And keep me like shrine beneath thine eye,
Pure in my foes despite.
This grace and contentment providence confers
When we are in harmony and peace with all and all.
GOOD NIGHT!
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[30]
PATTERN DRAFTING
BY THE GURNEY SELF-GRADING METHOD
The method of pattern drafting or garment
making given in this book is very simple, is very
concise and the directions are very easy to fol-
low. All terms or expressions used in the book
are explained just as they appear.
I do not aim to give the directions for draft-
ing patterns according to the numerous meas-
urements of the individual, because no two per-
sons take measurements alike. The directions
given are for the normal size patterns as used
by manufacturers and all commercial patterns.
Then I have given you the adaptations neces-
sary to adjust the pattern to all required meas-
urements. These methods of adjusting the pat-
tern are not only applicable to these patterns
but to all makes of patterns.
The detailed directions and illustrations in
this book are all for the size 16 pattern (34
bust, 37 hip). However, the same procedure is
used for all sizes of patterns. Size 16 is com-
mercially termed the "SL0PER" pattern and is
the size used by the manufacturing trade in
grading all larger and smaller sizes. When draft-
ing patterns by the directions in this book you
will note that the directions continuously refer
to plus and minus. As plus for each size larger
and minus for each size smaller. This is, in
every detail in accord with all pattern grading,
thusly you automatically become familiar with
the usual grading requirements because the
Gurney Method of pattern drafting is SELF
GRADING. By this I mean that all directions
are provided for making the patterns larger or
smaller than size 16 by the use of the words
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minus or plus.
The materials required for pattern drafting
are not numerous, nor do they need to be of
great expense to you. A hard lead pencil (num-
ber 4 or 6 hard) is preferable as the lines will
be very fine and they will not add to the size
of the pattern. A tailor's square will be advan-
tageous to you as then no other measuring
equipment is necessary. However, if you do not
have a square use a letter sheet to square your
lines and use a common ruler for measuring. A
curved instrument facilitates the drawing of
curved lines. However, as you proceed in this
book you will find a curve chart which has been
made especially to draw curved lines in pattern
drafting. You will also need a scissors, a tracing
wheel and a tape line which will not stretch.
Therefore, with a minimum amount of equip-
ment and with the aid of the directions in this
book you will be able to draft all types and sizes
of patterns. If you will follow the directions
carefully and complete each step as it is given
you will be happy with the results.
You do not have to be a dressmaker to make
dress patterns, any 16 year old school boy or
girl can make these patterns, and "Believe it or
not" your husband will take pleasure in tak-
ing an evening off and make the desired pat-
tern for you, also with the simplified fitting
instructions he will be able to fit you. Just tell
that husband, father or kind brother that you
will make a shirt or a pair of shorts for him if
he will make the pattern, they will be delighted
with the comfortable fit of these garments and
THE GURNEY SURE-FIT CURVE CHART
Architects and draftsmen use various types
of instruments to draw curves. Therefore, to
aid you in drawing curved lines in pattern
drafting I have made this Gurney curve chart.
The chart on this page is full size. Place a
sheet of paper on top of the page and trace the
lines and letter marks of the chart. From this
tracing make a chart of heavy paper.
The use of the chart is explained on the fol-
lowing pages.
&
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[32]
TO MAKE THE GURNEY CURVE CHART
B
B
Draft the back for size 16.
Draft the front for size 16 so that the under
arm seam will meet the under arm seam of the
back. The back curve of the chart follows the
back armscye curve as R to T to V to DD. The
front curve of the chart follows the front
armscye curve as Q to R to U to B. Mark 16
where the under arm points B and DD meet
and extend the chart lines beyond R and Q as
illustrated.
This chart is applicable for all curves in all
pattern drafting.
N
GURNEV
CURVE CHART
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[33]
HOW TO USE THE GURNEY CURVE CHART
Figure 1. Drafting the dress back with the use
of the curve chart.
Draft the regular dress back, omitting the
armscye curve, neck curve and hip curve.
To draw the armscye curve for size 16, place
point 16 of the chart on point DD so the chart
touches point R and outline. This will locate
point T at the intersection of line C. For each
size larger than size 16, point 16 of the chart
is placed an added 14 inch in from point DD,
as: For size 36 point 16 is 1/4 inch in from DD,
and for size 38 point 16 is 1/2 mcn from DD, for
size 40 point 16 is % inch in from DD, etc. For
all sizes smaller we proceed just the opposite
of making it larger with the exception that we
reduce only % inch for each size at DD as for
each size smaller than 16, point 16 is % inch
out from DD, etc., for all sizes.
To draw the back neck curve place point J of
the chart on point N so the chart contacts line
B to BB and outline.
To draw the back hip curve place letter M at
dot M so the chart contacts dot L and outline.
Figure 2. Drafting the dress front with the use
of the curve chart.
Draft the regular dress front, omitting the
armscye curve, neck curve and hip curve.
To draw the front armscye curve for size 16,
place point 16 of the chart on point B so the
chart touches point Q and outline. This will
locate point R at the intersection of line CC.
For each size larger than size 16, point 16 of
the chart is placed an added 1/4 mcn m from
point B, as: For size 36 point 16 is 1/4 inch in
from B, and for size 38 point 16 is 1/o inch in
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from B, for size 40 point 16 is % inch in from
B, etc. For all sizes smaller we proceed just the
opposite of making it larger with the exception
that we reduce only % inch for each size at B
as for each size smaller than 16, point 16 is
1/8 inch out from B, etc., for all sizes. Figure 2
illustrates the drafting of size 40, therefore, it
will be noted that point 16 of the chart is %,
inch in from point B.
To draw the front neck curve place point 16
of the chart on dot 5 so the chart will contact
point N and outline.
To draw the front hip curve place letter
M at dot M so the chart contacts dot L and
outline.
// any little love of mine
May make a life the sweeter,
lf any little care of mine
May make a friend's the fleeter.
If any life of mine may ease
The burden of another,
God give me love and care and strength
To help my toiling brother.
[34]
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HOW TO USE THE GURNEY CURVE CHART
[35]
Drafting the Dress Back
Draw a line 1 inch from the edge of the paper nearest to you.
2 inches from the edge of the paper to the right of you mark A.
A to B is 34 inch.
B to C is 41/& inches for size 16 and increases ys inch for each size larger up to and including size
42, and decreases ys inch for each size smaller including size 12.
C to D equals B to C.
B to E is 16 inches.
E to F is 7 inches.
B to G is the total length of the garment.
Draw right angle lines from A, B, C, D, E, F, G. If you do not have a square use a letter sheet to
make the right angle lines.
A to AA is 9% inches for size 16 and increases yz inch for each size larger and decreases yz inch
for each size smaller.
F to FF equals A to AA. Draw line AA to FF and mark CC, DD, EE at the intersections.
FF to H is 14 inch.
EE to I is 14 inch. Draw a line from I through H the full length of the garment and mark GG
at the intersection with line G.
K is center of G to GG.
GG to J is yz inch. Draw line J to K.
H to L is % inch.
E to M is 14 of the total waist measure plus 1 inch. Draw the curved line M to L.
Draw line DD to M.
A to N is 2% inches for size 16 and increases V& inch for each size larger and decreases ys inch
for each size smaller.
N to O is 3 inches. Square a line down from O.
O to OO is 1V2 inches. Draw a line from N through OO.
A to P is 714 inches for size 16 and increases 14 inch for each size larger and decreases !/4 inch
for each size smaller.
D to PP equals A to P. Draw line P to PP and mark R and S at the intersections as illustrated.
S to T is l^inch.
PP to U (both ways) is 114 inches. Draw line U to U and mark V in the center.
Draw curved line R to T to V to DD.
Square a line down from N and mark BB at the intersection with line B.
BB to W is % inch. Draw line N to W and mark X in the center.
B to Y is 1 inch. Draw curved line Y to X to N.
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A dart is made in the skirt of the two-piece dress as follows:
2 is center of E to M.
2 to 3 (both ways) is yz inch.
F to 4 equals E to 2. Draw a line from 4 to 2.
4 to 5 is 1 inch. Draw lines 3 to 5.
E to 6 is % inch.
3 to 7 is 5/s inch. Draw line 6 to 7. Draw curve line 7 to M.
E to 8 is 14. inch.
3 to 9 is 14 inch. Draw line 8 to 9. Draw curved line 9 to M.
For a dart in the one-piece dress proceed the same as for the dart in the two-piece dress. Extend
line 2 to 10 five inches. Draw lines 3 to 10.
If the garment is desired very loose add yz mcn as DD to Z on the side and Y-i inch as R to Y on
the armscye.
If the shoulder length is desired shorter—R to y is 14 inch. Reduce from y to V as the dashed
line illustrates.
When cutting the pattern allow a Y-i inch seam at the neck line and % inch seams elsewhere.
Patience and will acquire courage and skill.
[36]
TO DRAFT THE DRESS BACK
Before drafting, read the chapters on Meas-
ures and Pattern Drafting. Then follow direc-
tions and as you proceed, complete each step.
To easily make the curves use the Gurney
Curve Chart, see Pages 32, 33, and 35.
For primary pattern drafting practise it is
advisable to first draft the normal standard
"sloper" pattern size 16 (34 bust, 37 hip). The
same procedure is used to draft all sizes. Then,
after you have drafted the pattern (both back
and front), and before cutting the paper pat-
tern, you will, to complete the pattern, refer to
the chapter on the Gurney method of Adapting
Patterns to the Individual Measurements and
Requirements, Page 40. Please note that this
method and all the fitting methods described
in this book are applicable to all sizes and makes
of patterns. When cutting the paper pattern
allow % inch seams on the pattern.
Figure 3 illustrates an easy method to pro-
vide pin tucks at the back for the slightly round
shoulder. A to 2 is 4 inches. Cut the pattern
from 2 to 3. Spread pattern open one-half inch
as 2 to 4. The pattern will now appear as dotted
lines 5-6-7-8. Straighten the line at 9. Line 2
to A is the fold of the goods. This method pro-
vides for 5 small pin tucks. Further illustra-
tions on Pages 42 and 46.
FIG.3
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[37]
Drafting the Dress Front
Draw a line 4 inches from the edge of the paper nearest to you.
2 inches from the edge of the paper to the right of you mark A.
A to B is 8 inches for size 16 and increases 14, inch for each size larger up to and including size
42, and decreases 14 inch for each size smaller including size 12.
B to C is 214 inches always.
B to D is the amount of the dart and is 1 inch for size 16. The dart increases 1/& inch for each
size larger and decreases 1/8 inch for each size smaller.
D to E equals D to E of the back.
E to F is 7 inches.
Draw right angle lines from A, B, C, E, F.
A to AA is 9% inches for size 16 and increases 1/2 inch for each size larger and decreases 1/2 inch
for each size smaller.
F to FF equals A to AA. Draw line AA to FF marking BB, CC, EE at the intersections as illus-
trated.
Extend line FF to G. FF to G equals F to G of the back. Draw a right angle line from G.
F to H is 14 inch.
E to I is 14 inch. Draw a line from I through H until it intersects line G and mark this point GG.
GG to J is 1/2 inch.
K is center of G to GG. Draw line J to K.
H to L is % inch.
EE to M is 14 of the total waist measure plus 1 inch. Draw curved line M to L.
AA to N is 2% inches for size 16 and increases % inch for each size larger and decreases 1/6 inch
for each size smaller.
N to O is 4 inches. Square a line down from O.
O to P is 114 inches. Draw a line from N through P.
N to Q is the length of the back shoulder less 14 inch.
CC to R is 6% inches for size 16 and increases 14 inch for each size larger and decreases 14 inch
for each size smaller.
BB to S equals CC to R. Draw line R to S.
S to T (both ways) is i% inches. Draw line T to T.
U is center of T to T. Draw curved line Q to R to U to B.
B to V is 214 inches.
V to V2 equals B to D.
W is center of V to V2.
W to X equals C to R plus % inch. Draw lines V to X and V2 to X.
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Draw line V2 to M.
AA to 2 equals AA to N.
N to 3 equals AA to 2. Draw lines N to 3, 2 to 3, an AA to 3.
AA to 7 equals AA to N, plus % inch.
N to 6 is 1/2 inch.
2 to 5 is % inch. Draw curved line N to 6 to 7 to 5 to 2.
For the two-piece front:
EE to 8 is 34 inch.
9 is center of EE to M.
9 to 10 is % inch. Draw the curved line M to 10 to 8. This line is the cutting line for both the skirt
and the blouse.
If the garment is desired loose add 1/2 inch as B to Z and 14. inch as Q to Y.
If the shoulder length is desired shorter—Q to y is 14 inch. Reduce as y to U illustrates.
When cutting the pattern allow a 14-inch seam at the neck line and %-inch seams elsewhere.
[38]
TO DRAFT THE DRESS FRONT
z
When drafting pattern always make back
portion first. To easily make curves use the
Gurney Curve Chart, Page 32.
Before cutting the paper pattern you will, to
complete the pattern refer to the Chapter
"Adapting the Normal Size Standard Pattern
to Individual Measures and Requirements."
Page 40.
THE 6URNEY
METHOD TO MAKE
MORE FULLNESS
AT THE WAIST
FIG. 3
To provide for gathers at the waist, cut the
pattern on line 12 to X and decrease the dart at
V to V as the shaded part illustrates.
Success links arms with Faith and Will
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[39]
ADAPTING THE NORMAL SIZE STANDARD PATTERNS
TO INDIVIDUAL REQUIREMENTS
Applicable to all Makes of Patterns
Patterns drafted according to the Gurney
Sure-fit method of pattern drafting will produce
a pattern corresponding to the Standard Table
of Measures, Page 28. Thus a size 16 is a 34
bust, 27 waist, and 37 hip. Size 40 is a 34 waist,
43 hip, etc.
As you proceed and study the fitting illustra-
tions, you will note that in fitting by the Gurney
method, we never, never change the shoulder
point at the neck. We do the fitting where fit-
ting is required. For quick, efficient and eco-
nomic results in business and schools, it is
urgently advised to have a complete set of lin-
ings ready to try on to "pre-fit" the individual.
This gives an opportunity for extended observa-
tion to be used when cutting the material.
TO MAKE A PATTERN LARGER AROUND
THE WAIST AND HIP
Let us assume that the pattern was made for
a standard size, 34 bust and 37 hip, but the in-
dividual's hip measure is 38 inches. This indi-
cates that the pattern must be made one inch
larger around the hips. This amount is divided
into four equal parts as will be noted in Figures
1 and 2 on the opposite page. D to 3 of the back
and front is one-fourth of the amount (1/4)
inch, and a like amount is added at the bottom
as E to 4 on both front and back. We will now
assume that a size 40 pattern, 43 hip is used,
but the hip measure of the individual is 45
inches. This indicates that the pattern must be
made two inches larger around the hips. Again,
in this case, we will add one-fourth of the
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amount, y* inch, on the hip line, D to 3 on both
back and front, and a like amount at the bot-
tom. By this method the pattern will have been
made proportionately larger from the hip to the
hem line. See dotted lines 3 to 4. If the waist
measure is correct we will continue the line
from the hip to the waist as dotted line 3 to C
illustrates. However, if the waist must be made
larger, add one-fourth of the amount at the
waist line as dotted line C to 5 both back and
front, then draw a line on the back as 5 to B
and on the front from 5 to the dart. We have
now completed the pattern for larger hips and
waist. For smaller hips the alterations can be
made when fitting the garment. When cutting
the pattern always allow % inch for all seams.
TO ALTER A PATTERN FOR HIGH
SHOULDERS
Figure 1 illustrates high shoulders. When
fitting a normal standard pattern on an indi-
vidual of this type, you will observe that a fold
or wrinkle is formed about 3 inches below the
neckline as letter A, Figure 1 illustrates. The
reason for this is because of insufficient mate-
rial at the shoulder point. The outline of the
pattern K to 0 and F to 0 is the normal shoul-
der line, and for the high shouldered individual
we add on both front and back 14 to 1/2 inch
as 0 to 1 illustrates. Now draw a new line as
K to 1 and F to 1. Then the armscye must be
raised a like amount on both front and back as
B to 1. By this method the circumference of the
armscye remains the same. Generally no pro-
vision is made for the high shouldered indi-
ADAPTING PATTERNS TO INDIVIDUAL REQUIREMENTS
The Gurney method of adapting the normal
standard patterns to the individual require-
ments for larger hips, high and sloping shoul-
ders, etc., applicable to all makes of patterns.
Primarily we have taken note of the indi-
vidual posture in accordance with description of
individual types and measures as on Pages 25
and 26.
H/6HSHOULDERS
SLOPlHG\
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[41]
FITTING THE ROUND SHOULDERED INDIVIDUAL
It is an economical advantage and great time
saver to have ready to use a complete set of
dress patterns, also to have a set of dress lin-
ings ready made to try on. If so, you will be sur-
prised at the fitting qualities, and for abnormal
forms this will enable you to note essential
alterations which primarily can be taken care
of when cutting the material. Please note that
the illustrated alterations methods of fitting
are applicable to all makes of patterns.
Fitting means to obtain balance. To obtain
balance on the scale so the pans will hang
evenly the weight on the two pans must be
equalized. So it is with fitting the human figure,
all parts must be equalized before the garment
will hang correctly.
Figures 1 and 2 illustrate what happens when
garments are not properly balanced on the fig-
ure. Figure 1 outlined as G, B, N, R, DD, and
Figure 2 outlined as B, Q, N, 2, G illustrate a
well balanced garment for the normal figure.
The dotted lines illustrate what happens when
the figure is not exactly normal and they will
be referred to in the following discussion on
fitting.
Let us fit a lining on Figure 3B the size of
which has been obtained by the neck measure
and with the required hip alterations. Imme-
diately you will note the wrinkles formed as
numbers 1 and 2 on the back and which extend
to the front as in Figure 4B. Also you will ob-
serve that the lining spreads open at the hem-
line in the front as number 5 on Figure 3B
and protrudes at the hemline in the back. This
is very well illustrated by the shaded portions
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G to G2 on Figures 1 and 2.
The cause for all of these things is the lack
of sufficient material from the armscye to the
neckline in the back as D to B in Figure 1. In
other words this individual has a slightly round
back or protruding shoulder blades, which re-
quire extra length.
VJ
My business is not to remake myself,
But to make the absolute best of what God
made. —Robert Browning.
[42]
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[43]
FITTING THE ROUND SHOULDERED INDIVIDUAL—(Continued)
To correctly observe the required length at
the back for the round shouldered individual,
pull the garment down, (regardless of the
amount), until the back hangs in its proper
position as illustrated in Figure 5 B. It will then
be noted that the back is too low at the neck
as letters A to B, Figure 5 B illustrates. How-
ever, the amount indicated from A to B is the
correct amount that the back has to be made
longer from the armseye to the neck. If, for
instance, the garment has been cut this re-
quired amount, one inch may be obtained by
deepening the armseye at the back 1/2 inch and
by cutting the shoulder of the front 1/2 inch
lower. Thus, the combined two, equal the re-
FIG. inch. Draw line B to E. When re-
sewing the back hold the back portion tightly
on the front and sew the shoulder seams. Then
put the collar on the new line B. D. B. This
method will produce good results.
Ficf.4
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[45]
PIN TUCKS IN THE BACK
Primarily pin tucks are made in the back of
the neck line to make the garment fit better
over the round or full part of the back of the
neck, and to create fullness for protruding
shoulder blades. These tucks may be made either
on the inside or outside of the garment.
However, for the back it is preferable to make
the tucks on the outside so they may serve as
a trimming as well as being purposeful. Also
if the tucks are stitched on the inside and there
is a little strain on the ends of the tucks the
stitching will spread apart and this will not
add to the appearance of the garment. It is
desirable to make the tucks on the straight
grain of the material rather than slanting them
as most patterns do. Graduated tucks are very
hard to make and at their best usually do not
appear very neat. Therefore, it is advisable to
stitch the tucks straight.
Figure 5 illustrates the position and the
stitching of the tucks for the back. You will
note that the tucks are 21/2 inches in length
and T^ inch on the double in width. Thus % inch
is required for each tuck.
Figure 6 illustrates a method of designing
the paper pattern for pin tucks. 0utline the
regular dress pattern as A, B, C, D, E, F. For
three ^ inch pin tucks slide the pattern for-
ward 3/8 inch as A to X and F to G. While the
center back is on line X to G outline the neck
as X to BB and the shoulder as BB to CC. Hold
the pattern at CC and swing the lower portion
of the armscye so that point D is on dot D as
previously located and outline the armscye as
CC to 4 illustrates. If the back is desired still
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wider add 14 mcn as CC to 8.
Figure 7 illustrates a method of making pin
tucks for a slightly round back. Pin the regular
dress pattern to another sheet of paper as F,
G, D. G to 5 is 11/! inches. Draw a line parallel
with line G to D as 5 to 4. Cut the pattern on
line 5 to 4 and spread the pattern open V2 inch
as 5 to 6. Pin the pattern to position and it
will now appear as the dotted lines 6 to AA to
BB to CC to 4 illustrate. The amount from A
to X will provide the required amount for three
pin tucks.
For a high round back the pattern may also
be cut on line 9 to 10 and spread open as pre-
viously described.
Figure 8 illustrates a simple and easy method
of preparing the material for tucks when the
pattern has made no allowance for them. Pin
the pattern firmly on the fold of the material
as pins 3, 4, and 5 illustrate. For three ^ inch
pin tucks pull the material % inch out from
the pattern as A to D illustrates. Insert pins
6, 7, 8. For the regular back cut the material
along the pattern as D to 0 and 8 to 2. For a
round back D to 10 is 1/2 inch and 0 to 9 is the
same. Draw a curved line from 10 to 9 and
draw line 9 to 11 as illustrated. Cut on these
lines. See the Gurney method for marking the
location of the pin tucks on the next page.
(C fOW of THE
[46]
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->xr
Av
7LiNEX -AA
/'// HII/ confer with sorrow
Till tomorrow;
But joy shall have her way
This very Jay.
—T. B. Aldrich.
[47]
FITTING THE INDIVIDUAL WITH LARGE BUST
Now let us fit a lining on an individual with
a slightly large bust as illustrated by line B in
Figure 5. Immediately you will note the wrin-
kles formed at the bust as numbers 1 and 2
and extending to the back as number 3 in Fig-
ures 5B and 6B. Also you will note that the
garment is too tight at the hip line, cups in, and
overlaps at the hem line in the front as illus-
trated by the shaded portions G to G3 on Fig-
ures 1 and 2 on page 42. Let us assume that the
individual requires a size 36 pattern by her neck
measure, but that her actual bust measure is
size 38. If you use a size 38 pattern for her you
will find that it will be too small over the bust
and will be too large across the back, neck and
sleeves. Then if you use a size 36 pattern you
will find that it will fit perfectly at the back,
neck and sleeves, but will be too small over the
bust. Therefore, to correctly fit this individual
we will use a size 36 pattern and adjust it to fit
the bust.
Cut a lining from the 36 pattern leaving it
open down the front and allow two inches on
the center front. Sew up the darts which will
be either under arm darts or shoulder darts.
Baste a piece of cambric 4 inches wide firmly to
position the width of the front two inches below
the armscye. Put the lining on the individual
and cut the lining across the front to the under
arm seam just over the fullest part of the bust.
Let the lower portion drop until it hangs in a
straight line down the center front and pin it
to position as 10 to 11 and A to B. Thus, the
amount from A to B is the extra length required
over the bust.
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Inset Figure 1 illustrates the pattern as it
will appear from the lining just fitted. You will
note that the upper part is not in a straight line
with the lower part as 2 to 3 to 4. Therefore, N
to O is 114 inches. Cut the pattern on line O to
A and place line 2 to 4 in a straight line with
the center front as in inset 2. This illustrates
that the amount from O to S is required over
and above the dart already in the garment and
is usually used as pin tucks. However, this
amount may be decreased by cutting the pat-
tern on the original dart as A to X and increas-
ing the dart as X to X2, thus the amount from
O to S is decreased as 0 to O2. You may also
divide the fullness by spreading the pattern on
line Y to C for gathers at the waist line.
(Continued on Page 50)
[48]
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Our greatest glory consists not in never fall-
ing, but in rising every time we fall.
[49]
FITTING THE LARGE BUST—(Continued)
B
I
Fig. 10
I AM
I know not whence l came,
l know not whither l go;
But the fact stands clear that l am here
ln this world of pleasure and woe.
And out of the mist and murk
Another truth shines plain—
/( is my power each day and hour
To add to its joy or its pain.
I know that the earth exists,
lt is none of my business why;
l cannot find out what it's all about,
l would but waste time to try.
My life is a brief, brief thing,
l am here for a little space,
And while l stay l would like, if l may,
To brighten and better the place.
The trouble, l think, with us all
ls the lack of a high conceit.
If each man thought he was sent to this spot
To make it a bit more sweet,
How soon we could gladden the world,
How easily right all wrong,
lf nobody shirked, and each one worked
To help his fellows along.
Cease wondering why you came—
Stop looking for faults and flaws.
Rise up today in your pride and say,
"l am part of the First Great Cause!
However full the world,
There is room for an earnest man.
lt had need of me or I would not be—-
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/ am here to strengthen the plan.
—Ella Wheeler Wilcox.
[50]
FITTING THE LARGE BUST—(Continued)
Let us now fit the individual with the exces-
sively large bust as illustrated by line B in Fig-
ure 3. If we place a lining on this person we will
find the same wrinkles as we found in the nor-
mal large bust. We shall use a semi-french drap-
ing method to fit this individual and to do so
we will eliminate the original dart V to V1.
Figure 8. V to V1 is the original dart. E to E1
equals V to V1. Make a fold on the pattern so
that E to V meets E1 to V1 and cut the lining
by this pattern. Baste a piece of cambric 4
inches wide across the front just below the
armscye. Put the lining on and cut the lining
only across the front over the fullest part of
the bust to the under arm seam as in Figure
8B. Let the lower portion of the lining drop
until it hangs in a straight line down the cen-
ter front and pin it to the cambric which is
illustrated by the shaded portion.
Inset 9 illustrates the appearance of the lin-
ing just fitted. It does not lay perfectly smooth
and the upper portion is not in a straight line
with the lower portion. Therefore, N to O in
Figure 10 is 11/4 inches. Cut from O to A and
bring A to C parallel with C to B as A to C2
illustrates. Thus, C2 to 22 will be in a straight
with the center front and the pattern will
spread as O to O2 which is the required dart.
This shoulder dart may be transposed to the
under arm seam as in Figure 11.
For a dress dart the amount from X to X2 is
too much for the under arm dart and it may be
divided into two darts or it may be divided as in
Figure 12. Cut the pattern from O to A and
spread it open as O to OO one inch. This amount
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is usually used as pin tucks. You will note that
this has decreased the under arm dart. If you
desire to decrease it still more cut the pattern
as F to B and spread it open as F to FF one
inch or more. This amount will be used as gath-
ers. Thus, you will note that the dart has been
decreased from X to X2 as D to D1.
[51]
TO MAKE PIN TUCKS IN THE FRONT
Pin tucks in the front are double and neutral
acting. We make tucks in the front for a flat
chested person or the individual with small
busts to make them appear broader. Pin tucks
are made for people with large busts to make
them appear smaller and also because they re-
quire the extra fullness created by the tucks.
Pin tucks are generally used as a trimming,
hence, it is a mistaken idea that no dart is
essential when pin tucks are used.
Figure 9 illustrates the position of the tucks
on the front. You will note that the tuck near-
est to the neck line is 41/2 inches long and that
the tucks gradually reduce in length to 31/2
inches for the one nearest the armscye.
Figure 10. Outline the regular pattern as 2,
N, Q, B, M. Mark the dart as V and V1. 2 to
3 is % inch. N to R is 1 inch. Place the cen-
ter front on line 3 to 3 and outline the shoulder
as Q2 to R. Hold the pattern at Q2 so that V
meets V and draw the curved line Q2 to B2 and
line B2 to V. R to S is 41/2 inches. R to 7 is %
inch. 7 to 8 is % inch. 8 to 9 is % inch. 9 to
U is 31/o inches. Draw line U to S to determine
the length of the other tucks. Draw line R to
9. The pattern will now be outlined as: M, V1,
V, B2, Q2, 9, R, N, 2.
Figure 11. To make the front larger with
pin tucks. Outline the regular dress front as:
2, N, Q, B, M and the dart V to V1. 2 to 3 is
V2 maximum •% inch. Place the center front of
the pattern on line 3 and outline the front as
R, Q2, B2, V3 and V2. Hold the pattern at the
lowest point of the dart and swing the pattern
back to the normal waist line M. By this
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method the width of the front is increased %"
over the bust.
[52]
TO ENLARGE A PATTERN OVER THE BUST WITH OR
WITHOUT THE USE OF PIN TUCKS
The Gurney Method of Marking and Sewing
the Pin Tucks
For delicate material it is impossible to mark
the location of the tucks with chalk, etc. Cut a
piece of paper the same shape as the upper por-
tion of the neck at the back, also cut a piece
of paper the same shape as the front. Now
Figure 1. N to 2 is 1 inch.
Draw a line as 2 to 3 parallel with the center
front.
Figure 2. Cut on line 2 to 3.
Spread the pattern open % inch as 2 to 4 and 3
to 5. The amount from 2 to 4 will be used as
5 pin tucks and the amount from 3 to 5 will be
used as gathers. However, if gathers are not
desired at the waist line M to M2 equals 3 to 5.
Draw line V to M2.
To Enlarge a Pattern Over the Bust Without
the Use of Pin Tucks
Figure 3. R to S is % inch. Draw a line as A to
S to B parallel with the center front.
Figure 4. Cut on lines A to B and V to X.
B to B2 is y% inch. (Amount pattern is desired
larger.)
Hold the pattern at A and place point B on B2
and outline the armscye as the dotted line and
draw line B2 to V2.
V to V3 equals B to B2.
Hold the pattern at B and place V on point V3
.n and draw line V3 to M2. Thus the dart will have
increased as V2 to V3 illustrates and may be
divided into two small darts.
If fullness is desired at the waist line M2 to M
equals V to V3. Draw line V3 to M.
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mark the location of the tucks on the paper
with a "very" light pencil line, pin it to position
on the garment and with a long stitch,—stitch
along the pencil line, then remove the paper,
thusly you will have a correct mark to stitch
the pin tucks. After the tucks are stitched re-
move the stitching mark.
[53]
THE PRIMARY CAUSE OF ILL-FITTING GARMENTS
AND SHRINKING WOOLENS
Woolen materials are always rolled in bolts.
When it is being rolled the inside half of the
material usually crawls forward, sometimes as
much as one-fourth yard. Salespeople generally
cut striped and checked material according to
the stripe, however, with plain material they
usually cut it on the double. If it is cut on the
double and the inner part of the material has
slipped forward in the bolting it is possible that
half of the width will be cut on the bias. Hence,
it is advisable at all times to have the material
torn and then the end will be on the true woof
thread.
Frequently when the material has been rolled
up and the woof threads are printed true at the
ends it will not lie smoothly on the table. If so,
one person will then hold one corner firmly and
a second person will hold the opposite corner
firmly and pull the material on the bias, thus
straightening the material as much as possible
in its dry state.
All woolen and shirt materials should be
thoroughly shrunk before cutting. To shrink
the woolens at home, pin the selvage edges to-
gether so the woof threads are even at the ends
regardless of whether the material will lie
smoothly. Place the material on top of news-
papers on the floor. Wet a piece of muslin thor-
oughly (preferably old sheeting) and wring it
out by hand as much as possible. Lay the wet
cloth smoothly on top of the woolens and roll
them together avoiding wrinkles as much as
possible. Leave it rolled for forty-five minutes
and then unroll it. Now while the fabric is damp
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you can finish straightening it by having one
person hold each end of the material and pull-
ing it on the bias, first one way, then the other.
This must be done with the selvages pinned to-
gether as instructed before shrinking the ma-
terial. This pulling will straighten the woof and
warp threads and force them into their natural
position. Hold the cloth tight and lay it smooth-
ly on the paper. Have a hot iron ready and if
there are any wrinkles press them out while
the cloth is damp. However, it is not necessary
to press the whole cloth—press only the wrin-
kles and allow the goods to lie until it is thor-
oughly dry. In no instance should you hang
woolen materials to dry when shrinking them.
If you do not desire to shrink your material
at home take it to a dry cleaning establishment
and let them steam it which is sufficient for
shrinking. However, please note that it is ad-
visable that you observe whether the woof
threads are even and then baste the selvages
together. By so doing you have taken the pri-
mary precaution to obtain a balanced garment,
whereas, if the woof and warp threads are not
true you are inviting the primary cause of ill-
fitting and twisting garments.
A little art, a little care,
Some little changes here and there,
These combine with skillfull thought
And seeming wonders can be wrought.
[54]
CUTTING THE MATERIAL AND MAKING GARMENTS
After your material has been thoroughly
shrunk you are ready to lay your pattern on it
and cut out the garment. However, I often won-
der how it is possible to cut out garments on
the usual small home table. Just a few pennies
will buy a beaver board that can be placed on
the dining table and used as a cutting table,
then put in the basement for further use.
It is of utmost importance that all materials
be cut on the true woof and warp threads,
(lengthwise and crosswise) so that duplicate
portions of the garment will be exactly alike.
Therefore, to be positively certain of this with
silks, crepes and light weight woolens, pin the
fold and selvage edges on the edge of news-
papers. Also pin the end even with the news-
paper to obtain a true angle.
Commercial patterns have printed illustra-
tions for laying the pattern on the material.
They also have printed arrows or perforations
indicating the straight of the goods. However,
it is advisable to extend these lines the full
length of the pattern, which will make the plac-
ing of the pattern easier. When the material is
laid open and one portion is cut at a time, ex-
ceptional care should be taken so that the woof
and warp threads correspond to the piece al-
ready cut. To avoid mistakes it is preferable
to cut a duplicate of that portion of the pattern
and mark it right side, etc. Just a little differ-
ence will cause a twist in the garment, and is
the primary cause of ill-fitting garments. When
cutting you will also cut all duplicate portions
exactly the same length. If patterns could talk,
oh, how they would scream when they are so
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often butchered and cut up. Therefore, to ob-
tain good results, THINK, and pin the pattern
in position on the material correctly. If you are
cutting silk materials or light weight fabrics
cut through both the material and paper.
Thusly, you will have avoided all uncertainty
and you have the primary essential of garment
making—that the garment has been cut cor-
rectly.
When the garment has been cut out you will
mark all corresponding notches and tailor tack
all marks. If you are using a commercial pat-
tern it is wise to use the direction sheet and
do each step as they indicate.
The back shoulder portion of the garment is
usually cut 14 or % inch longer than the front
portion. This must be eased onto the front to
create the fullness required by the shoulder
blades. Regardless of whether the pattern has
allowed this—do it anyway. When basting the
first shoulder seam start at the neck, the front
resting on the four fingers. The thumb will then
be on the back portion and it will be easy to
ease in the required fullness. (In sewing, it is
usually said that the thumb steals). If the front
is too long on this shoulder an equal amount
must extend on the other shoulder which is
basted from the armscye to the neck. Please
realize that on no pattern is the back too long,
but frequently the front will be too long and
can be cut off after the garment has been fitted.
When basting the side or under-arm seams
for coats, skirts and dresses place the garment
smoothly on the table with the edges even. Pin
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o .4. MEDIUM ROLL COLLAR
N° 5. MINIMUM ROLL COLLAR
No.6. SHIRT WAIST COLLAR
[85]
TO DRAFT THE SHIRT WAIST
To draft the front.
Outline the regular dress pattern as A, N, Q,
B, M.
A straight line drawn parallel with the cen-
ter of the front as B to M3 will provide the
ordinary shirt waist.
If the shirt waist is desired very loose and
the shoulder longer add 1/4 inches as Q to Q2
and V2 inch as B to B2 and M3 to E. Equally
so on the back.
If you desire the shirt waist fitted make the
usual dart as V to V and cut the pattern on
line B to M. However, it is usually not desired
quite so fitted so we cut the pattern as X to Y
and reduce the dart.
Line A is the center front.
Line B is the edge of the garment.
A to B is % inch.
B to C is 11/4 inches.
C to D is 11/4 inches.
To draft the back.
Outline the regular dress back as A, N, R, D,
M.
A straight line drawn parallel with the cen-
ter of the back as D to E will provide the ordi-
nary shirt waist, if desired, more fitted, reduce
at the waist line as desired.
If the garment is desired very loose add 1/£
inch as D to D2 of the back, and B2 to E of the
front; if so, a like amount must be added at
the sleeve.
Gathers or pin tucks may be made in the cen-
ter of the back and on the shoulders in the
front as explained on pages 36, 46, and 47.
Any desired style of sleeve may be used with
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the shirt waist pattern.
The shirt waist collar is described on page 94.
To make the shirt waist front.
Make a small button loop and place it as let-
ter B illustrates.
Make the collar and sew the shoulder seams
together. Baste the collar to position so the
edge of the collar is at the center front as let-
ter A.
To make the front pleat, see inset 3.
Make a fold on line C to C with the wrong
sides together so that line D to D will meet
line B to B.
Fold on line B to B with the right sides to-
gether so the edge of the fold is over the collar.
Place a small strip of bias to position as let-
ter E.
Stitch all around the collar with a 1/4 inch
seam. Clip the seam in several places so the
collar will lay smoothly. Turn the bias and the
pleat to the inside of the garment.
Fell the bias to position.
The collar and the edge of the pleat may be
hand stitched as illustrated in Figure 4.
Allow % inch seams when cutting the garment.
There is only one way to be happy and that
is to make somebody else so.
—Sidney Smith.
[86]
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THE SHIRT WAIST
[87]
THE TRANSPOSING OF DARTS
Letters 2, N, Q, B, V, W, V2, M, EE, illus-
trate the outline of the regular dress pattern.
Square a line from the center front as W2
to W, Y is center of W2 to W.
Darts are made in the front of the garment
to create fullness over the bust. The dress dart
number 2 in Figure 1 is the usual type of dart
on the under arm seam and extends a maxi-
mum % inch beyond the armscye as illustrated
by letter X.
Darts may be made any place desired as
shown in Figure 1, but they must always point
to the fullest part of the bust as illustrated by
letter Y in the center of line W to W2. How-
ever, fashion now demands that this point be
nearer the center front as letter Z. W2 to Z
is 3V8 inches for size 16 and increases 1/8 inch
for each size larger. You will also note in
Figure 1 that the size of the dart is governed
by its length. All darts located the same dis-
tance from the center point Y as the under
arm dart will equal it in size as shown by the
circle. However, darts number 6, 3, 7 and 5
illustrate that the size of the dart increases
in proportion to the increase in length.
Figure 2 illustrates the transposing of the
under arm dart to the center front. To pro-
vide material for gathers at the center front
as the picture illustrates.
Square a line from the center front to W as
W2 to W.
Y is center of W to W2.
Draw lines V to Y and V2 to Y.
Cut on lines W2 to Y and Y to V. Place V
on V2 so Y remains as located and the center
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front dart will be as W2 to Y to W3.
Cut the garment as the dotted lines illustrate
and gather in the fullness on the center front
like the inserted picture. More gathers may be
added if desired.
[88]
TRANSPOSING OF DARTS
Figure 5 illustrates method to provide the
required material for gathers at the shoulder
seam. Make a right-angle line from the center
front as W2 to W. Y is center of W2 to W.
Draw a line parallel with the center front as
Y to NN. Cut the pattern on this line. Make
a fold in the pattern on line V to Y and fold
it so it contacts dotted line V2 to Z. Pin it in
position. The pattern will now appear as dotted
line 4, QQ and BB illustrates. NN to 5 is %
inch. Draw a curve line from N to 5 to 4 as
illustrated. The amount from 4 to 5 is to be
gathered to the back, if more gathers are de-
sired, cut the pattern from Y to 8 and spread
the pattern open 14 to 1/2 inch at Y gradually
from 8 to Y. Thus, the amount from 5 to 6 will
be increased. When making the garment the
shoulder back is eased 14 inch onto material
i/2 inch wide cut on the straight of the goods.
The gathering is 11/2 inch from N and 2 inches
from QQ.
Figure 6 illustrates the transposing of the
under arm seam to the armscye to provide
material for gathers as the picture illustrates.
Square a line from the center front to W as
W2 to W.
Y is center of W to W2.
5 is center of the armscye.
5 to 3 is 3 inches. 3 is 1/2 inch lower than 5.
Draw lines 5 to 3 and 3 to Y. Cut on lines 5
to 3, 3 to Y and Y to V.
Place V on V2. The pattern will spread as
3 to 32 and 5 to 52, the amount from 3 to
32 being the amount to be gathered in on line
3 to 5. If more gathers are desired cut the pat-
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tern on line Y to 8 and spread the pattern open
as desired.
[89]
TRANSPOSING OF DARTS
FlG. 7
FIG. 8
FIG. 8
Figure 7 illustrates the transposing of the
under arm dart to form gathers at the end of
a V-shaped neckline.
Square a line from the center front to W as
W2 to W.
Y is center of W to W2.
Make a new dart 2 inches above the old dart
as W to 5.
Draw a line parallel with W to Y as 5 to Y2.
5 to 4 and 5 to 3 are each equal to W to V.
2 to 6 is 5 inches. Draw lines N to 6 and
6 to Y2.
Cut the pattern on lines N to 6, 6 to Y2 and
Y2 to 3.
Place point 3 on dot 4 and the pattern will
spread open as 6 to Y2 to 7.
Extend the line Y2 to 7 to meet the center
front line as point 8 illustrates.
Thus, the amount from 6 to 8 will be used
as tucks or gathers.
Figure 8 illustrates the transposing of the
under arm dart to the neckline to provide
gathers or tucks as Figures 8 illustrate.
Square a line from the center front to W
as W2 to W.
Y is center of W to W2.
Deepen the neck curve as 2 to 3 is 11/2 inches,
N to 4 is 1/o inch. Cut on line 3 to 4.
5 to 6 is 11/2 inches, 6 to 7 is \\'o inches, 7
to 8 is 11/2 inches.
Draw lines 5 to Y, 6 to Y, 7 to Y, 8 to Y and
then cut on these lines and line Y to V.
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Place V on V2 and divide the amount of the
spread equally among the four cut lines, this
being the amount for each tuck, pleat, etc.
The amount of fullness may also be gathered in.
[90]
TRANSPOSING OF DARTS
Figure 9 illustrates the transposing of the
dart to create fullness at the waistline or to
make two parts as the picture illustrates.
Square a line from the center front to W
as W2 to W.
Y is center of W to W2.
Square a line down from Y as Y to 3. Cut
on lines Y to 3 and Y to V.
Place V on V2 an dthe new dart is as 3 to
Y to 32.
The amount from 3 to 32 may be used as
tucks, gathers, darts, etc.
The dart may also be located on the under-
arm seam on a slanting line as 4 to Y.
Cut on the lines 4 to Y and Y to V. Place
V on V2 and the new dart will be as 4 to Y to
42.
Figure 10 illustrates the "choker" neckline.
Transpose the under arm dart to the center
front as illustrated in Figure 2, page 88.
The pattern will then appear as W3 to N2 as
the dotted lines illustrate.
Extend the center front line up.
Make a right angle line from the center front
line to N2 as C to N2.
C to D is %. inch. Draw curved line N2 to D.
The outline of the pattern is as B2 to Q2 to
N2 to D. The opening for this type of dress is
at the back.
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[91]
TRANSPOSING OF DARTS
Figure 11 illustrates the shoulder line dropped
forward with fullness on the blouse.
Transpose the shoulder line as N to NN and
Q to QQ 2 inches. Draw line NN to QQ. X is
center of NN to QQ.
Draw line X to Y and cut on this line and
line Y to V.
Place V on V2 and the new dart to be used
for tucks or gathers is as X to Y to X2.
X to 3 and X 2 to 4 are each 1/2 inch. Draw
curved line as illustrated.
"Blest be the tongue that speaks no ill,
Whose words are always true,
That keeps 'the law of kindness' still
Whatever others do."
"Blest be the hands that toil to aid
The great world's ceaseless need—
The hands that never are afraid,
To do a kindly deed."
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[92]
TO DRAFT THE ETON JACKET (BOLERO)
To draft the back.
0utline the regular dress back as: A, D, E,
M, DD, R, N.
Draw line D to DD.
2 is center of N to R.
E to 3 is 31/2 inches.
Draw line 2 to 3 and mark 4 at the intersec-
tion of line D to DD.
4 to 5 is 31/, inches.
2 to 6 is 3 inches.
3 to 7 is 1 inch. Draw line 5 to 1.
Cut the pattern on line 2 to 5 to 7.
Place point 1 on dot 3, thus a small dart will
be formed on the shoulder as 2 to 6 to 8.
The pattern will now be as the dotted line
N, 2, 8, 9, 10, 11, E, D, A.
To draft the front.
0utline the regular dress front as letters 2,
EE, N, Q, B, V, W, X, M. For the Eton Jacket
the underarm seam dart is transposed to the
shoulder seam. To transpose the dart, make a
right-angle line from the center front line as
W2 to W. W2 to Z is 31/8 inches for size 16
plus V8 mcn for each size larger. N to NN is
11/4 inches. Draw line NN to Z. (The width of
the dart may be increased 1/4 inch at W to X.)
Draw lines X to Z and V to Z. Cut the pattern
on line NN to Z. Make a fold in the pattern
from line V to Z and fold it over so the fold
will contact with line X to Z. Pin it in this
position. The pattern will now appear as dotted
line Z to N3, Q2, B2. The dart is sewed to 1'/o
inch above Z as Z2 illustrates.
Allow % inch seams
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[93]
TO DRAFT THE PLAIN COAT
The usual dress patterns as described on
pages 37-39 are used to draft the coat patterns.
However, if the individual has larger hips or
high shoulders, etc., as explained in the chapter
of adapting patterns to individual measures and
requirements, page 40, the same changes should
naturally be made on both portions, the front
and the back, as described in said chapter before
drafting the coat pattern.
To draft the back:
Outline the regular dress pattern as B to D,
D to E, E to F, F to G, B to N, N to R, R to DD,
DD to M, M to H, and H to J. For coats the
armscye is made 1 inch deeper than for the
dress as DD to 8. Draw a curved line from 8 to
5 as illustrated. At the hip line, coats are made
1Vo inches larger than for the dress. Thus, H to
H2 is % inch, equalling 1/4 of 11/2 inches. J to J2
equals H to H2. Draw a line H2 to 32. M to 1 is
1 inch. Draw a curved line 1 to H2. Draw a line
1 to 8. This completes the back and produces a
garment that is slightly fitted at the waist. If it
is desired to have the coat less fitted at the
waist, E to EE equals D to DD. Draw a line 8 to
EE and EE to H2 as illustrated. This method
will produce a garment large enough. When cut-
ting the pattern, allow % inch for seams. If it is
desired to have the coat very loose, 1/2 inch may
be added on the pattern from 8 to J2. If so, a
like amount must be added on the sleeve seam.
The majority of coats have small darts on
the shoulder seam in the back, which are espe-
cially advantageous to people with prominent
shoulder blades. To make the dart proceed as
follows:
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2 is center of N to R.
2 to 3 is 31/2 inches.
R to 4 is 3 inches.
4 to 5 is 1/2 inch.
Cut the pattern on line 2 to 3 and make a
fold so that point 4 meets point 5. The amount
from 2 to 6 indicates the size of the dart. When
cutting the garment cut as lines 6 to 7 and 7
to 5, the shoulder dart being as 6 to 3 to 2.
(Continued on Next Page)
The man who trusts men will make fewer mis-
takes than he who distrusts them.—Cavour.
[94]
TO DRAFT THE PLAIN COAT
THINK
Man is born with his hands clenched.
He dies with his hands wide open.
Entering life, he desires to grasp
everything. Leaving the world all
that he possessed has slipped away.
IU
REMEMBER
What you give you hate
What you spent you had
What you keep you lose.
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[95]
TO DRAFT THE PLAIN COAT—Continued
To draft the front:
Outline the regular dress front pattern as let-
ters 2 to G, 2 to N, N to Q, Q to B, B to V, V to
V2, V2 to M, M to H, H to J. W is center of V to
V2. The underarm seam dart is transposed to
the shoulder seam to transpose the dart, draw a
right angle line from the center front line as
W2 to W. W2 to Z is 3V8 inch for size 16, 34
bust, 37 hip, plus % mch for each size larger.
N to NN is 114 inch always. Draw a line NN to
Z. Cut the pattern on this line from NN to Z.
For all coats, the dart is made 14 inch larger
than for the dress as V2 to X. Draw a line from
V to Z and X to Z. We now make a fold in the
pattern from V to Z and pin this fold so it con-
tacts the line from X to Z. Pin it to this posi-
tion. When thus folded, the pattern will be
spread open at the shoulder seam and appear as
the dotted line Z to N3 to Q2 and B2 illustrates.
For coats, the armscye is made 1 inch deeper
as B2 to 10. Draw a curved line 10 to 11 as illus-
trated. M to I is 1 inch. Draw a line from 10 to
I, H to H2 is the same as H to H2 of the back,
at the bottom J to J2 is the same as J to J2 of
the back. Draw a line H2 to J2 and 1 to H2. If
the garment is desired less fitted add at 1 to E
the same as 1 to E of the back and draw a line
from 10 to E to H2. For the front lap of the
coat 2 to 4 is 3 inches, G to 5 is the same. Draw
a line 4 to 5. For the summer coat, which does
not require so much lap, 2 to 4 is 11/2 inches, G
to 5 is the same amount. 2 to 3 is 1/4 inch, 4 to 6
is 114 inch. Draw a line 6 through 3. Draw a
curved line N to 3. For a straight coat it is pre-
ferable to cut the facing on the front. Thus,
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there will be no seam. To cut the facing fold the
pattern on the line from 4 to 5, NN to 8 is %
inch, 5 to 9 is 5 inches. Draw a line from 8 to
9 as illustrated. Make a tracing on line 8 to 9.
We now cut a pattern all around and allow %
inch for seams. Open the fold on line 4 to 5. Cut
the facing on the traced line. The facing will
now appear as 6 to N, N to 82, 82 to 92. The col-
lar of the straight coat is cut on the crosswise
of the material and is 214 inches wide f1nished.
It is preferable to cut the collar on the double.
Thus there will be no seam. This completes the
coat draft. If the coat is desired very loose, 1/2
inch may be added on the pattern from 10 to J2.
If so a like amount must be added on the sleeve
seams. The dart is sewed to 11/2 inches above
2 as Z2 illustrates.
The Coat Sleeve
For the coat sleeve use a sleeve pattern 2
sizes larger than the dress pattern, as for size
36 coat, use a size 40 sleeve, etc., for all sizes.
KINDNESS
When a kind word comes
from the depths of the heart—
The shadows lift and the clouds
depart—lt's a wonderful
thing but it's always true
That our own heart gains
by the good we do.
[96]
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[97]
PRESSING AND REMOVING SHINE
When making a garment of hard twisted ma-
terial pressing will cause the material to shine.
There is no harm in this and in tailoring we
frequently press on the right side of the mate-
rial, with a cloth on it, to obtain the required
amount of pressing.
When pressing all woolen materials the seams
are slightly dampened with a small sponge.
To remove the shine caused by pressing use a
starchless cloth as a piece of an old sheet, etc.
Wet it thoroughly and wring it out by hand as
dry as possible. Place this damp cloth on the
garment. Have a very hot iron ready, just touch
the wet cloth lightly with the iron and the
steam will remove the shine. It is impossible
to remove shine from wear, however. The gar-
ment may be freshened by dry cleaning.
Let me today—do something that shall take
A little sadness from the world's vast store,
And may I be so favored as to make
Of joy's too scanty sum a little more.
Let me not hurt, by any selfish deed
Or thoughtless work, the heart of foe or
friend;
Nor would I pass, unseeing, worthy need,
Or sin by silence when I should defend.
However meager be my worldly wealth
Let me give something that shall aid my kind,
A word of courage, or a thought of health,
Dropped as I pass for troubled hearts to find.
Let me tonight look back across the span
'Twixt dawn and dark, and to my conscience
say—
Because of some good act to beast or man—
"The world is better that I lived today."
[98]
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—E. W. W.
TO ENLARGE A COAT PATTERN OVER THE BUST
For a large bust it is frequently necessary to
enlarge the coat pattern over the bust portion
only and not over the hips. To do so, use the
regular plain coat pattern, page 96, to outline
the complete pattern as 2 to 5, 2 to N, N to 7,
7 to Z, 72 to Z, 72 to Q, Q to B, B to M, and M
to H, as illustrated with the solid line. To en-
large the pattern 1/o, inch over the bust, 2 to 22
is 1/2 inch, 5 to 55 is the same. We now place
the center front line of the pattern on dots 22
and 55. When in this position make new lines as
the dotted lines illustrate from 73 to Z2, 73 to
Q2, Q2 to B2, B2 to M2, and H2. See dotted
lines. Z3 is center of Z to Z2. Draw lines from
7 to Z3, and 73 to Z3. Thus, the dart in the
shoulder will be increased Vo inch and the pat-
tern will be 1/2 inch larger over the bust. If the
pattern is to be made 1 inch larger over the
bust, 2 to 22 and 5 to 55 is 1 inch. Then proceed
the same as before. If the pattern for a still
larger bust must be made 11/, inch larger, add
1/o inch on the front line as 2 to X and 5 to X
illustrates. Then a dart, total % inch, is made
under the lapel as letter 0 illustrates. We now
reduce the underarm seam to the hip line as B2
to H illustrates. It is obvious that the front
edge of the coat pattern may be used to enlarge
the pattern.
Loving words cost but little,
Journeying up the hill of life;
But they make the meek and weary
Stronger, braver, for the strife.
Do you count them only trifles?
What to earth are sun and rain?
Never was a kind word wasted;
.'
[99]
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Never was one said in vain.
TO DRAFT THE JACKET
To draft the jacket pattern use the regular
dress pattern one size smaller than you use for
a dress as: for a size 36 jacket use a size 16
dress pattern, etc.
To draft the back:
0utline the back pattern as: B, C, D, E, F,
N, R, T, DD, M, H.
B to G is the desired length of the jacket.
Make right-angle lines from C, D, E, F, G.
M to M2 is % inches. H to H2 is 1/2 inch.
Draw lines DD to M2 and M2 to H2.
2 is center of C to T.
E to 3 equals C to 2 less Vo inch.
F to 4 equals E to 3 plus % inch. Draw a
line from 3 through 4.
Draw a line from 3 through 2 and mark 5
at the intersection of the shoulder line and 6
at the intersection of line D to DD.
6 to 7 is 3 inches.
3 to 8 is 1 inch maximum 11/4 inches. Draw
lines 7 to 8 and 8 through 4.
5 to 9 is y± inch.
5 to 10 is 21/£ inches. Draw curved line 9
to 10.
9 to 11 is 3/8 inch.
5 to 12 is 31/4 inches. Draw curved line 11
to 12.
R to 13 is % inch. Draw line 11 through 13.
13 to 14 is 1/4 inch. Draw a curved line from
14 to 1/2 inch below T.
The armscye of a jacket is 1/, inch deeper
than for a dress as DD to D2.
This completes the back.
To draft the front:
0utline the regular dress front as letters 2,
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EE, FF, N, Q, B, V, W,V2,M,H. For the jacket,
the under arm seam dart is transposed to the
shoulder seam. To transpose the dart, make a
right-angle line from the center front line as
W2 to W, W2 to Z is 3% inches for size 16, plus
I/K inch for each size larger. N to 5 is 11/4 inch,
draw line 5 to Z, N to 9 equals N to 9 of the
back, 5 to 5A is 3 inches, draw curved line 9 to
5A. For jackets the width of the dart increases
1/4 inch as V2 to X. Draw lines V to Z and X to
Z. Cut the pattern on line 9 to Z. Make a fold in
the pattern on line V to Z and fold it over so the
fold will contact with line X to Z. Pin it in this
position. The pattern will now appear as dotted
lines Z to 9A, Q2, B2 to X. The armscye is deep-
ened 14 inch as B2 to B3 illustrates. The button-
ing lap is 11/2 inches as EE to E2. Draw a line
parallel with the center front as E2 to F2. The
dart is sewed to 11/2 inches above Z as Z2 illus-
trates.
To Draft the Lapel:
2 to 3 is % inch. Draw a line from 3 to the
neck curve as illustrated.
Make a right angle line from 3 to 33 is 2%
inches.
Square up from 33 to 34 2% inches. Draw a
line from 34 to 3.
34 to 35 is 1/4 inch. Draw a line from 33 to
the desired opening 11.
36 is center of 33 to 11.
36 to 37 is % inch. Draw a curved line from
35 to 33 to 37 to 11 as illustrated.
N to 10 is 1 inch for the lapel crease.
Draw a line from 11 through 10 and mark
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TO DRAFT THE JACKET PATTERN
Silence, or neglect,
Dissolves love
And many friendships.
[101]
TO DRAFT A JACKET PATTERN WITH A SEAM IN THE
CENTER OF THE BACK
To draft a jacket pattern with a seam in the
center of the back.
Personally, I prefer the jacket back as illus-
trated on pages 100, 101, because this will make
the back appear longer and narrower. However,
for striped material the back with a seam in the
middle of the center back is preferable.
At sight this method may appear to be com-
plicated, but if you follow instructions and com-
plete each step by step, it will after the first
practice prove to be very simple and you may
be certain of good results. It is also advisable to
make patterns of all sizes ready for use.
For jacket drafting a pattern one size smaller
than a dress pattern is used. As for size 38 use
size 36 dress pattern and for size 36 use 16 pat-
tern. 0utline the pattern as in Figure 1, letters
B, D, E, F, G, R, DD, M, H, J. B to E is the
waist line, letter G is the total length. C is cen-
ter of B to D. S is center of C to D. Make right
angle lines from dots C, S, D, E, F, G. At the in-
tersection of the armscye line mark T and S.
M to I is V2 inch. Draw a line DD to I and I
to H.
There are many jackets made of striped ma-
terial on which the stripes do not appear in
good taste, to avoid this, proceed as C to 2 is
3 inches. E to 3 is the same. D to 4 equals C to
T, E to 5 equals D to 4 plus Va inch. Draw line
4 through 5 and 2 through 3. These lines indi-
cate the straight of the material. 6 is center of
N to R. E to 7 is 4 inches. Draw line 6 through
7 the full length. At the intersection mark dots
8, 9, D3, 7, 10 and V. IMP0RTANT: Be sure to
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mark these dot letters as illustrated on both
sides of the line. E to K is 1 inch, maximum
11/4 inch. F to L equals E to K less % inch.
Draw line B to K and K to L. We now cut the
pattern on the line B to K to L and all around
the pattern the full length. Then cut the pat-
tern on the line 6 through V the total lengh.
Figure 2.
0n another paper place portion No. 2 and out-
line all around as 11, 8, D3, 7, V, R, S, DD, I, H,
J. Also draw line 4 through 5 indicating straight
of goods. Dot 9 is % inch from dot 8. Dot 10 is
.14 inch from dot 7. Now place portion No. 1 to
position so that dot No. 9 touches dot 9 and so
that dot 10 touches dot 10 while in this position,
outline all around as 12 to 9, 9 to 10, 10 to W,
12 to N, N to B, B to K and K to L. Also, be-
fore removing this position of the pattern, draw
line 2 through 3 indicating straight of goods.
The amount between 11 and 12 is taken up in
the dart. 12 to 13 is 21/2 inches. Connect 11 with
13. It is obvious that the dart may be placed
nearer dot N or dot R if desired. Before remov-
ing the portions No. 1 and 2 be sure to mark
the lines indicating straight of goods.
K to 13A is 4 inches for size 16 plus 1/8 mcn
for each size larger. 13A to 14 is 1 inch. Draw
a straight line from dot S to 14. 15 is center
of S to 14. 15 to 16 is % inch. Draw a curved
line from S to 16 and 16 to 14. S to SS is 1V-j
inches. S to U is 14 inch. Connect U with SS.
Draw curved line U to DD, L to 17 equals K
to 13A plus % inch. 17 to 18 equals W to V
plus % inch. Draw lines 13A to 17 and 13A
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TO DRAFT THE FITTED COAT
To draft the back:
0utline the regular plain coat back as de-
scribed on pages 94, 95, letters B, D, E, F, G,
N, R, DD, I, H2, J2. Deepen the armscye as
DD to 8. C is center of D to B. Draw right-
angle lines from C, D, E, F, and G.
2 is center of C to T.
2 to 3 is 1/2 inch.
E to 4 equals C to 3 less % inch. F to 7 equals
E to 4 plus % inch. Draw a line from 4 through
7 to the bottom of the garment as K. Draw a
line from 4 through 3 and mark 6 at the inter-
section of line D and mark 5 at the intersection
of the shoulder line.
4 to 8 is 1/2 inch.
7 to 0 is 1/4 inch.
Draw a line from 8 through 0 to the bottom
of the garment as L.
4 to 9 is 1 inch maximum 114 inches.
6 to 10 is 21/2 inches. Draw a line from 9
to 10.
Draw curved line 9 to 0.
5 to 11 is 214 inches.
5 to 12 is 1/4 inch. Draw curved line 12 to 11.
12 to 13 is 1/2 inch.
5 to 14 is 3 inches. Draw curved line 13 to 14.
R to 14 is % inch. Draw a line from 13
through 14.
14 to 15 is % inch. Draw a line from 15 to 1/2
inch below T as 16.
To draft the front:
0utline the regular plain coat front with the
dart transposed to the shoulder seam and the
armscye made 1 inch deeper as B2 to 10 as
illustrated on pages 96, 97, letters 2, W2, EE,
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FF, G, N, NN, Z, N3, Q2, B2,I, H2, J2. (Change
letter Z to 12, N3 to 20 and NN to 12.)
EE to 13 equals BB to 12 less 1/4 inch.
FF to 14 equals EE to 13 plus 14 inch.
Draw a line from 12 to 13 and from 13
through 14 to the bottom of the garment as 15.
13 to 16 is 1/2 inch.
Draw a line from 12 to 16 and a line from
16 through 14 to the bottom of the garment
as 17.
If you should desire the garment to be more
fitted in the front:
16 to 18 is 1/2 inch.
14 to 20 is 1/2 inch. Draw a line from 12 to
18 and a line from 18 through 20 the full
length of the garment.
The amount taken off at these points must
be added on the sides as I to E, H2 to H3, and
J2 to J3.
If more fullness is desired over the bust add
1/2 as 12 to 21. Draw a line from 20 to 21 and
from 21 to 16 at the waistline as the dotted
line illustrates.
To cut the pattern, place the pattern on an-
other paper and with a tracing wheel trace the
center back portion. Also trace the front of the
front as outlined. Then cut the pattern and
allow % inch for seams on the pattern.
[104]
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THE FITTED COAT
[105]
TO DRAFT THE COAT RAGLAN
Whereas raglan garments do not permit
much alteration it is advisable that you use a
pattern that has been fitted.
I have given the method of correct raglan
pattern drafting in a very elaborate, detailed
manner. But if you follow the directions, step
by step you will be happy with the results.
To draft the coat raglan, a regular dress
pattern is used of the desired size as described
on pages 36, 37, 38 and 39 on which, in accord-
ance to the chapter of adapting the pattern to
individual requirements for high shoulders, etc.,
page 40, have been noted. For the sleeve, the
regular sleeve pattern is used with the excep-
tion that for all coats, the sleeve pattern is 2
sizes larger than the dress pattern. As for
coat size 36, a sleeve pattern size 40 is used,
etc., for all sizes.
Figure 1. To prepare the back, to draft the
raglan, outline the desired size dress back pat-
tern as letters B, F, G, N, R, D, M, H, J.
Raglan coats are generally of easy fit, there-
fore D to D2 is 1/2 inch. M to I is U/2 inches.
H to H2 is 1/2 inch. J to J2 is 1/2 inch. Draw
a line D2 to I, I to H2 and to J2 as illustrated.
This completes the pattern to be used for draft-
ing the regular raglan coat.
N0TE: After the raglan coat pattern has in
total been drafted, the pattern may then, if so
desired, be made larger at the bottom 1V3 or
2 inches as J2 to J3 in a straight line from D2.
Inset Figure 2 illustrates method of making
the swagger back pattern. After the raglan
pattern has been drafted, to make the back
more swagger, draw a line from dot 14 or dot
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15 to the bottom as 14 to S parallel with the
center of the back line. Cut the pattern on this
line and swing it open 2 inches or more as S
to S2 illustrates.
To prepare the front to draft the raglan
front, outline the desired size dress front pat-
tern as letters 2, FF, G, N, Q, B, V, V2, M,
H, J. W is the center of V to V2. Draw a right
angle line from the center front as W2 to W.
W2 to Z is 3V6 inches for size 16 plus % inch
for each size larger. N to NN is 114 inch.
Draw a line from NN to Z. For all coats, the
dart increases 1/4 inch as V2 to X. Draw lines
V to Z and X to Z. Cut the pattern on the line
W2 to Z. Make a fold in the pattern on the
line from V to Z and pin this fold so it con-
tacts with the line X to Z. The pattern will
now appear as in figure 4, W2 to W3. Extend
the center front line as W2 to 2A, B to C is
1/2 inch, M to I is 11/2 inch, H to H2 is 1/2 inch,
J to J2 is 1/2 inch. Contact C to I, I to H2 and
H2 to J2. We have now prepared the pattern
to easily draft the raglan coat pattern.
N0TE: After the raglan coat pattern has in
total been drafted, the pattern may then be
made larger at the bottom 1V2 or 2 inches in
the same manner as the back from C, as D
to J3 of the back.
inches. Draw line 14 to 15.
X to EE equals X to E of the front.
X to 7 equals X to EE.
Draw line 7 to EE and mark 8 in the center.
Draw line 8 to X.
8 to 9 is 21/2 inches. Draw curved line 7 to 9
to EE.
6 to 10 is 11/2 inches.
Draw line 9 to 10.
Trace the whole pattern as drafted.
For the sleeve cut on line EE to 10 to OO to
15 to E.
Cut on line 9 to 10 and spread the pattern a
minimum of 2 inches to a maximum of 5 inches
as the dotted line 9B to E:J illustrates. On the
front cut on line 14 to 15 and spread the same
amount as on the back. This will provide for
ease in lifting the arm.
Cut out the front and back patterns.
When sewing the under arm curve a bias fold
should be stitched in the seam from 7 to EE to
prevent the garment from tearing at this point.
[118]
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THE BUTTERFLY DRESS AND SLEEVE
BUTTERFLY
DRESS
[119]
TO DRAFT CHILDREN'S DRESS AND COAT PATTERNS
Children's dress patterns are drafted by the
breast measure which is taken straight around
under the arm. The length of the sleeve is
taken from the armscye to the wrist. Take the
length of the garment from the neck to the
desired length.
To draft the back.
Draw a line 1 inch from the edge of the
paper nearest to you.
A to B is % inch.
B to C is 314 inches for size 6 and increases
l/x inch for each size larger and decreases %
inch for each size smaller.
C to D equals B to C.
D to F is always 6 inches.
B to G is the total length. Make right angle
lines from A, B, C, D, F, G.
A to AA is 7V2 inches for size 6 and in-
creases i/2 inch for each size larger and de-
creases 1/2 inch for each size smaller.
F to FF equals A to AA.
Draw line AA to FF and mark CC and DD
at the intersections.
FF to H is % inch.
Draw line DD through H and mark GG at
the intersection of line G.
A to N is 2% inches for size 6 and increases
% inch for each size larger and decreases %
inch for each smaller.
A to P is 5% inches for size 6 and increases
1/4 inch for each size larger and decreases %
inch for each size smaller.
D to PP equals A to P. Draw line P to PP
and mark S at the intersection.
N to O is 3 inches for all sizes. O may come
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either inside or outside of point P.
O to OO is 11/2 inches. Draw line N to OO.
S to T is -,\ inch.
PP to U (both ways) is 114 inches. Draw
line U to U and mark V in the center.
Draw curved line R-T-V-DD.
Square a line down from N and mark BB at
the intersection of line B.
BB to W is % inch.
TO DRAFT CHILDREN
To make the lap for the front of the coat:
Extend line 2 to 4 two inches.
Extend line G to G two inches. Draw line
4 to G3.
2 to X is 1/2 inch.
4 to 10 is 11/4 inches.
Draw line 10 through X to the neck curve.
To make the facing:
Fold the paper on line 10 to G3.
N to the dotted line on the shoulder is 1l/o
inches.
Draw line N to W and mark X in the center.
B to Y is 1 inch. Draw curved line Y to X
toN.
To draft the front.
Draw a line 3 inches from the edge of the
paper nearest to you.
1 inch from the edge of the paper to the
right of you mark A.
A to B equals B to D of the back.
B to C is 214 inches.
B to F is 6 inches.
Make right angle lines from A, C, B, F.
A to AA is 71/2 inches for size 6 and increases
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CHILDREN'S DRESS AND COAT PATTERN
[121]
TO DRAFT CHILDREN'S SLEEVE PATTERNS
AA
cc
KK-
Fig. 3
,FF
S ST&AlaHT OF- GOOD
.T
M
inches.
Draw curved line P to 0.
L to N is 1/2 inch.
L to Q is 51/0 inches.
Draw curved line Q to N.
When sewing the sleeve in the garment extend
the sleeve % inch beyond the body part. Turn
the sleeve over 1/4. inch and stitch the seam with
two rows of stitching as usual.
[ 179 ]
THE GURNEY EASY AND CORRECT METHOD FOR
MAKING THE SHIRT SLEEVE PLACKET
Cut the facings as illustrated on the opposite
page.
Figure 1. Fold the wrong sides of the facing
together.
Stitch on the very edge of the fold either start-
ing or completing the stitching at point A
which is y% inch below the cut edge B. This is
very essential as it is referred to later.
Figure 2. Fold the right sides together at the
top and stitch with a small seam as C.
Figure 3. Fold corner C over so it will appear
as D.
The location for the placket is marked by a cut
line on the sleeve.
On the wrong side of the sleeve place the larger
facing on the wider part of the sleeve and the
small facing on the narrow part of the sleeve
as in Figure 3.
Stich 1/tt mcn seams as E and E.
Figure 4. Turn the narrow facing to the right
side so it will roll over the seam and form a
bound edge. Stitch 1/8 inch from the edge. Turn
under the other side of the facing and stitch
as B.
Figure 5. Turn the remaining portion of the
placket to the right side and pin to position.
Start stitching at A as in Figure 1 and com-
plete the placket.
Figure 6. Illustrates the placket from the
wrong side.
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[180]
MEN'S SHIRT SLEEVE PLACKET
.F—'
CTLTC-l.! i f? A M 1 /£-
G
1
3 -T i rtrr~3 ^ C rVfi 1/T"
.2
s%.'
- J /4-
-;y
\ * '4- -^
v 3, s
D
^-FOLD /I/Of -^
E tC
N> K)
-^FACING 1 F/C* 1 ~^ ^
_,_., *y iMrnr«r -
*Z FOLD 1/4"^
B\
i
* yA
FOLD
FACING 2
,ST4T-C-H--
The illustrations on this page are full size and
have 14 inch seam allowance.
Figu^ 1.
A to B is 7 inches.
A to C is 1% inches.
C to E is 1% inches.
E to G is 1 inch.
F to G is 514 inches.
Cut as illustrated.
Figure 2.
Facing 2 is 11/« inches wide and 514 inches long.
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Oh, for faith and strength to win
Every battle we begin!
Oh, for patience to put through
Every task we plan to do!
—Robert Louis Stevenson
"vlr-
[181]
The Gurney Method of Making Bound
Pockets and Buttonholes in Light
Weight Woolens, Silk or Lingerie
Materials as Figure 1
The pocket material should be cut length-
wise the warp thread (the selvage) of the
material. Thus the desired contrast will be
obtained and the pocket will be stronger. Cut
the pocket material in one piece large enough
for both the upper and under part of the
pocket and 11/2 inch wider than the pocket
opening. Mark the location and width of
pocket with chalk, or preferably with tailor
tacks, so both pockets will be in the right
place.
FIGURE 2. Baste or pin the pocket ma-
terial to position, and commencing in the cen-
ter, as letter A, stitch with small stitches 14
inch from the pocket mark line. Thus the
stitching will be V2 mcn apart. (For button-
holes the stitching should be only % inch
apart.) Cut on the pocket line as letters C
to C to % inch from the stitching at the end,
then cut diagonally to the "very" corner of
the stitching as letters B illustrate. To make
a nice buttonhole or pocket, it is absolutely
essential that the diagonal cuts are made to
the "very, very" corner of stitching B.
FIGURE 3. Pull the pocket to the inside
of the garment. To insure a neat finish, the
pocket material should not show at the ends.
Rub the corners until they are absolutely
square and the pocket is forced back so the
garment shows a little as letter C. Put in
three stitches as letters A and press the ends
so the corners will be square.
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FIGURE 4. To be certain that the seams
will be in the binding, baste the seams to the
pocket as letter G.
FIGURE 5. Fold the pocket material over
the seams to form a binding and baste just
below the seams as letters D.
[182]
FIGURE 6. Commence stitching- at A l/2
inch back from the opening of the pocket,
and stitch diagonally to the corner of pocket
opening B; then continue the stitching just
below the binding to C and D. Do the same
on both sides and remove the bastings.
FIGURE 7. Baste the pocket or button-
holes diagonally together, fastening firmly at
the ends as B. Now remove the stitches A.
Then to have the end of the pocket or button-
hole in perfect alignment, fasten the end
with two or three blind stab stitches through
and through. (A blind stab stitch means
bringing the needle from the bottom up, then
take a very, very little from the fold and in-
serting the needle back in the same hole
through and through.
Note illustration.
STAB STITCH
FIGURE 8. For button-
holes, the stitching referred to
in Figure 6 may be omitted,
and the binding may be fast-
ened with a blind-stitch just under the bind-
ing. To complete the buttonhole, refer to
Figure 3 of the slot buttonhole and fold the
garment over as A so the stitching at the
end is "exposed." Then commencing at B
1/2 inches from the fold, stitch diagonally to
the corner of the triangle, then in the "ex-
posed" stitching and continue to E as illus-
trated.
Note illustration.
EXPOSED STITCHING
For the pocket, fold the
back part of pocket down,
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pin it to position, and com-
mencing to stitch at F, Fig-
ure 8, stitch to the top as
G, then in the "exposed" row of stitching,
and continue all around ending at H. To
prevent the pocket from gapping open, when
the garment is on, the front part of pocket
(the part that is next to the garment) is
easied to the back part of the pocket or a
small fold is made on the front part as letter
0. Overhand the pocket as illustrated. With
a little practice, this pocket as well as all the
pockets illustrated can be made without
basting.
[183]
Bound Buttonholes
The Qurney Method of Making Bound Buttonholes for Trimming
Cotton, Silk, or Silk on Wool
FIGURE 1. When making the button-
hole for a trimming as silk on wool, cut
the binding (preferable on the length-
wise of the material) Vii inch wider than
the desired width of the buttonhole. Fold
the edges over 14 inch. Baste the folded
material over the buttonhole marks A
with a small stitch, stitch % or 14 inch
from each side of the buttonhole mark;
when stitching in the manner as illustrat-
ed there will be no thread ends to fasten.
FIGURE 2.
ters A to A,
illustrated.
Cut the buttonhole as let-
and clip the corners as
FIGURE 3. Sew a blind stitch as let-
ter A close to the binding and if neces-
sary "put in a stitch at each end as let-
ter B.
FIGURE 4. From the wrong side
fasten the two bindings together with
three stitches as letters A and A. (2)
Turn the edges D under and hem them
to the facing. For a reversible button-
hole as on the lapel of a waist or dress
the buttonhole should be neatly hemmed
so that both sides will look exactly alike
as figure 5 illustrates.
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[184]
The Patch Pocket
The Gurney Method of Making a Patch
Pocket in Cotton or Silk Material
FIGURE 6. Letter A illustrates the
pocket made in the usual way. After a
little use the corner shows as letter A
which is very undesirable. Letter B
illustrates the permanent neatness of the
patch pocket made by the Gurney method.
FIGURE 7. First make the usual hem
% to 1 inch wide and stitch from edge to
edge as letters A to A. (2) After the hem
has been stitched, cut just above the
stitching as letters A one inch deep.
FIGURE 8. Fold the edges under all
around the pocket, turning the hem
double as letters B and B. Thus the cor-
ners will always be neat and right as
letter B, figure 6, and never show wrong
as letter A, figure 6. When stitching the
pocket around the edge, the end of the
pocket can be strengthened by holding
the garment firm and stitching three
stitches on top of each other. Pull the
thread to the wrong side, tie and fasten
them by threading a needle and taking
two or three stitches.
A'"!
!
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[185]
The Gurney Method of Making the
Inset Stand Pocket for Woolens,
Lingeries, Silks, Etc., as Figure 1
The pocket material should be cut length-
wise the warp thread (the selvage) of the
material. Thus the desired contrast will be
obtained and the pocket will be stronger. Cut
the pocket material in one piece large enough
for both the upper and under part of the
pocket and 11/2 inch wider than the pocket
opening. Mark the location and width of
pocket with chalk, or preferably with tailor
tacks, so both pockets will be in the right
place.
FIGURE 2. Baste or pin the pocket ma-
terial to position, and commencing in the
center, as letter A, stitch with small stitches
1/4 inch from the pocket mark line. Thus the
stitching-will be 1/2 inch apart. Cut on the
pocket line as letters C to C to % inch from
the stitching at the end, then cut diagonally
to the "very" corner of the stitching as let-
ters B illustrate. To make a nice buttonhole
or pocket, it is absolutely essential that the
diagonal cuts are made to the "very, very"
corner of stitching B.
FIGURE 3. Pull the pocket to the inside
of the garment. To insure a neat f1nish, the
pocket material should not show at the ends.
Rub the corners until they are absolutely
square and the pocket is forced back so the
garment shows a little as letter C. Put in
three stitches as letters A and press the ends
so the corners will be square.
FIGURE 4. From the right side bring the
lower part of the pocket up, so it is 1/2 inch
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wide, thus exactly corresponding with the
width of the stitching and being equal to the
opening width as B B in Figure 3. Then,
basting through the stand portion "only",
baste 14 inch from the edge of the fold as A.
FIGURE 5. Fold the lower part of the
garment up so that the pocket seam is ex-
posed and stitch the seam to the pocket as
letter B. Part of garment has been cut out
to show the stand letter A.
FIGURE 6. Baste above the pocket as
letter B so that the seam is turned up, and
also baste just below the stand through the
stand portion only as letter C; then baste
the stand to the back part of pocket as
letter D. Now remove the stitches A.
Then to have the end of the pocket or button-
hole in perfect alignment, fasten the end
with two or three blind stab stitches through
and through.
(A blind stab stitch means
bringing the needle from the
bottom up, then take a very,
very little from the fold and
inserting the needle back in
the same hole through and
through. Note illustration.)
Stab
Stitch
r
[186]
FIGURE 7. Fold the garment over as let-
ter A so that the stitching at the end is
"exposed," note illustration.
Then commencing to stitch at F, stitch to
the top as G, then in the exposed stitching
all around the pocket and ending at H. To
prevent the pocket from gapping open when
the garment is on, the front part of pocket
is easied to the back part of pocket or a
small fold is made as letter O.
FIGURE 8. Overhand the pocket all
around. However, this type of pocket is
weak at the corners A, especially so in lin-
gerie and when the material ravels very
much. Therefore, if the seam is bound as
letter B, Figure 9, it will be stronger; or to
make the pocket maximum strong when
commencing the pocket, place a piece of light-
weight material (muslin or cambric) for re-
inforcement on the wrong side of the gar-
ment over the pocket position, then baste the
pocket material to the garment in the usual
way and stitch the pocket as in Figure 2.
Thus the reinforcement will be sewed with
the pocket and may then be used as a bind-
ing as letter C, Figure 9.
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[187]
The Inset Stand Pocket
The Inset Stand pocket is very extensively used.
First mark the location of the pocket with tailor
tacks. (See tailor tack illustration, page 134.) For
the pocket material cut a piece of cambric or silk
11/2 inches wider than the pocket opening and V/%
inches deeper than the desired depth of the pocket.
For the back portion of the pocket cut a piece of
woolen the same size as the cambric. If you do not
have enough material cut the piece of woolen a
minimum of 3 inches in width, and for the remain-
ing portion of the pocket add cambric or silk as
Fig 11 illustrates. For the stand portion cut a piece
of woolen length wise of the material a minimum of
21/o inches in width and 1Vo inches longer than the
pocket opening.
Fig. 4. Letter A illustrates a tailor tack indicat-
ing the location of the pocket. Letter B illustrates
the cambric or silk, basted or pinned on the wrong
side so that it extends % inch beyond each end of
the pocket and 3/t. inch above the pocket line.
Fig. 5. For better illustration I have used a
contrasting striped material for the Stand portion.
When making the pocket of flannel or easy-tearing
materially, especially so for children's garments, it
is advisable to re-inforce the Stand portion with a
piece of cambric % inch wide and cut on the length-
wise of the material. With the right sides together,
baste or pin the stand portion to position as B and
mark the length of the pocket opening with pins or
chalk. Baste the back facing portion to position as
C and stitch both parts with 14 inch seams as D
and D. Be POSITIVELY SURE to fasten the thread
ends of the stitching very, very firmly.
Fig. 6. From the wrong side, cut through the
center to 1/4 inch from ends as O to O. THROUGH
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THE GARMENT ONLY, and not through either of
the facings, cut diagonally to the ends of the stitch-
ing as O to A.
Fig. 7. Pull the Stand portion through to the
wrong side and press the seam open as A.
[188]
Fig. 8. Fold the Stand portion the total width of
the two seams as A to A, and baste in the center as
B. To keep the stand portion in position, machine
or hand stitch in the seam as needle C indicates.
Remove basting B.
Fig. 9. Fold only the seam portion towards the
top of the garment and baste as A. Force the Stand
portion of the pocket against this seam fold A and
baste it to the back portion of the pocket as B. C
illustrates the triangular corner which is turned
under and fastened neatly with the "Blind Stab"
stitch THROUGH ALL the pocket material as D.
(Note: Stab stitch illustration on page 186.)
Fig. 10. A illustrates the garment folded over to
expose the triangular corner O. To fasten the pocket
firmly at the ends, stitch (commencing 1/o inch from
the fold as B) straight to the corner of the triangle
as B to C and straight across to D and then off as
E. Stitch the facing to the cambric lining F.
Fig. 11. Complete the pocket as illustrated.
For children's garments it is advisable to re-
inforce the garment at the ends of the pocket as B
or to make a machine stitching 1 inch long as A.
This will prevent the pocket from tearing as fre-
quently occurs in frail or easy-tearing materials.
When you find yourselves overpowered, as it
were, by melancholy, the best way is to go out
and do something kind to somebody.—Keble.
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[189]
18
The In and Out Flap Pocket
The Flap pocket is a continuation of the Stand
pocket, and it is essential that you first make a
Stand pocket before attempting to make the Flap
pocket.
The front of the flap is always rounded. Cut two
pieces of cambric 11/& inches wider than the pocket
opening and 11/^ inches deeper than the desired
depth of the pocket. For the Stand portion cut a
piece of woolen lengthwise of the material a mini-
mum of 21/2 inches in width and 11/o inches longer
than the pocket opening. To cut the Flap first make
a paper pattern which is 1/2 mch longer than the
pocket opening and 2% inches in width. Use this
pattern to cut both the woolen and the silk for the
lining.
Fig. 17. Baste or pin the woolen flap on the silk
% inch from the edge as C. Trim the silk even with
the woolen flap and then baste close to the edge as
D, pulling the woolens away so as to leave the silk
edge exposed a little as A and B illustrate. Trim the
silk even with the woolen and stitch from the LIN-
ING side with a small seam as E. Clip the corner
as F illustrates and turn the flap to the right side,
pulling out the corners with a needle (not with the
scissors).
THE
FLAP
From the silk side, baste with a small stitch so
that the woolen is exposed all around the edge, then
press. If desired the flap may now be stitched as in
Fig. 18.
Fig. 18. The back portion of the pocket is always
re-inforced with a silk facing 2 inches wide and
stitched to position as A to A. Baste or stitch the
to C.
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flap on the pocket material the exact length as C
Fig. 19. Baste the flap portion to position as B
and the stand portion to position as D. Mark the
ends of the flap with pins and stitch with a 1/t inch
seam as C to C. Stitch the stand portion with a 1/4
inch seam EXACTLY the same length as the flap.
(Note: For easy-tearing material the stand portion
is re-inforced with cambric % inch wide as E.)
We now complete the pocket in the same manner
as illustrated by Figs. 6, 7, 8, 9, 10, 11 for the Stand
pocket, page 186. When stabbing the triangular cor-
ner D, Fig. 9, be sure you sew through ALL the
pocket material and fold the flap away a little so
that it will not be caught.
[190]
.._ r» _CA!TgRlC_ .
FIG 11
Patch Pocket
High grade patch pockets are lined with cambric or
silk.
Fig. 10. To make the patch pocket pattern, draw a
line as A to A 6 inches. The depth of the pocket A to F
is 7 inches, and A to B is 2 inches. Make a slash in the
pattern at A and A and round the corners at F. To
re-inforce the upper edge of the pocket baste a piece of
cambric Vz inch wide cut on the selvage as A to A.
Sew this with a small felling stitch as C. Make a fold
on line A to A and with a % inch seam sew the cam-
bric lining on line B to B leaving a \Vz inch opening as
E to E. Baste the woolen portion to the cambric 1 inch
from the edge, then cut the cambric even with the
woolen. With a small stitch baste close to the edge
pushing the woolen back from the edge so as to leave
the cambric exposed a little. Trim the silk or cambric
even with the woolen and stitch from the LINING side
with a very small seam. Pull the pocket through the
opening E to E and from the lining side baste on the
edge so the woolen is exposed a little. Sew the opening
from E to E by hand and then press. If stitching on the
edge is desired do it now. Baste the pocket to position
on the garment. Fold the garment so that the edge of
the pocket is a little exposed and sew the pocket firmly
to the garment. Insert the needle in the edge of the
cambric and in the garment and sew with a small fell-
ing stitch.
To prevent the garment from tearing at the corners
of the pockets, it is for easy-tearing material advisable
to fasten a piece of cambric or silk on the corner of the
pocket and sew it with a small stitch to the garment as
letters A and B on the Stand pocket, Fig. 11, page 18|f
Fig. 11. This illustrates the Patch pocket with a
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turned down flap. To make the pattern make a three
inch fold on the paper as A to A. Cut the pattern the
same width and depth as explained for Fig. 10. For the
flap A to C is 1% inches, B to D is 3V2 inches. Cut the
flap portion on the line C to D to C and open the pat-
tern. It will now appear as C2 to D2 to C2 and cut the
main portion of the pocket like this. To cut the woolen
facing for the flap, A to I and A to J are 214 inches.
The remaining portion from I to E is the pattern for the
lining to which % inch must be added for seam on
line I to J. Sew the lining to the facing on line I to J as
illustrated in Fig. 10. Re-inforce the upper edge A to A
with cambric Vz inch wide and sew it to position as C in
Fig. 10. Baste the two portions together and complete
the pocket in the same manner as described in Fig. 10.
rL
MIL •
[191]
The Corded
and Piped
Pocket
Corded Pockets and
Buttonholes
For the cording or piping, cut a piece of woolen lengthwise
of the material 3% inches wide and 2 inches longer than the
pocket opening. For buttonholes cut the piece of material 212
inches wide and long enough to make cording for all the
buttonholes. For curved pockets the material is cut bias, and
for silks the cording is ALWAYS cut bias. Cut cambric and
woolen for the pocket as described for the Stand pocket on
page 186.
To make the cording for buttonholes proceed as follows: On
a piece of paper 21•, inches wide draw a pencil line ?« inch
from the edge. Draw a second line minimum Vz inch and
maximum % inch from the first line. Pin this paper on to the
woolens and with contrasting thread machine stitch with a
long stitch on the pencil lines. Tear off the paper, fold on the
stitched lines and stitch % inch from the edge of each fold
as A in Figs. 2 and 3.
To make the cording for pockets: On a piece of paper 3
inches wide draw a pencil line ?s inch from the edge. The
distance from this line to the second line varies according to
the width of piping desired. However, it must be four times
the width of the piping, as: a piping of 1A inch requires 1
inch between the lines. Thus, when stitched the distance be-
tween the stitching of the piping will be \z inch which is
equal to the combined widths of the piping.
Fig. 4. With a round bodkin needle insert ordinary wrap-
ping cord in the stitched folds as letter A. It is not necessary
to insert wrapping cord, however, if you do the buttonhole
will actually appear thinner and will look better. For button-
holes in silk insert yarn instead of wrapping cord.
Fig. 5. Buttonholes are made a minimum of % inch from
the finished edge of the garment. Mark the location of the
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buttonhole with chalk, and if this does not show clearly on
the material machine stitch with contrasting thread in the
pocket and buttonhole marks as A, B, and C as "C" illus-
trates. (Red and blue chalk should NEVER be used on mate-
rial. Neither should a pencil be used on white material.) For
white material baste or pin a piece of paper to the garment,
then draw a "light" pencil line to mark the location of the
buttonhole or pocket. Stitch on the pencil lines and then re-
move the paper, thus a permanent mark is established.
The buttonhole in all woolen material must be re-inforced
with cambric or silk, which is ALWAYS placed on the wrong
side. For pockets refer to the Stand Pocket, Fig. 4, page 186,
and pin or baste the cambric portion to position as explained.
[192]
Fig. 7. For pockets and buttonholes baste the edge of the
cording against the pocket mark A. Stitch in the stitched line
as B to B on both sides the EXACT length of the mark. (The
cording was cut in the center for illustration purposes.) Be
POSITIVELY SURE to fasten the threads firmly at the ends.
Fig. 9. From the wrong side, cut the pocket or buttonhole
opening in the center to J4 inch from the end of the stitching.
Cut diagonally through ALL the material POSITIVELY to
the end of the stitching A. Now refer to Fig. 8. IMPORTANT:
For all woolens, cut the corded material the full length as B.
For silks the corded material is NOT cut as C illustrates.
Fig. 10. Pull the corded material through and from the right
side baste the EXACT length of the pocket or buttonhole on
both sides as A. Baste the edges together diagonally as B.
Fold the triangular corners X and X under as F in Fig. 11
and "stab" through and through neatly so the stitches will
not show. (See stab stitch illustration, Page 186.)
Fig. 11. Fold the garment at the end of the pocket or but-
tonhole so the triangular corner X is exposed. Starting \'z
inch from the fold as A stitch to the corner of the triangle
as B, then a little deeper in the center as C and then to D
and to E. This makes the stitching in a "V" shape. In heavy
material assist the machine by lifting the presser foot when
stitching these corners.
Fig. 12. This illustrates the wrong side of the garment.
Press very firmly.
Fig. 13. To finish the buttonhole first baste the garment
facing over on the edge and then baste % inch on both sides
of the buttonhole as A and B. From the right side insert pins
at the ends of the buttonhole through the facing. These pins
indicate the exact location of the buttonhole on the facing
side, as pins C and C. Cut the facing from pin to pin, turn
under the edge and "Fell" it with a small stitch as the needle
"D" illustrates. (For the GURNEY HIGH GRADE METHOD
of FINISHING BUTTONHOLES, see page 194.)
Fig. 14. To finish the pocket stitch the cambric pocket por-
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tion as "A". Then, with the exception of the diagonal basting
"B", remove all the bastings. Baste the back portion of the
pocket to position. Fold the garment over and stitch very
close to the fold as "C". Also stitch three times across the
ends of the pocket as B and C, then continue stitching all
around. This completes the pocket.
-E^f^
Fie. 10
---N, •
.11
K~~?~
__.-
r ^t \
*/
\ \ . \ • \ \. - \ \ /
III A=
F,s.fe W^
\
FlO.13
[193]
The Qurney New High
Qrade Method of Finishing
Buttonholes
This method of finishing corded and
bound buttonholes on the facing side will
make the buttonhole appear the same on
both the right and wrong side.
Figure 10. Baste the edge of the coat
facing over in the usual manner. To hold
the facing to position, baste or insert pins
3/4 inch from each side of the buttonhole.
From the right side, insert pins straight
through at the ends of the buttonhole so
they will appear on the facing side as let-
ters A. Through the single thickness of
the material, insert a basting from A to
A as B illustrates.
Figure 11. Cut a piece of silk 2 inches
wide and 3 inches long, and on the right
side of the facing pin this to position over
the basting mark B. From the inside of
the facing stitch with a very small seam
around the basting mark B as illustrated.
Cut the opening in the center the full
length.
Figure 12. Pull the lining to the wrong
side. Force the lining so the woolen will be
a little exposed as C; baste with a small
stitch all around and press very firmly.
When pressing, pull on the lining at A and
press from the center to A. Press the
other side likewise, thus the woolen will
positively be exposed all around as C
illustrates.
To sew the facing correctly to the but-
tonhole so the buttonhole will be alike on
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both sides, insert pins from the right side
at each end of the buttonhole. When sew-
ing the facing to position, start at the end
so the pins will be exposed and sew the
facing 1/s inch from the edge of the but-
tonhole. Do it in this manner and you will
be happy with the results.
l will do my work as I have never done it
before, with willing hand and alert brain. I will
put something of myself into it before it leaves
my hand, for as I work, so am l.
[194]
The Older Method of Making
Piped Buttonholes and
Pockets
As described before, pockets and buttonholes are
always re-inforced with cambric on the wrong side.
(See Fig. 4 of the Inset Stand Pocket, page 188.)
Fig. 2. Letter A illustrates the chalk line indi-
cating the location of the pocket or buttonhole. To
outline the buttonhole on the wrong side baste\on
the chalk line as B. /
Fig. 3. Letter C illustrates the pocket or button-
hole location on the wrong side.
Fig. 4. Basting A indicates the pocket line. B
illustrates the woolen which has been cut 21/2 inches
wide for the buttonhole and 3V2 inches wide for the
pocket. Baste or pin this to position over the but-
tonhole mark as C and C illustrate. (Note: Bastings
C and C are y% inch on each side of the pocket mark.)
Fig. 5. Starting in the center and with a small
stitch, stitch % inch from the basting mark A as B.
If the material ravels very much stitch twice around
the pocket or buttonhole.
Fig. 7. Cut in the center to 14. mcn from the end.
Cut diagonally through all the material POSITI-
VELY to the corner of the stitching.
Fig. 8. Pull the facing to the wrong side and
force it back at the end so that the garment will be
a little bit exposed as B. Using contrasting thread,
insert the needle straight down from B as A and
bring it up at the edge of the facing and make four
stitches as illustrated. Thus, the woolen will be a
little exposed as B.
Fig. 9. The seams are firmly pressed with the
edge of the iron so the seam will be folded towards
the garment as A. Do this on both sides. From the
right side baste with a back stitch close to the pip-
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ing so that it will be exposed l/s inch as illustrated
for the corded pocket Fig. 10, page 193. Press very
firmly and complete the pocket or buttonhole in the
same manner as Figs. 11, 12, 13, 14, page 193 of the
corded pocket.
[195]
The Braid or Bias Tape
Pocket
Figure 2. This figure illustrates the pocket
material cut for the entire pocket. Place the
braid in the center of the pocket material and
stitch it on the edges as A and A. Place a second
piece of braid against the first piece and baste
as letters B and B. Stitch along side of the braid
(not on the braid) as letters C to C. Remove this
second piece of braid and the stitching line C to
C will be used as a "guide" line.
Figure 3. Place the portion with the braid just
below the marked location for the pocket. Stitch
just above the braid as letter A the exact length
of the pocket as B to B. Stitch on the "guide" line
C the exact length of the pocket as B to B. Cut
the pocket material only, between the two lines
of stitching just made as D to D.
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[196]
Figure 4. From the wrong side of the gar-
ment cut as line C to C to % inch from letters B.
Cut diagonally through the garment only from
C to B as illustrated. Pull the pocket through to
the wrong side.
Figure 5. From the right side baste the upper
seam up as letter A. Fold the pocket on the edge
of the braid and baste as letter B.
Figure 6. Fold the garment up to expose the
seam as letter C' and stitch the seam to the
pocket as letter C. Now baste the seam down as
letter C in Figure 5 and baste the stand portion
to position as letter D, Figure 5.
Figure 7. Turn the triangular corners under
as A and stab stitch the ends through all the
pocket material. Fold the garment back as B and
stitch the pocket as illustrated.
We should start out in the morning looking
for the day to be good, to bring us peace and
happiness and prosperity, never failure, disap-
pointment, loss. lf we looked for the good in-
stead of the bad we might more often in the
evenings be able to agree with the thought of
Theodore Roosevelt that 'the joy of living is
his who has the heart to demand it."
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[197]
The Welt Pocket
Because there are more details to the bias welt pocket than
there are to the straight welt pocket, we will make the bias
pocket as is used for the breast pocket of jackets and long coats.
Welts for the suit jacket (breast pocket) are 4 inches, maxi-
mum 4*,2 inches long, and 1 inch wide finished. Welt pockets for
long coats are 6% inches long and 1% inches wide finished.
Fig. X. All commercial patterns include the welt pocket pat-
tern. The grain of the material is marked with either perfora-
tions or arrows and there is a seam across the top of the welt.
To simplify the making of the welt pocket and to obtain better
results, we omit the top seam A to A. To do so a new pattern
must be made. Fold a piece of paper 3 inches wide and place the
fold on the seam line of the commercial pattern A to A. Pin it
to the commercial pattern and cut the folded paper along the
edge of the pattern. Mark the indicated straight of the material
and extend the printed or perforated line the full width of the
new pattern. Make a slash on the fold at A and B and cut the
material by this new pattern. The straight pocket pattern will
appear as Fig. 2 and the bias pocket as Fig. 3. Draw a line from
slash A to B and insert a basting on the chalk line as A to B
in Fig. 2 and 3.
Fig. 2. All welts must be re-inforced with cambric the length
of the welt. On the wrong side of the material baste a selvage
of cambric against the line A to B and sew it with a small "Fell"
stitch on the line A to B as C. (For illustration the cambric was
partially cut away.)
Fig. 4. Fold the material double with the right sides together
and stitch both ends with V4 inch seams as A. To make the welt
thin at the ends cut one thickness of the woolen off as C and C.
Also to obtain neat corners cut the corners off as illustrated.
A SEAM
-»
0
^A
SEAM
V/OF^
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° STRAIGHT
0 GOODS
o
SEAM
> FIG.
X
FIG 2
4B
TME. WELT
4B
[198]
Fig. 4B. Turn the welt right side out and pull the corners out
with a needle, (not with a scissors,) and baste along the edge.
Welts for coats are usually stitched % inch from the edge. Welts
for jackets are not stitched, however, if the edge of the garment
is stitched the welt must likewise be stitched which is usually
Ve. inch from the edge. Press the welt and trim the edge even.
Fig. 5. Cut a piece of cambric or silk marked D to D 4 inches
by 5 inches for jackets and 5 inches by 8 inches for coats. Baste
or stitch this cambric or silk to the wrong side of the welt so
the edge of the welt is a little exposed. Stitch it to Vt inch from
the end of the welt at C and C and clip the cambric at these
points. (Note that for illustration the cambric is folded as D.)
Fig. 6. For the back facing of the pocket marked D for either
the jacket or coat, cut a piece of woolen SVz inches wide and
1Va inches longer than the pocket opening. Baste the welt to
position as B and the facing as D. Stitch the welt POSITIVELY
to the ends with a % inch seam as C to C. (Note that to expose
the ends of the welt the cambric is folded as A to A.) Fasten
the threads firmly at C and C. Remove the basting B.
To surely stitch the facing the right length, fold the welt
over and insert pins or mark the ends of the welt as O and E.
Stitch the facing to position with a
shorter than the pin marks as E to F.
inch seam and % inch
Fig. 7. Cut the seam in the center as A to A and up to the
stitching as A illustrates. Before cutting the corner diagonally
to B, pull the facing portion to the wrong side and press the
seam open as letter A, Fig. 8. Cut diagonally through the gar-
ment "only" POSITIVELY to the end of the stitching as Letters
B and B, Fig. 7. For heavy material cut off a little of the gar-
ment seam only from B to B.
Fig. 9. Pull the welt to the right side. Fold the material ex-
actly on the seam and baste as letter A. Lay the garment flat on
the table and baste as letter B. For long coats stitch in the
stitching, commencing at C to D and E to F, as illustrated. Thus,
on the wrong side the stitching will be as letter C, Fig. 10. If the
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welt is not stitched, fasten it firmly from the wrong side as
letter B. Complete the pocket as Fig. 10 illustrates.
fC
[199]
The Welt Pocket with
Pressed'Open Seams
This type of welt pocket is preferable for the breast
pocket of jackets. The finished width for the breast
pocket is 1 inch, thus the width from B to B (Fig. 20)
is 11/4 inches. To make the welt pattern follow the
instructions for Figure X, page 206.
Fig. 20 shows the placing of the pattern on the
"right" side of the material so that the arrow or per-
forations are on the straight of the material. Cut the
welt allowing 1/2 incn as X to W and X to W. Make a
short slash at B and B. Remove the pattern and draw
a straight chalk line from B to B and insert a basting
on this line.
Fig. 21. 0n the wrong side of the welt baste a piece
of cambric or silk cut on the selvage, to position against
the basting from B to B as letter C illustrates. With
a small "felling" stitch, sew the cambric from B to B
as illustrated. (For illustration the cambric was par-
tially cut away.)
Fig. 22. Make a fold from B to B with the right
sides together and baste as D to D to D. Stitch the
ends of the welt with maximum 14 inch seams as E
and E. Cut off the corners as letters F and F illustrate.
Fig. 23. Turn the welt to the right side and baste
as letters G. Press the welt very firmly and trim the
edge from H to H even with the edge I to I. After the
welt has been pressed and trimmed, open the seams
V2 inch at the ends as J and J illustrate.
Fig. 24. Baste the welt to position as letters J and
J and the facing as K and K. Stitch the welt with a
1/4 inch seam "positively" the full length of the welt,
being sure to fasten the ends securely. Fold the welt
up and mark where the ends come as letters L and L.
Stitch the facing with a 14 inch seam % inch from
the marks L and L as M and M.
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From the wrong side cut the pocket opening as de-
scribed in Fig. 7, page 199. Press both seams open very
firmly. Fell a piece of silk to position below the welt
seam and complete the pocket as Figs. 8, 9, 10, page 199.
\\u\\\\\\\
[200]
The Pressed, Open*Seam Bound Pocket or Buttonhole
Fig. 1. Illustrates the bound pocket or but-
tonhole.
Fig. 2. Illustrates the fancy bound pocket.
The procedure for making the Pressed-0pen-
Seam pocket or buttonhole is, with few excep-
tions, the same as Figs. 4, 5, 6, and 7 of the
Inset Stand pocket.
Fig. 4. Place the usual pocket material of
silk or cambric to position as explained for the
Stand pocket.
Fig. 5. The Stand portion and the facing
portion are both cut on the lengthwise of the
material, and stitched the full length of the
pocket or buttonhole. For the buttonhole the
seam is a minimum ,',.; inch and maximum 14
inch. For the pockets the seams are a minimum
VI inch or any desired width. It is obvious that
for a pocket as illustrated in Fig. 2 the width
of the seams vary accordingly.
Fig. 6. Repeat the same as for the Stand
pocket.
Fig. 7. Press both seams open and cut off
^e inch from both the facing seams.
Fig. 8. Baste the binding over the seams
and machine stitch or hand stitch in the seams.
Baste the pocket binding diagonally together
as letter B, Fig. 10, page 193.
Fig. 9. Turn the triangular corners C and C
under as D and "stab" stitch firmly to position.
Fig. 10. For heavy material assist the ma-
chine by lifting the presser foot up a little
when stitching the triangle corners from B to
C and D to E.
Complete the pocket as illustrated for the
corded pocket Fig. 14, page 193.
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BIN&
V£ PR£$5£POf>£ft PQCXZT
#£&: . -"
m1
PIG 2
SPEECH
Talk happiness. The world is sad enough
Without your woe. No path is wholly rough.
Look for the places that are smooth and clear,
And speak of them to rest the weary ear
Of earth; so hurt by one continuous strain
Of mortal discontent and grief and pain.
Talk faith. The world is belter off without
Your uttered ignorance and morbid doubt.
If you have faith in God- or man, or self,
Say so; if not, push back upon the shelf
Of silence, all your thoughts till faith shall
come.
No one will grieve because your lips are dumb.
Talk health. The dreary, never-ending talk
Of mortal maladies is worn and stale;
You cannot charm or interest or please
By harping on that minor chord, disease.
Say you are well, or all is well with you,
And God shall hear your words and make
them true.
—Ella Wheeler Wilcox.
[201]
"The best of a book is not the thought which
it contains, but the thought which it suggests;
just as the charm of music dwells not in the
tones but in the echoes in our hearts."
—Oliver Wendell Holmes.
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[202]
Generated on 2014-05-20 15:13 GMT / http://hdl.handle.net/2027/coo.31924003596545 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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Generated on 2014-05-20 15:14 GMT / http://hdl.handle.net/2027/coo.31924003596545 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
Generated on 2014-05-20 15:14 GMT / http://hdl.handle.net/2027/coo.31924003596545 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
Generated on 2014-05-20 15:30 GMT / http://hdl.handle.net/2027/coo.31924003596545 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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Generated on 2014-05-20 15:24 GMT / http://hdl.handle.net/2027/coo.31924003596545 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
Generated on 2014-05-20 15:25 GMT / http://hdl.handle.net/2027/coo.31924003596545 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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