Page:Costume design and illustration (IA costumedesignill00trap).pdf/23

SKETCHING A GARMENT skirt. (The centre line is the centre of the actual figure, not of the sketch.)

The collar and waist lines curve up in the back and down in the front. The bottom of the skirt describes a circle; therefore, like the waist and collar, the line curves, but always downward. The shoulder lines should be made to slant as much as the silhouette requires.

For this work use an H.B. pencil, Eberhard Faber, Ruby or Emerald eraser, and emery board pad. The point of the pencil should be kept very sharp by continually pointing it on the pad. From the start great attention should be paid to a clean-cut and beautiful line and to the proper placement of the sketch on the paper. See under "Greek Law," page 27.

3. Sketching a Garment. After the form is mastered up to this point, the next step is the sketching of a garment on the foundation drawn. If possible, have as a model a simple dress or suit on a coat-hanger, or preferably a dressmaker's form: then find the centre line of the garinent and see that, in sketching it on the oval form first constructed, you have the centre line of your sketch correspond with the centre line of the garment. You will find the proper observation of the centre fine an infallible guide in giving you the proper relation of the sketch to the garment.

Next observe the large, important facts such as length of sleeves, length of coat, the long, important lines and be particular to put in the seams; but leave details such as embroidery, lace, tucks, plaits, gathers, etc., until the last. See Figs. 5, 6, and 7.

After the lengths of the sleeves, waist, coat, etc., are determined. you must strive for skill in keeping your pencil line clean and sharp. This gives the much-desired, well pressed newness to the garment. To keep this effect, beware of too rounded curves. After the sketch is finished, some accents should be put in, in places where shadows would naturally be; this gives added interest to sketches. From the first, observe and work for texture. Notice how delicate, light lines express thin material better than heavy. hard ones. After ability of this kind is