You can find a lot of tutorials about mail, yet only few of them manage to give an idea about how to shape a mail garment to perfectly fit a body. There was much more knowlegde about this in ancient times. This article is just an approach to make you understand what determines a good shaped hauberk.
The picture shows the Relief Marseillaise on the Arc de Triomphe in Paris. It contains both kinds of orientation of the 4in1 weave pattern. The left person wears it the “normal” way. Like this it contracts around the body and allows vertical blows better to slip away. The person to the right wears the waeve turned by 90°. This way it spreads and blows can get stucked in the weaves. Last orientation was therefore rather uncommon. In mostly saw it on pieces of art and not on a real mail garment.
Because of the contraction the normal orientation bears the question, how far it should be meashured around a body. On the picture you can see how two pieces of weave in same orientation but compression lenght look like. The left one is contracted less than the right one. It seems to be best, to construct the weave very close fitting and not to allow it to contract much, which would give an advantage in weight. Yet this of course comes along with less agility and also with less protection. The chance of blows to get stucked increases and the forces of an impact can be distributed less within the weave. I prefer a weave with a density inbetween both pictures.
To give the hauberk an appropriate density all over the body, you need to stop simplifying it to a model with the shape of a cylinder. That means depending on the wearer, rows should be longer around the breast and the hips than at the belly. You also need to give more space for the shoulders to stay agile. Sleeves should become less thick towards the hands and can be constructed with an angle at the ellbow. The picture is to explain, what rows and columms in a mail weave are.
There are two possibilitys for the sleeves. They can be either contructed with rows running along the sleeve or around it. It is worth a note, that the left person on the relief has got both: His left arm shows rows running around the sleeve whereas the right arm has rows running along the sleeve. It is the artwork of the 19th century sculptor and does not accomplish the needs of battle armor. In fact it is difficult, to depict mail, especially around the armpits and schematic drawings like the following one can easily lead to missunderstandings. So don’t derive only from that how to construct the armpits.
Both ways of aligning the pattern on the sleeves are historical. The construction with rows along the sleeves is easier to build, but the weave spreads, when the arms point downwards. There is a german tutorial with lots of pictures for this type on kettenhemd-anleitung.de
The construction with rows around the sleeves legitimates its complexibilty with some advantages. They are all about the fact, that weave can be reduced to a thinner width along the columms in an almost invisible manner, whereas reducing along the rows creates seams. Thus this construction allows to reduce the sleeves towards the hand with expansion rings spread all around and no visible seam. Furthermore as depicted there are rows running around the neck, wich make it easy to attach a coif or a collar. During rising the arms, there is can be lot of tension in the armpits. A good shaping of this region in the manner of the rows-around-the-sleeves type can prohibit that tension concentratents single rings, without adding much additional weight. The picture on the right shows, how I solved this. I is just one out of several options. You can as well connect parts in a 90° seam. There is also a german tutorial for this type: tempora-nostra.de
I reccomend not to align the expansion rings in a line as shown there, but to spread them all around the parts, which avoids seams.