A Complete Course in Dressmaking/Lesson 2/Patterns

by Isabel De Nyse Conover

Layout 2

General Directions for Cutting.—Lay the material on a flat surface. Smooth out any wrinkles. Don’t cut just one piece at a time, as you may happen to need it for the sewing.

Always lay all the pattern pieces on the goods before cutting any one piece. It will save goods. The pieces often can be shifted around and arranged to fit into a small amount of goods. In planning to cut any garment, place the largest pattern pieces on the goods first and then fit in the smaller pieces.

As a general rule, center-front and center-back edges of the pattern are placed on the lengthwise of the goods and straight of the goods, which means parallel to the selvedge edges. Where the lower edges are straight they are placed usually as nearly on a true crosswise as possible, which means at right angles to the selvedge edges of the material.

There are two ways of laying a pattern on the goods. The goods may be laid in a single thickness or folded double. When folded double, usually the selvedges are brought together and the material is creased through the center lengthwise; although there are cases where it is advantageous to fold it crosswise.

It may even happen that material can be saved by folding over only a third, a quarter or less on the lengthwise, leaving the rest in a single thickness.

In spreading out the material in a single thickness or in folding it double, keep the wrong side uppermost. It is by far the best plan, when possible, to lay the pattern on the wrong side of the goods. Then you can mark on the goods without danger of injuring the fabric, except in cases of very sheer materials.

Although it is possible to pin a tissue paper pattern to the goods and then cut the piece, it is better to weigh down any pattern and
Fig. 20 Keep the wax or chalk thin on the edge and hold it firmly in marking around the pattern mark around it. Use ordinary paper weights and mark with tailor’s wax or chalk spoken of in Lesson I. Keep the wax or chalk shaved down to thin on the edge and hold a thin edge. Be very sure firmly in marking around the to mark along the exact edge of the pattern and hold the wax or chalk as in Fig. 20.

In the dressmaking trade, when all the pattern pieces are laid on the goods, it is called a layout. Throughout these lessons you will find the process of laying the pattern on the goods spoken of as laying out the pattern and the pattern laid on the goods as a layout.

Making a Waistline Apron Pattern.—It is hardly necessary to make a pattern for a garment so simple as a waistline apron. However, a pattern proves a great convenience, if you are cutting more than one apron, as it saves figuring out the proportions each time. Making the pattern will give you excellent practice and will show you how to slope the waistline, which information you can use later many times in various ways.

To make the pattern draw a straight line similar to the line AB in Fig. 21, using your
Fig. 21. Diagram for a waistline apron pattern yardstick or tailor’s square. This line should measure twenty-seven inches. Draw the lines AD and BC at right angles to the AB line. Each of these lines should measure eighteen inches. Mark at point E one inch below point A and reslope the waistline as indicated by the dotted lines.

To slope the waistline, draw a line at right angles from point E, as dotted line marked EF in Fig. 22. Three inches out on this line
Fig. 22. Diagram for sloping the top of the apron mark F. From the point of F blend a curve to the upper edge. This will give an even run to the waistline which will make the apron hang nicely. Line AB is the center front which is laid on the fold of the material.

Fig. 23. A straight line at the top of an apron or skirt makes a poor fit

If this seems a bit of trouble to have a simple apron hang smoothly, look at the diagram in Fig. 23, where the straight line was

Fig. 24 If the line at the top of the apron pattern is straight the material will V at the center front when cut

drawn from point E to the upper edge represented by D in Fig. 21. When the material is cut it will V down in front as in Fig. 24, which will cause the apron to hike up in front when worn, as shown in Fig. 25.

To make a pattern for the waistband. (See Fig. 26.) AB represents the center front.
Fig. 26. The pattern for the waistband Draw a straight line from A to B measuring two and three-quarter inches. Then draw two lines from A and B measuring nine inches each at right angles to the AB line. Join by line measuring two and three-quarter inches at right angles which corresponds to AB line. Look at line C on diagram.

To make a pattern for the strings, Fig. 27.—Draw a line from A to B measuring three inches. AB represents as before the center front. Draw two straight lines measuring
Fig. 27. The pattern for the string twenty-four inches at right angles to AB line. Draw connecting line at right angles, measuring three inches and corresponding to AB line: line C, Fig. 27.

Fig. 25. If the top of an apron is cut in an abrupt angle the apron will hike when it is sewed to the band

To make a pattern tor a pocket.—Draw the ABCD box, Fig. 28, as the first step,
Fig. 28. Diagram for making pocket pattern.commencing with the line AB and then making the cross lines AD and BC and finishing with the CD line. Be sure that the lines are at right angles, otherwise the pocket will be askew. From A to B is, eight inches and measure the same number of inches from C to D. The lines from A to D and from B to C measure five inches. Measure two inches above point B and mark E. Then, measure two inches above point C and mark F. (See Fig. 28.) Draw lines from the points E and F to the centerway point between B and C.

Always make your patterns without seam allowance, as it is much easier to see the shape of the finished piece. The seam allowance is added afterwards as in the dotted lines in Fig. 28. These dotted lines can be put on with a two-wheel tracer or marked with a ruler.

Allow an inch and three-eighths at the top of the pocket for a hem. The seam allowance is usually three-eighths of an inch. Carrying out this plan of adding the seam allowance after the pattern is made permits you to see the pocket in its finished shape and makes it easy to vary the size according to
Fig. 29A. In laying a pattern on the goods, place the largest pieces on first and then fit in the small piecesyour taste. Frequently the novelty in the cut or trimming of the pocket is what adds the style to the apron.

Cutting a Plain Waistline Apron.—Diagram 29A shows the plain waistline apron pattern laid on a single thickness of the goods. As only one-half of a pattern is usually given, it is necessary when laying the pattern on a single thickness of the goods, to turn over each piece and mark around it the second time.

In diagram 29A the solid lines indicate the first placing of the pattern and the dotted lines the position of the pieces when they are turned over. Diagram 29A also illustrates how to mark for a piecing. If your pattern extends beyond the edge of the material, as indicated by the dotted lines ABCD, Diagram 29A, mark where the selvedge edge comes on the pattern as line EF, Fig. 29B, and a second line three-fourths of an inch in from it as the line GH Fig. 29B. The three-fourths of an
Fig. 29B. The proper way to allow for piecinginch is for seams. Place this portion of the pattern on the goods. (See portion marked piecing in Diagram 29A.)

To Make a Plain Waistline Apron.—Join the piecing to the apron with a plain seam if the edges are selvedge. However, if either of the edges is raw, make a French seam. You will remember that the making of different seams was explained in Lesson I.

The next step in finishing the apron is hemming the sides. Here is a place where you can bring your sewing machine attachment in play. A narrow hemmer will turn the edge, neatly and quickly. Lesson I tells all about using this attachment.

Fig. 30. Turning the hem at the bottom of the apron If you are not using an attachment, turn and stitch a narrow hem as described in the first part of this lesson.

At the bottom of the apron turn a three-inch hem. To form a hem of this type, fold under a seam’s width, three-eighths of an inch on the lower edge and press the edge. Then, turn up three inches, using your ruler to measure. Press the hem. Pin it at intervals about three inches apart and stitch as in Fig. 30.

Fig. 31. To determine the center front fold the apron as shown above Determine the center front of the apron by folding it as shown in Fig. 31. Mark the center front by cutting a straight slash at the top one-fourth inch deep. A slash of this description is better than a notch, for it will not fray.

Run gather threads across the top. To keep the fullness equally distributed use two threads, starting the threads at the center front and running them to the sides of the apron. Use a double thread for each gathering and run it in with running stitches. (See Fig. 32.) Use ample thread so that an end will hang down beyond the side of the apron and there will be no danger of it pulling out.
Fig. 32. Running in a Gutter thread

Fig. 33. The first stitching in joining the waistband to the top of the apron Determine the center front of the waist-band by folding it crosswise. Cut one-fourth inch slashes in the top and bottom of waistband at the center front. Lay the waist-band along the top of the apron, placing it on the wrong side of the apron. Keep the center fronts even and draw up the gather threads until the top of the apron is the desired size.

Distribute the fullness evenly. The ends of the waistband should extend a seam’s width beyond the sides of the apron to give room to finish them. Stitch across the top of the apron. (See Fig. 33.)

Fig. 34. The string pleated and ready to attach

Fig. 35 The string stitched in place

Fig. 36. The waistband folded and stitched the second time

Turn a narrow hem on the sides of the strings and wider hems at the bottoms. Lay the unfinished ends in pleats as in Fig. 34 and stitch these ends to the ends of the waistband. (See Fig. 35.) Note that the strings extend only halfway across the waistband. Turn back the free edges of the waistband a seam’s width and press. Then, crease the waistband through the center and stitch down the sides and across the bottom as in Fig. 36.

Fig. 37. Cutting off the corners of a pocket makes a neater finish when the seams are turned

Make a one-inch hem at top of pocket. To do away with unnecessary bulk cut off the corners diagonally. But be sure not to cut off too much. The safest way is to mark the seam allowance and then cut to within one-fourth of an inch of the finished corner. (See Fig. 37.) Dotted lines AB indicate seam allowances, and lines CD, EF and GH mark portions to be cut off. Turn under seams at sides and bottom and press. The Fig. 38 shows the proper way to turn seam at corner.

Pin the pocket in a convenient position. It should be high enough so the wearer’s hand can be slipped in without leaning down. Stitch the pocket as shown in Fig. 39. The Fig. 40 shows the apron finished.

Making a Pattern for a Slip-on Apron.—Make the box ABCD first (see Fig. 41), carefully drawing straight lines at right angles to each other and commencing with the AB line as the first one. From A to C measures seventy-two inches and the cross lines from A to B from C to D measure fourteen inches. Now measure seventy-two inches from B to D and the box is completed. Then draw line across the center and mark E and F which will give the center of the shoulders. (See Fig. 41.)

Fig. 38. Turning the seam at the corner of the pocket

Fig. 39. The pocket stitched to the apron

Next measure five inches from C on the cross line CD and mark G. Measure eleven inches upward from D on the BD line and mark H.

Measure fourteen inches downward from F on the BD line and mark I. This will locate the points on the front.
Fig. 40. The waistline apron finished Starting again at the F point measure fourteen inches upward and mark J. Measure eleven inches from the B point and mark K. Then measure five inches from A on the cross line AB and mark V and you have marked the points on the back. Measure five inches from F on the center line FE and mark M.

Fig. 41. Diagram for making a slip-on apron.

Fig. 43. The second step in making a slip-on apron.

line AB and mark V and you have marked the points on the back. Measure five inches from F on the center line FE and mark M.

To determine the depth of the low neck at the back measure three inches upward from point E on the AC line and mark Q. For the depth at the front measure seven inches downward on the AC line from point E and mark O. For the width of the neck measure three inches across from O on a line drawn at right angles to the AC line and mark the end N. Draw a similar line measuring three inches across from Q and at right angles to line AC and mark the end P. Then draw a connecting line from N to P. (See dotted lines in Fig. 41.)

Fig. 42. The proper way of holding a tracing wheel Using the curved ruler draw in curves from point M to I, and from I curving in and out to H and rounding a curve from H to G following the dotted lines as shown in box in Fig. 41. This gives the curved front of the apron. To exactly duplicate the curves in the back put a piece of paper under the diagram and trace the outer edge with the tracing wheel. Fig. 42 will show you the correct position of the tracing wheel. Remove the piece of paper underneath and cut along its curved edge. Use this as a guide in marking the curves of the back edge. See Fig. 43.

Fig. 44. Determining the neck-line of the pattern]]

After the square lines are marked for the neck it is an easy matter to fill in the curved outline as shown in Fig. 44. In making this curved line, be sure that it is in a true contin-

Fig. 46. A neck that is intended to be oval ought not to have an abrupt angle at the shoulder uous curve with no abrupt jogs at a different angle in any place. Fig. 44 shows the grace of a well-drawn curve for the neck while Fig. 45 shows a badly done line with an abrupt jog at the shoulders and a dip in the front. If the lines of Fig. 45 are followed the garment will have a homely and unbecoming neckline as shown in Fig. 46.

To make the pattern of the pocket which extends across the front, draw lines on the apron

	⁠
Fig. 47. Marking the position of the pocket on the pattern		Fig. 48. Drafting the pocket pattern

just where you want to place the finished pocket, commencing with the line AB as in Fig. 47. Place the apron pattern on a larger piece of paper. As the pocket should stand away a little at the top from the apron so that the hand can be slipped in easily, mark a point one-half inch beyond the end of the line marked A and mark this point C. (See Fig. 48.) Slip a small piece of paper under the apron pattern and trace along the curved edge between lines A and B. Remove this piece of paper and cut along the curved lines, so that this may be used as a guide in marking the edge of the pocket from line B to point C. The edge of the pocket must curve exactly the same as the side of the apron pattern, as it is to be sewn along this edge. Trace across the lines A and B and mark along the front edge. At outer edge mark along edge of cut-out piece from line B to point C. (See Fig. 48.)

Fig. 49. The slip-on apron pattern placed on the lengthwise fold of the goods

Cutting a Slip-on Apron.—The Fig. 49 shows the pattern placed on the material. In this case, the goods is folded lengthwise through the center and the center front and center back of the pattern are placed on the fold of the goods. As the two thicknesses are cut at one time, it is not necessary to turn the pattern over and mark around it the
Fig. 50. A convenient work apron of black sateen trimmed with a binding of old rose sateen second time, as was described in cutting the waistline apron.

In laying out a pattern it is often advisable to try it both on the single thickness and double of the goods to see which way it will cut to the best advantage.

Mark and cut out the pieces as described in the General Cutting Directions in the first part of this lesson.

To Make the Slip-on Apron.—One of the easiest ways of finishing the neck and outer edges is by binding. In the case of the apron shown in Fig. 50, the neck, the outer edges and the top of the pocket are bound.

	⁠
Fig. 51. Sewing the pocket to the apron ​		Fig. 52. Sew around the neck to prevent it from stretching

You cannot use straight binding on curved edges. It will pucker. See directions for binding edges in the first part of this lesson.

Bind the top of the pocket first. Turn under the lower edge of the pocket a seam’s width and press. Then, place the pocket on the front of the apron, keeping the outer edges even. Baste it along the sides and stitch across the bottom and through center. (See Fig. 51.) A pocket of this type should always be a little larger at the top than the apron, so that it bulges away from the apron and gives room for putting in the hand comfortably.

Run a thread around the neck as in Fig. 52 to prevent stretching. Bind neck and outer edges of apron.

Fig. 53. A bound buttonhole that is finished with a single piece of material is stronger than one with two bindings

Make bound buttonholes in front of apron at underarm.

To make a bound buttonhole that is strong, face it with one piece of material. Mark where the buttonhole is to be placed on the right or face side of the material. Cover the mark with a facing piece, cut to extend one-half inch beyond the mark at all points. Mark the buttonhole on the facing piece. Stitch either side of the mark, and square across the ends, running the stitching one-eighth of an inch from the mark at all points. Slash centerway between the stitchings to within one-eighth of an inch of the ends. From these points slash diagonally to the corners. (See Fig. 53.)
Fig. 54. The facing turned onto the wrong side of the buttonhole Turn the facing through the slash onto the wrong side. At the ends of the buttonhole the facing will fall into two small pleats. Stitch across the ends of the buttonhole again, stitching the facing to the triangular portion which was formed by slashing diagonally to the corners. (See Fig. 54.) Turn under the raw edges of the facing, baste it in place and, working from the right side of the goods, stitch around the buttonhole again. (See Fig. 55.)

For basting use long and short running stitches. The Fig. 56 shows the most practical way of sewing the buttons to the back. Use a fine needle. After taking seven or eight stitches in each hole, bring the needle out between the button and goods. Wrap the thread around the button several times. Pass
Fig. 55. The finished buttonhole as it looks on the right side of the garment the needle through onto the wrong side of the goods and secure the thread with several over and-over stitches.

Using a Block Pattern to Make a Bungalow Apron—Later on I shall tell you how to make a complete pattern, but every dressmaker or woman who sews ought to
Fig. 56. A button sewed on with crossed stitchesknow how to use a block pattern. It is really so very much easier and quicker than starting at the very foundation and building up a whole pattern. Block patterns are used in all the best class dressmaking establishments and factories and every woman wants to know all the short cuts and time-saving devices when she is sewing at home.

A block pattern is a plain waist pattern without hem or seam allowances at any point. It is cut in high round neck style to the base of the neck. Such a pattern can be used as a foundation in making various types of garments such as smocks and blouses, undergarments, chemise dresses, afternoon costumes, and even the most décolleté evening gown, as it is simply a matter of adjusting to the variations of the fashion to be copied.

The most exclusive establishments have block patterns in all of the standard sizes. One of the most successful importers of French models revealed her secret by saying that she always carried her foundation linings which were made from the block patterns overseas to Paris, where the creations were built up on them. She had found many points of difference between the American and the French figure.

These block patterns are copied in the standard sizes on heavy paper which is stout enough to withstand much handling. If you have a plain well-fitting blouse it would serve as a pattern from which to copy your block pattern in heavy paper. You will find all the details for making a blouse pattern given further on in the course.

To use your blouse pattern as a block pattern in making an apron as shown in Fig. 57, draw a straight line as AB. Lay the waist pattern with the center front and the center back along this line, with the edges just touching at the shoulder. Draw a line at right angles to the line AB that will touch the point where the patterns meet at the shoulder and mark CD.

To determine the length of the kimono sleeve measure from the base of the neck along the top of the arm as in Fig. 58. Measure the same number of inches on the CD line, starting
Fig. 57. Using a block waist pattern to draft a kimono-sleeved house dressat the line AB and mark a point F. From this point draw lines at right angles and mark J and H. Draw lines at right angles from the end of the line JH that will touch the bottom of the armhole where the points are marked G and I. This gives you the outline of the kimono sleeve. (See Fig. 57.)

Determine how long you want the apron to be by measuring on the person for whom you are making it, starting at the base of the neck in front and carrying the measure down as far as necessary. Measure the same number of inches along the AB line, starting at the upper edge of the front of the waist pattern and mark point B. This will give you the length in front on the extended AB line. (See Fig. 59.)

Fig. 59. Completing the house-dress pattern

To determine the width at the bottom draw a line at right angles to line AB, starting at point B. To find the end of the line divide the number of inches required for the bottom of the apron by four and measure this number of inches from point B and mark K. An apron of this type ought to measure sixty inches at the bottom for a woman with a thirty-six-inch bust measure. Add four inches to the width for each increase in size of the bust measure. If the skirt of this apron is to measure sixty inches, point K would be fifteen inches from point B. Draw a line from the underarm at point G to point K. Mark an inch

Fig. 58. Measuring for the length of the sleeve and a half above K a point with L. Curve the lower edge from L to about halfway between B and K. (See Fig. 59.)

Measure from the neck bone at the back to determine how long you want the apron at the center back. Measure the same number of inches on the AB line, starting from the upper edge of the back of the waist pattern and extending the AB line as required and mark this point N.

Draw a line at right angles to line AB, starting at point N, which measures a quarter of the width of the lower edge of the apron and mark point O. (See Fig. 59.)

If the dress or apron is to be ironed flat, the front and back must be of the same width. Measure from point H to point G and measure the same number of inches on line IJ, starting from point J and mark a new point M. (See Fig. 59.) Draw a line from point M to point O. Measure from point G to point L and apply this measure on the line MO. From this point curve a line to the lower edge in the back midway between O and N as in Fig. 59.

Decide how low you want the neck in front and back and how wide, and draw dotted lines as 1, 2, 3, 4, in Fig. 60. To determine these measures it may be helpful if you refer to Fig. 41 and reread the paragraph on the subject under “Making a Slip-on Apron”

If a kimono sleeve is cut with an abrupt angle at the underarm it will rip out easily or tear the goods. Fill in the underarm in the pattern with a curve as shown by lines 5 and 6 in Fig. 60.

While a kimono sleeve is one of the easiest to make, there are little points to consider and observe which make it well fitting and graceful.
Fig. 60. Shaping the neck and underarm seams of the pattern This sleeve pattern just described makes a kimono sleeve which is cut straight out from the shoulder. The extra material at the top of the shoulder where the edges of the waist
Fig. 61. When a kimono-sleeved pattern is made straight at the shoulder there is fullness which crushes in under the arm. pattern spread apart will crush down under the arm when the garment is on (see Fig. 61), and therefore is prettier when made of lightweight material rather than that which is bulky and thick. When the arm is put out
Fig. 62. The garment is smooth when the arm is straight out straight the garment is smooth, which of course makes it very easy to iron and a comfortable garment to work in. (See Fig. 62.)

Giving the Kimono Sleeve a Better Fit.—If you want a kimono sleeve which is somewhat fitted a seam can be made on the shoulder as in Fig. 63. For instance, after you have your foundation lines drawn in for the kimono sleeve shown in
Fig. 63. Diagram for kimono-sleeved pattern having a seam on the shoulder Fig. 57, mark points 1 and 2 an inch from point F on the outer edge of the sleeve as in Fig. 63. Draw lines from these points which will touch the neck edge of the waist at point E. Continue these lines beyond the outer edge of the sleeve. To give a good line to the bottom of the sleeve, the edge must be at right angles to the shoulder seam. Therefore, draw a line at right angles to line 1-E which touches the lower corner of the sleeve. This gives you a new outline for the front of the sleeve. Reslope the outer edge of the back of the sleeve in the same way. (See Fig. 63.) Draw the lower part of the dress or apron as described before. Lay the diagram of the front pattern on another piece of paper and make an allowance for all seams. Remove the paper and cut out the front pattern. Then, place another piece of paper under the diagram of the back pattern, allow for seams and cut out the back pattern.

One of the advantages of a seam on the shoulder of a kimono sleeve is that the back and front patterns need not be same measure, and this will be more becoming to the woman with the plump figure, as it will allow for more ease over the bust. This pattern is practical for all types of dresses and can be used as the foundation of an infinite variety of charming garments. Exactly the same principles can be applied in making children’s clothes. One point of caution is worthy of mention: if too much material is taken out of the sleeve at the top of the armhole the arm cannot be lifted easily, and when lifted will drag all the material up the side from the lower hem, which is most unattractive in appearance, and if it is of delicate texture will soon stretch out of shape.

How to Make a Narrower Kimono Sleeve.—Place the waist pattern as described before on the
Fig. 64. It is possible to make the sleeve size of the pattern smaller. AB line. Square the line at the center of the shoulder and also draw lines at right angles from line AB which will touch the lower edge of the armholes in front and back and mark 1, 2 and 3, 4. Square a line from the bottom of the armhole in front at point 2 to touch the line 3-4. Measure in from the outer edge on line 2-4 and mark points 5 and 6. Mark the depth of the sleeve at point F and starting at F draw lines at right angles to CD line. From this new line which is the outer edge of the sleeve draw lines at right angles to line 2-4, which will touch points 5 and 6. (See Fig. 64.) From points 5 and 6 draw lines to the edge of the garment as already described. This gives a smaller sleeve. After you have these foundation lines you can add the seam at the shoulder and take out some of the fullness at the top of the shoulder as in Fig. 63.

To thoroughly master the subject you should make at least four or five of each diagram. It is an excellent idea to continue making the diagrams until you can successfully accomplish one of every kind without referring to the lesson. Once you thoroughly understand the art of these diagrams, you will find that the keynote to many successes lies within them and that you can copy any kimono-sleeved garment applying these principles.

How to Make a Bungalow Apron.—To make this protecting and smart little overgarment shown in Fig. 65, cut according to the general directions given in earlier part of this lesson and finish with French or open seams as described in Lesson I. A bias facing makes a pretty finish at the neck edge, so refer to bias facings under that heading in the first part of this lesson. This gives an opportunity to use the newly popular checked ginghams or striped goods which have such a smart effect. The facing also decorates the pocket, makes the belt and edges the sleeves.

Fig. 65. A kimono-sleeved house dress is easy to slip on and easy to iron

necessary in all square necks and other square openings or right-angle turns, study Fig. 66. This mitering is done by folding out a dart and basting it at the corner. When the facing is turned on the right side it appears as in Fig. 67. Where the facing joins in the back make a bias seam as in Fig. 68.

Finish the lower edge of the skirt as the lower edge of the waistline apron was hemmed. The sash would be finished with a narrow hem and the ends hemmed or faced with the decorative bias facing.

	⁠
Fig. 66		Fig. 67
Fig. 68

Using a Commercial Pattern.—It is important that you have a clear idea what you are going to make, before you start cutting or sewing. Read carefully the directions printed on the pattern envelope. Examine the pattern itself. Know what each piece is and why the perforations and notches are there before cutting.

If the pattern is one you intend using over and over, it will pay you to duplicate it in stiff paper. Wrapping paper will do. Iron out all the wrinkles in the tissue paper pattern, using an iron that is warm, not hot. Then lay each piece of the tissue paper pattern on the wrapping paper. Weigh down the pieces with paper weights and trace around the edges with a tracing wheel, being very careful to follow exactly the outline of the tissue paper pattern.

After tracing around each pattern piece, remove the tissue paper pattern. Mark over the traced lines with a pencil, as a pencil line is much easier to follow in cutting than a traced line. Where the edge is a straight line, lay a ruler and draw the line with a pencil. In penciling over the curved edges, use your curved ruler and the traced lines as a guide. Use sharp shears to cut the new pattern. Cut just inside the marks; that is, cut the marks off. You will remember that the marks were placed just beyond the edge of the tissue paper pattern, and you want the new pattern to be the exact size of the old. A stiff paper pattern of this description is much easier to handle than a flimsy tissue paper one.