A
NTARIO
ERS' MANUALS
T
AUTIORmËI) BY
HE NISTEn-:O-EIUCAT!ON
. EATON
TORORTO CANADA
ART MANUAL
ONTARIO
TEACHERS" MANUALS
ART
AUTHORIZED BY THF_, MINISTER OF EDUCATION
TORONTO
O
»T. EATC) N C .... ,,,
1-'28
('OPYRIGIIT, CAX'ADA, 191, BY
TUE --'[INI.'-;TER OF FDUCATIO.N" Foui: ONTAFdO
FIRST EDITIO., 1913
REPmNTE), 1918
] .I-'PRI NTED. 1921
IEPRI.NTED, 1923
REPI I.X'TED, 1924
REPII2X'TED, 1926
RçPllXTE), 1928
CONTENTS
PAG E
PUBLIC A,N'D SEPARATE CHOOI, COURSE OF STUDY ....................................
Details of the Cuse ........................................................ 4
Dêtails of the ('ou]se Arranged According tu Season ............................
{'OURSE FOR .'NGRADED Ç'LASSES ................................................... "14
l»etails of the Comse ........................................................ 14
Course of Study Arranged According to Season ................................. 15
('IIAPTER [
(;crierai Introduction ........................................................ 17
Three .ides fo Art Educati-n ............................................. 17
The Course of Study .................................................... 17
tb»w enironment may affect the Course ............................... 18
Advantages of using different mediams ................................ 19
Use fo be ruade of the Manual ........................................ 19
The illustrations .................................................... 19
Use and care of materials ........................................... 20
C]iticism of work ................................................... 22
IIelps .............................................................. 22
Illust rative Drawing ..................................................... _°3
Representation .......................................................... _°4
Plant specimens; fruits and vegetal»les; trees; landscapes; animais;
children; manufactured ol»jects ..................................... 25
Composition ........................................................ 31
Use of finder ................................................... 31
Picture Study .......................................................... 34
Colour ................................................................. 35
Design ................................................................. 37
Aire of the Course .................................................. 38
Applied Design ..................................................... 40
Optional problems ............................................... 40
Home problems ................................................. 41
Lettering ............................................................... 41
Corr'lations ............................................................. 42
Manual Training .................................................... 43
Nature Study ....................................................... 43
tIousehold Science ................................................... 43
V
ri ART
('IIAPTER I--Conlinueà AGE
Order and Method in Teaching an Art Lesson .............................. 43
l'rcxious I,tCpalation |,y the tcachcr ................................... 43
3Ic/hod ............................................................. 44
Ilecipes--A,lhcsixe l,as/e; a tLxative ....................................... 45
'IIAPTFR II. FORM I: ,JUNIOR GRADE
lllust rative Dla il ......................................................... 46
Soat l:xoels«, for ]},'v«'lopmolt of ,qclf-expression ........................... 46
Suitahle Sul,jects for Illustratip Drawing
M«.thod ,,f 1,o:4iIlllillg tlw I¢'sson .....
Type Lpsson .............
Mcth«,d .......................
;amcs and' Sl-,,,rts-- .n exanq,lo ..
.N ursely rhy mes ...............
Rcprescntat ion ..............
Plant .ql udy ............................
................... 47
.................. 4S
.................. 50
................. 30
................. 50
I»awing c,f a Spra.v of Grass in C-lour .................................... 50
Matcrials ; mc/hod ; suggestions ; lela/ol exerciscs ........................ 50
Spi,lerooE in ('oloutcd Crayons ........................................... 52
1im ; ma/orials ; mc/hod ; rela/ol exceiscs .............................. 52
Trees and Landscapcs .................................................... 54
l,rawing flom T«,vs
Aire: nm/erials: moth««|; drainfffrom /ho modcl ...................... 54
I'II.PTFR III. FORM I: Ju-<on GRADr (C,mtinued)
'-Iour ...................................................... 57
I »,.si,m ..................................................................... 57
ppliod :lh.sin--Tol with boder .................................... 59
,im; mate.riais; mcthnd
Ail-over pat tcrns ................................................... 61
{ ';IAPTER IV. FORM I: SEX;Or, GRADE
Illuslrative Drawing ........................................................ 63
Little Miss Muffot
List of Xmsery Rh-rnp« Suital,lo for Illustration in Form I .................. 64
Silverloek and the Three P, oars
'tire; materials; method
ReDrospntatin
Drawin fmm Plwers ................................................... 66
Daffodi| in Colour ...............
Aire: matorials; melhod
Trces ................................................................... 6.q
CONTENTS vii
ÇHAPTER IV. FOR.M I: E.'N'IOR GP.ADE--Continued PAGE
The Poplar Tree in Chareoal ..............................................
Aire; preparation; maIorials; meIhod .................................
The Poplar Tree in Colour . ............................................... 70
Aire; materials; method ............................................. 7o
Lan,lsenpo Drnwin ...................................................... 71
Vinter Sunset Lan,]seai»e with ('oloured ('rayons ............................ 72
Materials : method
Animal Study . .....................................................
O],je«.t Drawing ................................ 7
From memory: from the model .............................. 71;
Picture Study . .............................................. 7;
Vonmn Çhurning--Millot ........................................
The artist
['IIAP'I'ER V. :FoRM I: ,qEXIoR RXDE (Continue.l)
'ulour ..................................................................... o
Enjoying the Six C, dours in th,. pectrum .................................. R0
Learning to Recoizo Ro,I in any of ils T, mes ... 1
Light Red and Dark Rod ...................................... 1
Making Orange fronl R.,I and Yellow ................................ h2
Materials; method ; modifying coh,ulS ........................... N
Design .......................................................... 83
ApI,]içd I}esign ....................................
Figured muslins; stripes; other pr,,1,loms ........................... 4
Lettering ................................................................. 8
{"IIAPTER VI. For,/ II: JI'NlOR GRADE
]llustrative I)rawing ......................................................... .q9
Ropresentation ............................................................ q0
I)rawing from Flowers ................................................... q0
Purple Aster in Colour ................................................... 91
Aire; materials; method ........................................... 91
The use of wet paper .............................................. 92
:Fruit on the P, ranch ..................................................... 93
Fuit in eoloured crayons ............................................ 94
Trees .................................................................. 9t
Maple Tree in Coloured Çrayons ......................................... 95
Aire; proparation: materials: method ................................. 95
Vïinter Appearanee of the E]m Tree ...................................... 96
Landseapo Drawing .................................................... 9,q
A Summer Landseape in Ç-]our«.d Crayons ................................ 9q
Aire; materials; method ............................................. 9. °,
o .
I'IIAPTER VI. FORt II: JUNIOR GRADE--Continued PAGE
Animal Study ........................................................... 99
Draing ïrom the Figure ................................................ 100
OI,ject Dra ing ......................................................... 100
Fom memory; ïrom the model ....................................... 100
Picture ,qt udy .............................................................. 101
The Shepherdess--Lerolle ................................................ 101
The atist; the picture .............................................. 101
('IIAPTER VII. F, Jrt II: JVNIOR RADE (Coniinucd)
{'olour ................................................................... 103
Tinls aad ,qhadcs of ¢'«,lour ............................................... 10.3
Design ................................................................ 104
Leavcs and FI«,wers in Dosign ....................................... 104
'onstructive Plans ............................................. 106
{'olouring of Desions .................................................... 107
Prol,loms in Applied Design .............................................. 107
Handkerchief borders; circular mats or doilics; valentincs .............. 107
Lettering ................................................................... 110
('IIAPTER VIII. For,! II: SENIOR GRXDg
Illustrative Drauing ................................................... 11î
lcpresentation .............................................................. 114
Drawing from Flowes ................................................... 114
Drill in making hrush strokes ......................................... 114
Grasses in Silhouette .................................................... 114
Materials ; method
Exercises in Handling Colours ............................................ 116
Fist exercise; second exercise ........................................ 116
Autumn Maple Leaf in Water-colours ..................................... lî0
Pumpkin in Water-colours ................................................ 121
Materials ; method .................................................. 121
'I'rees
Winter appearance of trees ......................................... 123
Landseapes ............................................................. lî t
Landscape in ink
Drawing from Animais ................................................... lo6
Drawing from the Figure ................................................. 126
Ink Paintings, or ilhouettes, of Children .................................. lî6
Preparation : materials ; method ....................................... 127
Objeet Drawing ......................................................... 128
Picture Study ............................................................... 131
The gistine Madonna--Raphael ........................................... 1.9.1
The artist; the picture .............................................. 131
CI tNTENTS ix
CIIAPTER IX. FOEM II: 8ENIOr, ÇADE (Continued) PAGE
(_'olour ...................................................................... 134
Primary ami Secondary ('olours ........................................... 134
tIues of Cohmr ..................................................... 134
The Flat Wash ............................................... 135
The appl.ving of a fiat ash ................................ 135
The Drt»pped and Floated Va.h .... .. ............................... 17,6
Tints and Shadcs of ('olour .............................................. 137
Design .................................
An Exereise in Dcsigfing ................
To Finish tllo Surface Patterus .....
Interesting Pro,lems ................
Margins--Problems involving margins .
Units of Dsign .....................
Calendars--Making the ealen,lar .
Lettering ....................................
CI:IAPTER X. IORM III: Ju.x-ior, GRADE
Illustrative Drau ing ............................................ 149
Rcpresentation ............................................................. 151
Ink Tones ..........................
Handling of Water-colours ............
Nasturfium in Vater-eolours ..........
Materials; preparation; metho,l ..
Fruits and Vt, getal,les ...............
Trees ...................................
Trees in silhouette ....................
Landscapes .........................
.......... 138
........... 138
........... 1.-39
........... 142
..................... 144
............... 146
........... 146
........... 147
Animal Drawing ................................................. ]59
Lessons on P.irds ................................... ]59
Materials ; metho«l ........................................... 159
Drawing fro'm the Figure ................................. 161
Drawing from Manufactured Objccts ...................................... 161
Pencil mcasurcment .................................................. 162
Bloeking n ....................................................... 163
Table line ..................................................... 16
Drill in drawing poneil lines ......................................... 164
Foroshortened erc|c ................................................ 164
Cv]indor
" ........................................................... 166
A G|ass nr Tumb|er in Poneil Out]ine ..................................... 167
Mothod ............................................................. 167
Picture Studv
.............................................................. 168
Tho Fighting Téméraire--Turnor ......................................... 168
The artist; the pieturo ...............................................
................ 151
.................... 151
............ 152
............... 152
.................... 154
..................... ]54
................. 156
.................... 156
x .ART
('IIAPTER XI. FOR},! III: JUNIOR GRADE (C.ntinucd) PAGE
(',»lour ...................................................................... 173
Values ................................................................. 173
(raying of colours .................................................. 175
('onff, lementnry eo]nurs ............................................... 1"/'5
-Making of |,1"o$$'ll .............................................. 176
lhdaneing of three values ............................................. 176
I »esign .................................................................... 176
Measureme||ts ................................................ 176
Constructive Plans ................................................. 177
l',dts of Design ........................................... 177
Tile i,at t,.rns .........................................
-Margins ............................................. 1.ql
';t' i l'es .............................................................
l:orders ....................................................... 183
XVnlll»:ff'er I mtterns ................................................. 183
A pl-died Design ...............
('a|cn,la|'s .................................................... 1,q4
Ionk|ct eovcrs ...................................................... 155
()l,tionnl Prohlms in Apidiod Ih.sign ................................. 186
Table rnnts .........................................................
I 'en-wipers--Materiais ; method ....................................... 186
Lettering ................................................................... 155
¢'IIAPTER XII. F'ont III: SE'IOR RADE
I lh,st,-ative Drawinz ......................................................... 191
M'tho,l ............................................................. 194
lbiii in Drahtg ],rllsh Lines ............................................. 194
Will«,w Çatkins. or " Puss 3- 3,Villos ", in Watcr-eolours ..................... 195
l'rel,arntion ; mcthod ................................................ 195
q'hc I)rnw[ng nf vuit ................................................. 196
Aeecnted «mtline .................................................... 199
Cnaeeente,] -utline .................................................. 199
Tree. and Lnn,].eapes .................................................... 199
Lan«l.enpe in ink or ncutrai values ..................................... -'200
lXlnteriais : n,eth«.l ............................................... _'200
,":.u n set landseapes ................................................... '2-02
I),'awinff f, nrn the Figare ................................................. _'203
Quiek peneii sketehcs ................................................. _004
Plneinff of spots ..................................................... 905
IIeads aml faces
Fcct and hands
C(INTENïS x[
CHAI'TER XII. FORM III: ,ENIOR Gl,ADE--Continu«d PAGE
Drawing frorn Manufacturcd Objects ...................................... 207
A rose or ginger jar in outlinc ........................................ 208
]Iandles and spouts .................................................. 09
Grouping of objccts ............................................... 2(9
Picturc Study .............................................................. 212
Thc Artist's Mothcr ................................................... 21ï
The artist; thc picturc .................................... 212
CIIAPTErt XIII. lVO.M III: SENIOR GRADE (Continue,l)
Colour ..................................................................... 215
Ncutral Value ,qealc ..................................................... 215
P, alaneed toiles in graycd ct,l«,ur ....................................... 217
Colour Cirele ............................................................ 217
5iatcria]s; stcps to bc followcd; colt,uring tho t'hart; value sealos in co]our;
complcrnentar 5 colours ............................. ïlq
Design ........
lIcasurernents .: .............................................. 221
Çonst ructivc Plans ................................. 1
Units of D«.sign ............ 221
Squarcd dcsiffns .............................. 22:1
Modification of units .......................... 224
Wall-papcr pattcrns ................................................. 2îI
Plaids .................................................
Applied Dcsig-a .......................................................... 2"27
Optional i,rol,lems
Mateh-seratchers ; I,Iotters ........................................ q
Lettering ............................................................. 2.".1
CIIAPTE XIV. lVo.Xt IV: Ju.',ou GRADE
IIIust rative Dl'awing ................................
Roprcsentation ................................
Flowcrs in Peneil ..........................
Decorativc Composition ............
Trecs and Landscapes ..................
Drawing frorn thc Figure .........................
Heads and faces; fcet and hands ....
Objcct Drawing .......................
Pieture plane .....................
.............. 2.q6
................... 2.".6
.............. 240
......... 21:;
.............. 244
................... 2 t6
........ 246
........... 21(;
Drawing frnrn Manufacturcd Objects ...................................... 2t7
Foreshortcning and convergence ....................................... 24q
Light and shade ..................................................... 251
An Aven,le of Trecs ...................................................... _'257
xii ART
ÇIIAPTER X[V. FORM IV: ,Jr-,x-lon GP.ADE--Cotinucd PAGE
Picture Study ............................................................... 262
The Avenue of Middelharnis--Hohbcma ................................... 262
The artist; the pictuc ............................................... 262
CHAPTER XV. FORI IV: JI:,x-lOR GRADE (Continued)
Colour ................................................................... 264
The Propeties of C, dour .............................................. 264
Reducing the Intonsity of Colours ......................................... .0.64
Se.aie frein hIue te orange through neutral gray ......................... 264
Seales nf intensity . .................................................. .2065
Çolour harmon.x ............... ." ................................ 266
Çolour schcmcs ........................................ 267
Design ..................................................... 267
Position ............................................................... 269
Size .................................................................... 270
Shape .............................................................. 270
Value .................................... .. .................... ')70
Çolour ............................................................ _o71
Measuremcnts ...................................................... 271
Constructive Plans ..................................... 271
Units of Design ........................................................ _072
Principles of Dosin Rolatod to Life Proldems .............................. 274
Applicd Dc.iffn ................................................ 276
Posters : steneilling .................................................. 276
f)ptional prol,lcms---Clipping-case -o. 1", clipping-case 'o. 2 ............. 279
Lottering ................................................................... 2._ql
['HAPTER XI. FoP, M /V." SEIIOR GRADE
Illustratve Drawing ......................................................... .0.83
Hopresentation ............................................... 285
Flowers
Vhite flowers in poneil ............................................... 286
Flnuers in uater-colour ............................................... 2S6
Trees and Landseapos ................................................... 290
Painting of a landscapo in water-colours ............................... .0.92
Wind«w Skotchos ....................................................... 294
Drawing of a window skeIeh .......................................... 294
Colçuring a window skeeh ....................................... ,2095
Drawing frein the FiL,-ure ................................................. .095
I/ads and faces
llands nd fret
P«v ,qe,ut. in poneil valuos ...........................................
CONTENTS xiii
CH&PTER xvi. For,,t IV: SENIOR GRADE--Cottitucd PAGE
Series of Lessons in Freehand Perspective .................................. 301
Some principlcs of perspective ........................................ 307
Use of diameters and diagonals ....................................... 308
Picture Study ............................................................... 308
The Gohlen Stairs--Sir Edward Burne-Jones ................................ 308
Thc artist; thc picture ............................................... 308
CLIAPTER XVII. For..[ IV: 8EIglOR GRADE (Continucd)
Colour ...................................................................... 313
Çolour Chart ............................................................ 313
lIaking the diagram: analogous colours; colour harmonics ................ 31.5
Desiffn ..................................................................... 316
Units of Desi,-n ......................................................... 317
DesiL'ns that may be applie,l ,t home; steneilling; block-printing ......... 320
Optional Plohlems in Applied Desi,n ...................................... 3o5
Book eover; waste-paper Basket ....................................... 3o5
Lettering .................................................................. 331
PUBLIC AND SEPARATE SCllO[}L
COURSE OF STUDY
FORM I: JUNIOR GRADE
Freearm drawing with chareoal, eoloured chalks, black and coloured crayons, in
illustrative drawings and in the representation of natural forms, toys, and
interesting objects.
Recognition of the six colours--red, orange, yellow, green, blue, violet.
Simple decoration of constructed objects.
FORM I: SENIOR GRADE
Freearm drawing with charcoal, coloured chalks, black and coloured crayons, in
illustrative drawings and in the representation of natural forms, toys, and
interesting objects.
Picture Study.
The six standard colours.
Simple design, applied where practicable, fo constructed objects.
Single line capital letters.
FORM II: JUNIOR GRADE
Freearm drawing with (.harcoal, brush and ink, and colourod crayons or water-
colours, in illustrative drawing and in the representation of natural forms, other
common objeets, and simple landscapes.
Drawing of animals and children.
Picture Study.
Tinis and shades of colour.
imple design, applied where practicable, fo consiructed objects.
Lettering.
FORM II: SENIOR GRADE
Freearm drawing with charcoal, brush and ink, water-colours or coloured crayons.
and pencils with large, soft leads, in illustrative drawings and in the repre-
sentation of natural forms, other common objects, and simple landscapes.
2 ART
Drawing of animais and children.
Picture Study.
Hues of colour.
Simple design, applied where pracfieablo, te constructed objects.
Lettering.
F(RM ]lI: .I['NI(R (;RADE
Irawing wih charcoal, pencil, brush and ink, and water-colours (,r coloured
(.rayons), of plants, trees, landseapes, and eolnmon objeets involving the fc, re-
shortening of the eirelê.
Illustrative Drawing.
Irawing frein the figure and frein animals.
Pieture Studv.
('omplemêntary eolonrs, graying of colours, three balanced tones of gray.
Simple design, applied where pra«.tical,lo, ira conneetion with constructive worl,'.
F(}RM III: SENI(}R [;RAIRE
Drawing wflh charcoal, lwncil, hrush and ink. and waer-colours (or coh,ured
crayons), of plants, troes, landseapes, animals, birds or insêOs, and eommon
ohjeets involving the foreshortening of the eirelê and the studv of handles.
Grouping of two objects.
]llustrativê Drawing
Drawing frein thê figure and frein animals.
Pieture Studv.
Scalês of rive halanced values (nêutral or eolour).
Simple design, applied where pra(.tical)le, ira conneOion with constructive wc, rk.
Lettering.
Fç)RM IV: JI'Nlç)R (;RADE
Drawing with port(il, charcoal, bru.h and ink, and wator-colours (or coloured
crayons), of plants, trees, landscapes, objects, and animals.
lllustrative Drawinz.
Drawing frein the fire.
Freehand drawing of simple reetandar objeets.
Grouping of objeets.
Pieure Study.
C(}URSE [}F STUDY 3
Scales of intensity, complementary harmonies.
Simple design.
Lettering.
FOR_[ IV: SENI(R (;RADE
Drawing with peneil, ehareoal, lwush and ink, and water-colours (or coloured
crayons), of plants, trees, landseapcs, ohjoets, and animal.% bird., or inseets.
lllustrative Drawing.
Drawing from the figure.
Freehand perspective.
Interesting rectan|lar objects.
Grouping of objects.
Picture Studv.
Making of colour daarts and scales of hue, value, and intensity; analogous
harmonies.
Simple desi.__-m.
Lettering.
NOTE.--In graded sch«ols where the Ferres are net subdivided into Sonior and Junior
the teacher must use jud¢-ment in comhining the work of the grades se as te simplify it as te
quantity and at the saine tixae cover the prhaciplcs that are inoled,
4
ART
DETA1LS OF TtIE COURSE
FORM I: JUINIOR GRADE
ILLUSTRATIVE DRAwING :
Sentenccs cxprcssing action, gaines, sports, holiday experiences, special celebrations,
nursery rhymcs, and simple stories.
RErRESENTATION :
Simple floers, twigs, grasses, sedges, and trees, paying partieular attention te direction
and position of masses. Toys and other objeets interesting te ehildren.
COLOUR :
The rccognition of thc six colours--red, orange, yellow, green, blue, and violet.
In Design, the use of one colour with black.
DESIGN :
imple horders and ail-over patterns for the decoration of Christm:Ls work, etc.
.[EDiI'M S :
Charcoal, c«doured chalks, black and colourcd crayons.
FORM I: SENIOR C, RADE
ILLI'STRATIVE DRWING :
.entenees expressing action, gaines, sports, holiday experiences, special celebrations,
nursevy rh.vmes, simple falr.v raies, lessons in Readers.
REPRESENTATION :
SimI.]e floers, twig's, grasses, sedg'es, trees, landseapes. Birds, animals, children, toys
and other objeets.
In this Ferre partieular attention shou]d be paid te direction, relative position, size, and
shape of masses.
PICTURE ,QTUDY: (Sllggestive List)
Tc M«dona of tc Cair--Raphael; lVornan Churinç, Feediç te Hen, or The First
A'tcp--]l'illet; Tc ,qo.o of te Lark--Breton ; Prince BalthazarVe]asquez ;
The
1)irine Ecperd--Murillo.
COLOUR :
The reeognition of the six standard co]ours--red, orange, ye]low, green, blue, and
violet; the making of orange by the overlapping of red and yelIow; green bv the
ovcrlapping of ycllow and blue; and violet by the overIapping of bIue and'red;
matching colours.
In Design, the use of one coIour with black and white.
DETAILS OF THE COURSE 5
DESIGN :
Repetition in borders and aH-over patterns of simple geometric and flower shapes and
othcr suitable units. The application of thÇse to objects constructed for some
definite useful purpose. In patterns, orderly arrangement may be obtained by fold-
ing and creasing paper.
LETTERING :
Sing]e line capital letters.
EDrCM S :
Chareoal, coloured ehalk, black and eoloured crayons.
FORM II: JUNIOR GRADE
ILLUSTRATD,'E DRAWING :
Gaines, sports, events, experiences, stories.
Illustrative Drawing should be correlated with other school subjects.
REPRESENTATION :
Plants, flowers, budding or leafy twigs, fruit on the branch, with special attention paid
to direction, relative position, size and shape of masses, and to character of growth;
trees and simple landscapes; animals, children; toys, objects uscd in the home,
vehicles.
PICTURE STUDY: (Suggestive List)
The ,qistinc Madonna--Ra[,hael; The D«chess of Drvoshirc d Ilcr Boby--Reynolds;
The ,qanctuary--Landseer; The Shepherdess--Lerolle; Fecding IIer Birds--Millet.
COLOUR -"
Tints and shades of colour.
In Design, the use of one colour with gray, white, or black.
DESIGN :
The making of units from natural, geometric, and other forms, aml thcir repetition in
borders and all-over patterns; measrements involving the use of inches in planning
for the repetition of units in patterns. AIl designs to 1,e planned with the intention
of using them for some deflnite purpose and of applying them, wherever possible, to
construeted forms.
LETTERING ."
Single line capital letters.
IIEDIUMS ."
Chareoal, black crayons, brush and ink, coloured crayons or water-c«dours.
6 ART
FORM [[: SElX:IOR GRADE
ILLUSTRATIVE DRAV«ING :
(;ames, sp«,rts, events, cxperiences. Illustrative Drawing should l,e correlated with othex
sehool subjccts.
REPRESENTATION "-
Plants, floers, budding or leafy twigs, stalks wilh sccd packs, fruit on the branch, with
speeial attention paid to dirccti.n, elative l«»sition, sizo. and shapc of masses, and
to chara«.ter t»f gvowih; tre«.s and |amls«-al«.s ; aninmls; «.hiblron; interesting objects;
vchicles.
DICTURE TUIY : (SugPstivo List)
Thc ,çisti.c .ll«do.»o--Raphaol; Thc D«chess of Dcro.sbrc o.d H«r B,b?Rcynohls;
Tbc ,%«,ct,ory--Landseer; Thc ,ç'hcpberdvss--Lorol]«.: Fcvdinq Her BirdsMillet.
ÇOLOUR
IIues of cdvr, fiat washcs, dltTpcd and floatcd uashcs.
lu Design, the us. of 1o toncs of one c«dour wiih gray, whitc, or black.
DESIGN :
The makillg of units from nalural, goonmtic, aad othcr fnrms, aih] thcir repctition i
],orders and all«»v.r pat('rns; lncasurcmcnts ivolving the use of whole or half-inches
in l,lanning for the ro],etiti,n of mdts in ],atteins.
All dosigns te, 1,o planned wiflz thr' intentioxz of using t]wm for somc definite purpose and
of al,l,l)ing tbcm, whcreer possil,lc to constructcd forms.
LETTERING :
Singlo line capital ]ctters.
[EDII" M S :
Water-cd(,urs or c«,l»ure«i ,'rayons. «-harc.al, ]»rush and ink, or sort pcncil.
F()RM III: .IUNIç)R GRADE
ILLI-'STRATIVE DRAWING :
(;amcs and si,«»ts. Illustrafive Dmwing sh.uhl l,e «'nrrelatcd ith other school subjects.
REPRESENTATION :
Twigs or sprays with fruit or fl-wers, ith speeial altcnti«,n paid to proportion and
foroslmrt«.ning of parts ; toes and landscapes; aninmls, insects, or |drds ; f'hildren.
Ol,jetts in c,.ronron use, such as pottery, kitchen utensils, etc., chicfly in pencil outline,
ith careful attention to proportion and foresh,rtening; Japanese lanterns.
COMPOSITION :
AI,propriate siz«. a,,] i,r,q,,»rli,»n of s],o.t, suita|de n,argins, t],e use of " findors "
DETAILS OF THE COURSE 7
PICTURE STUDY: (Suggestive List)
The Night tVatch--Rembrandt ; The Fighting Téméraire--Turner ; The Gleaners--
Millet ; Sheep--Mauve ; Spring ( Paysage)Corot ; The Artist 's Mother--Whistler.
Coeur:
Complementary colours and aying of colou bv coplementaries; thr balanced tones
of gray.
DESIGN :
Units derived from nature or gmetry; also stripes, repeated in borders or ail-over
patterns. Squares, oblongs, diamonds, drop squares, and drop oblongs used in
constctive plans; measurements to include inches and half-inches. The colourg
in these desis tobe two ton of gray or two tones of a ayed colour.
Desis to be applied, where possible, to constructed objects.
LEERING :
Single line capital letters and numerals, of broad or narrow stroke according to the
purpooe for which the lettering is intended.
M IUM s:
Charcoal, brush and ink, water-colours (or coloured crayons), pencil.
FORM III: SENIOR GRADE
ILLUSTRATIVE DRAWING :
Gaines, sports, descriptive poetry. Illustrative Drawing should be correlated with other
school subjects, especially history and literature.
REPRESENTATION :
Plants or any parts of plants, twigs or sprays with fruit or flowers, or vegetables, with
particular attention paid fo proportion and foreshortening of parts; trees and
landscapes ; animais, insects, or birds ; children.
Objects in common use, such as potteD- , kitchen utensiis, etc., singly and in groups of
two. These objects should be rendered chiefly in pencil outline. Special attention
should be paid to foreshortened circles at wrious heights, both when seen as ellipses
and as parts of ellipses, handles also should receive careful study.
COMPOSITION :
The study of space divisions an,] margins and the use of ' « finders "
PICTURE STUDY .- (Suggestive List)
The Night Watch--Rembrandt ; The Fighting Tíméraire--Turner ; The Gleaners--
Millet ; 8heep--Mauve ; 8pring ( Paysage)---Corot ; The Artist 's Mother--Whistler.
COLOUR :
Scales of colour, sc.]es of neutral values. 'ive balanced tones in gTayed colour.
8 ART
:DESIGN :
Bilateral units, derived from nature or from geometry, to be used alone or repeated in
borders and ail-over patterns, and adapted to corners. The conventionalization and
squaring of natural forms. For constructive plans, use squares, oblongs, drop
squares, and drop oldongs. Colouring in these designs to be two or three values of a
grayed colour. Designs to be applied, where possible.
LEqVrERING :
Plain capitals and numerals with the width planned in pencil outline, to be fmished in
ink, colour, or a tonc of gray.
MEDIUMS :
Charcoal, brush and ink, water-colours (or coloured crayons), pencil.
FORM IV: JUNIOR GRADE
ILLUSTRATIVE DRA'ING :
Descriptive poetry. Seasons.
REPRESENTATION :
Careful study of details of structure and texture in plants, flower and fruit sprays,
trees and landscapes.
Drawing from the figure and from animais.
Interesting rectangular objects in various positions, studying foreshortening and con-
vergence with the help of peneil measurements and the comparison of slants with
the pencil held vertieally or horizontally, level with the eye. Vanishing points
are hot tobe used here.
An avenue of trees or a railway track, noticing that all receding horizontal lines seem
to meet af a point on a level with the eyes.
Groups of interesting objects.
COMPOSITION -"
The composing of suitable drawings from the above list in rectangular areas, so as to
exhibit well-related spaces. These should be planned in pencil outline and finished
in fiat washes, using tones of gray, gray with black, grayed colour, or one colour
and black.
PICTURE
The
STv»v: (Suggestive List)
,çower--Millet; The Avenue of Middelharnis--Hobbema ; any interesting landscapes;
,qaint Barbara--Palma Vecchio; Ulysses Deriding Polyphemts--Turner; The Golden
Stairs--Burne-Jones.
COLOUR :
Colour circle, scales
harmonies.
of intensity, eolour
schemes of ]ow intensity, complementary
DETA1LS OF THE COURSE 9
DESIGN ."
Units of design derived from nature, from geometry, and from abstract shapes. The use
of these singly, in borders, and in all-over patterns.
The study of Balance, Rhythm, and Harmony in Design.
The use of oblongs, drop oblongs, diamonds, circles, and semicircles in constructive plans
for the repetition of patterns. The colours used in these designs to be com-
plementary harmonies of low intensity or closely related values in grayed colour.
Suitable problems in Applied Design, such as book covers, programme covers, etc.
LETTERING :
Plain capitals vith the width planned in pencil outline and finished in black or colour,
for titles and initiais. Thc use of the single line alphabet in quotations mottoes,
etc., arranged in two or more lines of lettering. Numerals.
]EDIUMS :
Charcoal, ])rush and ink, vater-colours, pencil.
FORM IV: SENIOR GRADE
]LLUSTRATIVE DRAWING :
Descriptive poetry; subjects suitable for school posters.
REPRESENTATION :
Careful study of details of structure and texture in plants; landscapcs or vindow
sketches; drawing from the figure or from animais, birds, or insects; rapid sketchcs
nf children.
The study of foreshortening and convergence as seen in landscapes, in the lines of a
room or house, and in rectangular objects. The horizon line and vanishing points
should be discovered by actual observation. Axes, diagonals, and invisible edges
should be used as aids to correct drawing.
Interesting objects, such as baskcts and books; the appropriate grouping of manu-
factured objects, or of one of these with fruit, flowers, or vegetables.
COMPOSITION :
The composing of suitable drawings from the above list in rectangular areas, so as to
exhibit well-related spaces. These compositions should be planned in pencil outline
and finished in fiat washes, using neutral values, analogous colours, or two com-
plementary colours with a neutral.
PICTURE STUDY : (Suggestive List)
The 8ower--Millet ; The 4venue of Middelharni--Hobbema; any interesting landscapes ;
Saint Barbara--Palma Vecchio; Ulysses Deriding PolyphemuTurner ; The Golden
Etairs--Burne-Jones.
COLOUR:
Making of colour charts, scales of hue, value, and intensity; analogous harmonies ; colour
schemes from nature and from textiles.
10 ART
DESIGN :
Units derived from nature, from geometry, and ïrom abstract; shapcs. The use of thesc
singly and in borders and all-over patterns applicable to stcncilling and wood-block
printing.
Balance, Rhythm, and tIarmony, in Design. The use of squares, oblongs, diamonds, and
('ircles or their parts in constructive plans for patterns. The colouring in Design
to be chiefly tones of grayed colour, complementary and analogous harmonies, or
colour sclwmes from nature which exhibit these harmonies.
Suitable problems in Applied Design, such as book covers, programme covers, posters, etc.
LETTFRING :
Plain eapitals, x-ith the width planned in peneil outline and flnishe,1 in black or eohmr,
for titles and iuitials. The use of the sinv, le line all,habet in quotations, mottocs,
etc., arranged in two or more lines of lettering. Numerals. Roman eapitals and
small letters optional.
I EDIUM.q :
Chareoal, brush and ink, ater-eolours, peneil.
DETAILS OF THE (2t)UISE
DETAILS ARRANGED ACCORDING Te SEASON
11
Form I
Junior Grade
SEPTEMBER AND OCTOBER 'OVEMBER AND DECEMBER
Illuslrative drawing.
Flowers, grasses, and trees in colour.
Lessons in colour.
Illustrat ix e dra ing.
Trees and sul,jects suitable
Christmas work.
Designs for Christmas work.
for
Form I
Senior Grade
lllust rative ,lrawing.
Flowers, grasses, and trees in colour
Six standard coloura.
Lettering.
Illustrative dra ing.
Trees and landscapes.
Picture study.
Border and all-ovor patterus for
Christmas and New Year designs.
Lettering.
Form lI
Junior Grade
Ferre II
Senior Grade
Illust rative drawing.
Flowers, grasses, troes, fruits, or
vegotal,les in colour or in ink.
Picture study.
Tints an[] shades of colour.
Lettering of naine on drawings.
Fall flowers, fruit on the branch, or
vegeta]-des with leaves.
Trees in ink or in ce}out.
Pieture study.
Çolour washes. Hues of colour.
Lettering of naine on drawings.
Illustrati e draxx ing.
Landseapes with t,are trees.
Chaistmas and New Year work.
Lettering.
Illustrative drawing, using trees an,1
figures.
Desi.ql. ehiefly frein natur, applied
in Christmas and _N'ow Year work.
sueh as h«,oklets and ca]ondars.
Single line alphal)et and its appli-
cation.
Form III
Junior Grade
I
F]owers, fruit on the braneh, or I
vegetahles.
I
Trees and landseapes in colour or in
ink tones.
Complementary eolours.
8cales of three vahms.
Trees without f,liage.
Winter lamlseapes.
Pieturo study.
Calendars, etc.
Lettering.
Ferre III
Senior Grade
Flowers, fruit on the hraneh, or
vegetables, trees, and landseapes,
in peneil, eolour, or ink values.
Seales of rive values in neutral tone»
or ce]out.
Colour eirele.
Graying of eolours.
Five 1,alanee,1 tones of grayed eolour.
Dosis related te work for Christ-
mas and the New Year.
Booklets or calendars, etc.
Lettering.
12 ART
SEPTEMBER AND OCTOBER NTOVEMBER AID DECEMBER
Form IV
Junior Grade
Details of plant structure in pencil
outline.
Flower or fruit, and landscape com-
positions in tones of grayed
colour.
Colour circle.
Properties of colour.
f',)lour schemes of low intensiy.
Decorative panels or units ruade
from drawings donc in September
and October, to be used in such
problems of Applied Design as
book eovers, programme covers,
portfolios, initial letters, etc.
Lettering of mottoes, versea, ol
quotations.
Form IV
Senior Grade
Drawings from flower or fruit
sprays.
Details of plant structure in pencil
outline.
Compositions from studies of
flowers, fruits, or vegetables in
suitable schemes of eolour.
Landscape compositions.
Çolour circle.
Properties of colour--hue, value, and
intensity.
Analogous harmonies.
Decorative panels or units ruade
from drawings donc in Septembet
and October, to be used in sueh
problems of Applied Desig-n as
magazine covers and pages, title-
pages, tail-pieces, and book-
plates.
Lettering.
Decorative initiais.
Form I
Junior Grade
JANUARY, FEBRUARY, AND *IARCH APRIL, *IAY, AND JUNE
Illustrative drawing.
Toys or other interesting objects.
Bordera, ail-over patterns, and
single units, o 1,e used in the
making of Valentines and Easter
cards.
lqlust rative drawing.
Budding twigs and 8pring flowers.
Flower forms in simple designs.
Form I
Senior Grade
Illustrative drawing. I
Winter trees and landscapes.
Tors.
Animal study.
Pieture study.
Simple designs for Valentine and
Easter cards.
Yllustrative drawing.
Budding twigs and Spring flowers.
Flower forma in simple designa.
Designs applied.
Form II
Junior Grade
Illustrative drawing.
Toys and other interesting objecIs.
Animals and children.
Trees and winter landseapes.
Picture study.
Valentine and Easter designs.
Illustrative drawing.
Budding twigs and Spring flowers.
Tints and shades of colour.
Bordera and all-over patterns.
DETAILS ARRANGED ACCORDI G TO SEASON 13
Form II
Senior Gracie
JANUARY, FEBUARY, AND ]ARCH APRIL» ]AY, AND JUNE
Interesting objects on a level with
the eye.
Animais and chih]ren.
Trees and wintcr ]andscapes.
Picture study.
Easter cards or Valcntincs.
Colour washes. Hues of colour.
Silhouettes of children.
Budding twigs and Spring flowers.
Units of design derived from nature,
repeated in borders and all-over
patterns.
Designs app]ied.
Illustrative drawing.
'orm III
Junior Grade
Drawing from the figure and front
animals.
Illustrative drawing.
Objeets in eommon use, such as
pottery, kitehen utensils, etc..
above or below the eye ]evel.
Japanese ]anterns.
Pieture study.
Flower sprays in colour or in ink
tones, composed in suitffl,le
oblongs.
Charts of flower forms in pencil
outline.
Borders and all-over patterns.
Complementary colours.
Graying of colours.
Form III
Senior Grade
Drawing from the figure and from
animais.
Illustrative drawing.
Objects in eommon use, such as
pottery, kitchen utensils, etc., hav-
ing handles.
Japanese lanterns.
Grouping.
Pieture study.
Flower or figure compositions.
.qpring landscapes.
Insects.
Charts of flower forms in pencil
outline.
Borders and all-over patterns.
Form IV
Junior Grade
I
Drawing from the figure, and ani-[
ma]s, birds, or inseets.
I
IIlustrative drawing.
Reetangular objeets.
Grouping of objeets.
Pieture study.
Avenue of trees.
Seales of intensity.
çomplemntary harmnnies.
Single units, borders, and Ml-over
patterns.
Applied design.
Form IV
Senior Grade
Drawing from the figure, to be
finished as posters or used in
illustrative drawing.
Interesting reetangular objects (free-
hand perspective).
Grouping of objects.
Picture study.
Window sketeh or landscape com-
position.
Single units, horders, and all-over
patterns, using ither ahstraet
motives or motives derived from
nature, planned for stencilling or
block-printing.
14 ART
CO['RSE FOR UNGRADED CLASSES
Freehand expression wi0 charcoal, coloured chalk, black crayons, coloured
crayons or water-co]ours, and pcuci]s, in illustrative drawings and in the repre-
sentation of natur«fl forlns and COmlnon ,bjects and land.¢capes; the six standard
(.olour., properties of colour, finis, sha,le.% aud hues of colour, matching of colours,
complementary (.o]ours, gl'a)inz of colours, neutral values; the appropriate decora-
tion of constructed objects; lcttering.
DETAILS OF TIIE COURSE
ILLUSTRATIVE ]-}RAWING :
(;ames, sports, evcnts, expcriences. Illustrative Drawing should be eorrelated with other
school subjccts.
REPRESENTATION :
Plants, flowers, bud,ling or leafy tuig, stalks with seed paeks, and vegetables, in suit-
al,le mediums, pa.ving attention in Ferre I. te» dilection of growth and position of
nmsses; in F«»rm II. te relatixe size and shapo of masses; and in Forms III and
IV, te foreshnrtoning of parts and dotails of structure.
Ferres II. III, and IX': Treos and simple landseapes.
Ferres I and II: To.vs and other intoresting objeets.
Ferres II, III, and IX': Animals and ehildren.
Ferres III and IX': OI,jeets in eommon use, sueh as pottery, kitehen utensils, etc.,
singly and in groups. Speeial attention should ho pad te foreshortened eireles at
Val'inus heights, imth when soen as ellipses and as i,arts of ellipses. Pencil measure-
ments should be usod in dotermining prnpol'tions, and handles should be earefully
studicd. nteresti»g roctangular objeets, sueh as books, baskets, boxes, etc., in
various [«»sitions. The studv of foreshortoning and convergence with the help of
pcneil measurements, and eomparis«,n of slants with the peneii held vcrtieaily or
horizontally, lcvcl -ith the eye. It is net expeeted that vanishing points are te bc
used bore.
]OTE.--The drawing frein rectangular objects is optional in Ferre III.
COLOUR :
Form I: Tlm six standard colours.
Ferre II: Tints, shades, and hues of eolour, matehing of eolours.
Ferres III and IV: Propcrties of eolour eomplcmentary eolours» graving of eolours,
nontra] vahms. "
COURSE FOR UNGRADED CLASSES 15
DESIGN :
Forms I and II: The making of units from natural, geometric» and other forms, and
their repetition in borders and all-over patterns for the furnishinçs of dolls' bouses
and for the decoration of simple sewn or constructed objects, using one colour with
ldack, white, or gray.
]?orms III and IV: P, ilateral units derived from nature or from geometr.v, repeated
for borders, corners, and ail-over patterns; the conveniohalizing and squaring of
natural forms; squares, ohlongs, drop ohlons, circles0 and semieireles, are o be
used in constructive plans for the repeilion of patterns. These dcsigns are fo be
finished in two or three values of a çra.ved colour.
Forms I and II: Designs suited fo çhrismas or New Year problems in construction.
Forms III and IX': Calcndars» book covers, etc.
LETTERING ."
Plain eapitals in single line adapted to the ability of the elass and fo the purpose for
hieh the lettering is intended.
.IEDII'MS *_
Form I: Chareoal, coloured chalks, black and eoloured crayons.
Form II: Carcoal, black and coloured crayons, sort lead-pencils, water-eolours
(optional).
Forms III and IV: Pencil, ehareoal, brush and ink, water-colours.
COU2%qE OF STUDY ARRANGED ACCORDI.XG TO SEASON
EPTEMBER AND OCTOBER
OVE3IBER AND ]-IECE'IBER
Plants, fruits, vegetables
Trees and landscapes
Six standard colours; tints,
hues of colour
_Matehing of colours
Properties of colour
shades, and
Lettering
Designs rclated to Christmas and the New
Year
Calendars, book covers, etc.
,l..nu.tn¥, Fnr, n'.xnv. AN'D M.«nCH
APP, IL, [.y, AXD JVXE
Drawing from the figure, or drawing from
animais
Toys, cylindrical objects, and rectangular
objects.
P, udding twigs, flowers, Spring landscapes
I nsects
Border and all-over patterns
Çomplementary colours
Graying of colours.
-N't)TE.ll-]]ustrative Drawlng may Le taken st any rime that is most convenient.
ART
CHAPTER I
GENERAL INTRODUCTION
THREE SIDES TO ART EDUCATION
AT, F.VF.N in ifs relation to elementary edu«.ation, i.q a subject so comprehensive
that if is impossible to treat if exhatstivelv iii a S,.h-ol Manual. The wavs of
teaching if are many, and the lessons outlined in the f«:iiowing pages are intènded
fo be largely suggestive. But, though melhods may xary with the individuality of
the teacher, the underlying principles fo be taught must be the saine in all cases.
In order tbat the best results may be obtained from tbe teaching of this
subject, its ethical, cultural, and industrial bearing on tbe pupil's cducation must
be recognized.
]ts etbical value depends, among other things, upon the truthfuiness of
expression required and the just discrimination between contending interests that
manv of the exereises demand. Not the least of the benefits that corne fo the pupil
through the studv of the subject is the vision that if gives him of the dignity of
labour, in that the lowliest work well done may, through the workman's attitude
toward it, corne fo rank as a veritable work of art.
Ifs cultural value is fo be found in the refininginfluence that the studv and
the appreciation of the beautiful have upon the individual, especially when'these
«tre coupled with the effort fo produce if.
The industrial side, however, must hot be lost sight of, for although ail the
pupils who pass through the elementarv schools do hot join the ranks of the
industrial army, ail are ruade more capable and efficient bv a training which
develops the creative facultv and chai,les the eve and hand to work in nnison witb
the brain. For the sake of the pupils who must make their living bv their hands,
the teacher with breadth of vision will study the industries of the ;eighbourhood
and shape many of the school lesson, fo meet their needs.
THE COURSE OF STUDY
In the pages that follow, the Course of Studv is expanded and interpreted
under six heads, namelv: Illustrative Drawing. Representation, Picture Study,
Colour, Design, and Lettering. If is hot fo be understood that these divisions are
17
18 ART
scl, aratc and distinct ner that they must necessarily be taken up in the order
indicated. Thev have heen arranged in this manner for greater convenience in
handling, and in order that the.subject may be more clearly apprehended.
A I,are statclnent of what is te I«_- taught is given in the Course of Study.
This is amplified ad ruade more definite in the Detailed Course which follows it.
Te anv one who observes tho n,anner iu which the work for each Form is built
cm lhe knowlcd7e and power that should have been gained in lhe pre«eding Form.,
the ('ourse, as sot ïm'lb in the Manual, must comnlend itself as l)eing simple and
casilv covered, l'ndcr ideal conditions the teacher cannot fail te find if se. Ai
tho saine rime it bas bceu rocoffized that seine school. are affccted by conditions
whi(.h sori«n.lv haml,er art .tudy, while other schools more f6rtunatelv situated
have Sldendid ïacilitios for this w«,rk. Accordin-ly, an effort has been ruade te
framo tho f'mlr.c wilh suflicient olasticitv te give scope te ail. The teacher's aire
in followin.,: if should he, net se much te cover all the work prescribed, as te teach
ail tho winciples throu.,_'h such exer«.ises as are best fitted te the class and the
environment. The principles should be se tau,-ht that the pupil will be in a
position te apply thom with intellince in exer«.ises that are entirely new te him,
as well as in tho.e with which he is alreadv familiar.
IIOW ENVIRONMENT MAY AFFEf'T THE COURSE
The lines f«,llowod in ea(.h particular scho,,1 must der)end largely upon environ-
mont. Otç school nmv he surrounded bv fine old trees, another by gardens filled
with an ahundall«e of fl«,wers suitable îor study. In one localitv vegetables or
ftuits may be easily pro,cul'Cal. Near anothêr school there may be an old house or
a l,ridge that the finger of tilue has softened se that it takes its place as a natural
atd harmonious i, art of a landscape. Quaint old jars without decoration; antique
vesscls of iron, COl,per. or hrass; «,r old-fashioned furniture of plain and simple
f,,rm are te ho ohtaino,l, possihly, in one nei,.-hbourhood; while pet animals or
birds and interestinff costumes for poses are te be had in another. The window
.kci,.h in flw citv mav take the place of the landscape in the country ; while in seine
localitics the pl'OSClWe of a lake or river in the neihhourhood may net only invest
iat,.dscape study with more than ordinary interest, but also afford opportunities
f«,r the skct(.hing of boats. Thero are more ways than one of eomplying faithfully
wlth the l'ourse of Studv. The good material that lies at hand must inspire and
mark ou! he lines that may. with best results, be chosen.
USE OF THE MANUAL 19
ADVANTAGES OF USING DIFFERENT IEDIUIS
Variety adds interest, and it is well to ])car in mind that learning te sketch
anything in the proper way gives the power to sketch sinfilar things, and learnin 8
fo handle one medium helps in the handling of ail mediums of kindred nature.
Thus every step gained in one direction is a help in all.
As the pencil is the most eonvenient medium for ordinarv use in anv occu-
pation, th ability fo use it well is of great importance. ]t is, however, the most
difficult medium to handle, and the other mediums, especially charcoal, should lead
up fo its use.
USE TO BE IADE OF TIIE MN-VAL
The lessons from Form to Form in the Manual are planned fo suit the grow-
ing powers of observation, appreciation, and expression in lhe pupils as they
advance; but with the exception of the increasing difficulCy of the problems given,
lhe change of emphasis from one particular fo another, and the difference in the
langage used for pupils of various azes, there is great similarity in the teaching
of drawing in the different Forms. For this reason, the teacher of a Prima
class mav find, in a lesson intended for Form III or IV, points ihat mav be
ruade use of in a Primarv class, ile the teacher of a Form IV class mav make
excellent use of ideas gleaned from Form I lessons.
]t is not intended that the Manual should put the w«rds in the ieacheds
mouth; rather if is intended that these lessons should offer one wav of inculcating
ceain principles that must be tauht, in order that each teacher may, after a
similar manner, develop an individual style of teaching. I¢ is just as dcsirable
that the instructods individuality in teachinff shou]d be cultivated as if is hat the
pupil's individuality of expression in the different mediums should be developed.
THE ILLUSTIIATIONS
A number of the drawings in the Manual are reproductions, much reduced in
size, of the actual work of pupils, and show what should be expected of a good
average pupil in each Form. The remaining illustrations are intended to present
good handling and different methods of using the mediums. Except in the case
of alphabets, the illustrations are not intended fo he copied. It is alwavs an
advantage to have good examples for reference, that pupils mav learn how fo
handle things in a similar way, but copying tends to cripple effort.
ART
ITSE AND CARE OF IIATERIALS
A frêquent cause of poor work is fo be found in the improper use, and the
laek of care, of maierials.
The loavcs in [le },lank drawing books are perforated so that one af a rime
nmv },e deiached. Thê prac[ice of using leaves without removigg them from the
I,.«,k. hesides restrieting expression, lends fo destroy the edges of the unused sheets,
and mars their freshness.
The OWler's naine should he lettered on eaeh drawing in a uniform way.
The drawings nmde hy eaeh pupil should be kept in a portfolio large enough
1, ht,hl H(.ln and the hlank drawing book. The owner's naine should be on the
,»utside of eaeh l««tfolio. AIl I,orf«,lios should be eolteeted at the end of the
less«,n and keI, in a elosed eupboard or in a eoxered box.
Time may be saved by adopting a systematie plan for the distribution and
collection of nmterials. The hings fo be used bv the pupils of eaeh row should
1,e plaeed on tbe frt,nt desk and passed back in an orderly way.
Paint-hoxes sll,uld I,e eleaned ai the end of the lesson, and eaeh brush washed
and I,rou¢,_,ht to a point. .q«,metimes hoxes and bmlshes are kept in the portfolios.
When this is done the hrushes should be put in with the handle end down. Eaeh
impil sht,uld I,e pr¢vided with a sballew pan or a low. wide-mouthed bottle for
water. A clean pieee of old eotton eloth will be found preferable fo blotting-paper
for le use of he pnpils in water-eolour lessons.
At he dose of the lesson all materials to be eolle«ted should be passed up fo
he fron desks, fo be put awav hv monitors.
I:ef«,re the summer vacation, brushes should be put where moths eannot get at
hem.
NO. 7 .IErRIAN F'ITCH, Ac'rUAL
The brush used should not be smaller than 2¢o. 7. :It should be full and firm.
and should corne fo a good point wben moistened.
The best chareoal for school purposes is verv inexpensive. If cornes in boxes
,,f fiftv sticks, whi(.h may be broken in two, as from four fo six inches is a con-
renient lenh for lhe pupils fo handle. Charcoal should be held loosely under
the hand about the middlc of the stick or farther back. :It should not be slarpened
for general work.
DRAWING PENCILS 21
The regular drawing pencil should be quite soft, not ]tarder than F, nor
much softer than B B. The teacher should test a pencil before recommending it
to the pupils. One firm stroke of a pencil that is too hard will hot produce a
mark sufficiently dark for accents; while instead of the smooth, gTay line that is
desirable in a sketch, too soft a pencil will produee one that is woolly in al.l,earance
and easily blurred.
Drawing pencils should be sharIned with a long slant of wood, and hot more
than a quarter of an inch of lead need be exposed. The lead .houhl hot be
sharpened, but slightly rounded bv rubbing if lightly on a I, iece of pal,er. Tbe
side of the point should produee the line in drawing. When the pencil is worn
down so that the line becomes too broad, the point of the lead should be nipped off.
It will be found that greater freedom of expression is secured in sketching by
holding the pencil far from the point and under the hand, so that all the tips of
the fingers touch if lightly. Care should be taken that a pupil receives the saine
pencil each rime one is used. A pencil case for each row will be found con«
renient. These cases nlay be nmde of pieces of felt or heavv cloth nine in('he.¢ bv
22 ART
twelve inches in size. Four inches of the lenh should be turned up, divided into
as many pockets as there are pupils in a row, and stitched on the divisions. If a
piece of white tape is basted along the upper edge of the fold before the pockets are
stitched up, the compartments may be numbered on it in ink.
If there are so few pupils in a row that the pockets prove too wide to hold
the pencil securely, this defect may be overcome by an extra row of stitching at one
end of each division. A quarter of a yard of felt will make six cases, as this
material is two yards wide. The pencils should be put in the cases with points up,
so that it may be seen at a glance whether or hot they are in proper condition for
the next lesson.
The ruler should be used tu Desigu, from Form ]I upwards, for measurements
and for drawing construction lines, excepting when an exercise is ven fo test the
l»upil's power fo judge distances and draw light freehand lines. With the exception
of occasional construction lines, all other drawing should be freehand. A ruled
line has a mechanical appearance and is noticeablv out of harmonv with the curved
lines that cannot be ruled in a drawing. Good pencil rendering demands that all
the lines be freehand even in the representation of rectangular objects.
During the lesson the attention of the class as a whole should be called fo
the comnmn errors that are I)eing ruade, and the method of correcting theoe
should be demonstrated. Assistance nmy be ven to the individual pupil when
it i. deemed advisable, but the eacher's work should hot form a part of the pupil's
drawing. All finished drawings should have their good points approved and their
defects pointed out by the teacher.
HELPS
Manv beautiful illustrations are fo be found in magazines and periodicals. The
pupils should be encouraged fo make collections of helpful reference materials of
all kinds. These mav be arranged according fo subject or medium in a large
l«ose-leaf scrap-b'ook or in folios, to be brought out by the teacher as occasion
requires.
A bulletin board ai least rive feet l«ng bv two feet high will be found verv
convenient for the display of good drawings and reference materials of differen't
kinds for studv. The board should be covered with burlap or some similar material
ILLUSTRATIVE DRAWING 23
of a subdued tone ealculated to harmonize with the surroundings and wilh any
samples that may be pinned upon it. A bulletin board should be so plaeed that
anything exhibited upon it will be only slightly above the eye of the average pupil.
Oeeasional publie exhibitions of pupils' drawings, when well mounted and
tastefully arranged, have an educational force and assist in arousing goneral
interest. They are also an ineentive to the pupils to make greater efl.ort. These
exhibitions may be held at school elosings or at local Autumn Faits.
The benefieial effeet of beautiful surroundings on tbe growing child can bardlv
be estimated. Teachers should use what influence they have iii seeing that the
school-house and garden are ruade as beautiful as possible and kept in good con-
dition. The walls of the school-room should be soft iii colour, the del,th of tone
depending on the anaount and quality of light the room receives. A few good
pictures or plaster casts representing suhjoets of iuterest to the pupils will exercise
a constant influence on the occupants of the room and are more desirable than many
pictures or ornaments of indifferent quality.
]LLUSTRATIVE DRAWING
Long before the chi]d tan express himse]f throu/zh writing, he tan te]l stomes
bv means of pictures. Given a pencil and a piece of piper, a three-vear-old chi]d
will make a sertes of marks which, unintelligible as thev mav seem lo tbe observer,
are fu]l of meaning fo himse]f. ]t is hot necessarv fo teach him to express him-
self in this way, he does it n,turally ; but at first his pictures are sm|)«,l.¢ significant
on]v fo himself. It is the province of the teacher to he]p him to express him.¢elf
more c]early, not by imposing readv-made ideas upon-him, but bv he]ping him to
get e]earer mental images and encouraging him fo advance from smbols to pictures
that rea]lv look ]ike the thing he wishes to represent.
In Form I classes the II]ustrative Drawing shou]d be spontaneous, the aire
being fo get the pupil to express himself with perfoct freedom. In eacb succeeding
Form greater accuracy should be expected, but accuracv must not take the place
of vivid life and action.
In taking up Illustrative Drawing the teacher should look first for life and
action, next for better form, then for proportion and composition, fi_nally, for
perspective. Not until Form I need these drawings be criticised for perspective.
although ver 3, young pupils mav be taught to observe differences in appearance due
fo change of position or fo distance and thev often represent them surprisingly well.
24 ART
The study of good pictures may be of great assistance fo the pupil in express-
ing his thoughts, if he is made fo realize that the artist in his picture is trying
to tell us a story in the simplest and nmst beautiful way possible fo him.
No hard and fast rule can be given as fo what mediums fo use in Illustrative
Drawing. Charcoal, being the most responsive, is undoubtedly the best medium
with which fo bcgin this work in any Forln. ]t is desirable, however, fo aire af
having the pupils' most finished illustrations donc in black or coloured crayous in
Form ] : in brush and ink or water-colours iii Forms I I and I I I ; and in fiat washes
of water-colour oxer l»cncil in Form IV.
In Form I classes illnstrative and imaTinative drawing should be used con-
stantly, not nece.¢sarily in the drawing period, but in conneetion with everything
the pupil is tau,zht. It is a mcans bv which he inlpresses the knowledge he is
gaining everv dav tbrouTh hi. lan,-uage, reading, and number lessons and is also
an evidence as to whether his concepts have been correct or otherwi.
Later on in lhe pupi]'s school life, as his power over language develops, lllus-
trative Irawing becomc. less and less a necessarv means of lf-expression; but if
never ceases fo be fo him a valuable mental training, because it tends to crvstallize
his thoughts into definite and sv:tenlatic shape, and therefore should not be
eglected af any period of his school life.
IEPRESENTATION
The terre Representation, as it is used here, is fo be understood as meaning
the delineation of things as they appear fo the eye. The delineation may be in
mass, in outline, in values, or in light and .hade. Black, neutral tones, or colours
mav be the means bv which it is expres.¢ed, and the mediums through which this
expression is ruade possible are charcoal, chalk, crayons, ink, water-colours, and
pencil. Other mediums that might be used are, for various reasons, hot suitable
for school purposes.
In this Manual the drawing and painting of the following things are handled
nnder the head of Representation: plant specimen., fruit and vegetables, trees,
landscapes, animals, children, and manufactured objects. In the delineation of
these things, vigilant attention mu.et be paid fo Composition which, on that
accourir, is explained in connection with Representation, although its application
is bv no means confined to this division of the subject.
REPRESENTATION 25
The success of every lesson in Representation depends on the previous prepara-
tion ruade by the teacher and pupils and on the sincerity of the work done in the
class. Careful study is necessary, and pupils must be taught, as they work, to
observe, draw, and compare again and again, looking for the large truths first and
adding only enough detail to make their representation of the object true to its
appearance.
PLAN'T SPE('IM ENS
The first requisite for good plant drawing is a suffieient supply of good
specimens. If these are pieked lhe evening I,efore they are fo I,e used and kept
overnight in deep water, they will then remain fresh throughout the lesson. Wilted
sprays make poor studies and are most uninspiring. .'t first, the wise toacher
gathers his own sUl,ply or arranges fo have some pupils up,,n wh«,m he ean depend
do it for him. Later, the whole elass may bring specimens, and a seleclion may he
ruade from these. Bv this method the judgment of lho elass will I»o trained. A
a fuie. one good specimen on eaeh alternate desk is quite sufiîcient. Where the
flower is large, as the iris or the tulip, eight or ten will I,e enough f,Jr an ordinarv
sehool-room, if thev are arranged in an upright p,»sition on model stands or in
jars of moist Sand on boards l, laeed aeross lhe aisles so that eaeh pupil has a g,J,d
view of one. Two should be placed somewhere in front, one at either side, f,,r
those who sit in the first row of seats. In the case of speeimens whieh would m,t
grow in an upright position naturally, such as certain fruit sprays and vines,
another method of placing mu:t be u:ed. Pieces of heavv eardboard, nine inches
by twelve inches, or larger, mav be eovered with cheesecloth and placed leaning
against the jars of sand on the boards across the ai:les. The speeimens mav be
pinned in a natural position to these sheets of covered cardboard. When grasses,
sedges, or sprays of small flowers are to be drawn, a specimen mav be laid on each
pupil's desk on a sheet of drawing paper of the saine size as that on which the
drawing is to be ruade. This nethod is partieularly satisfactory in Form I. as
the pupil can glanee readilv from his drawing fo the specimen fo sec that he is
making it oceupy the saine spaee on his sheet of paper that it does on tho
similar sheet on whieh it lies, and bv so doing overcome the natural tendeney in
beginners fo make their drawings too small.
Where gardening is a feature of the sehool work, the teaeher should have
those plants cultivated whieh are suitable for ropreentation and should also plan
fo have a succession of plants in bloom. The garden can supply crocus, seilla,
26 ART
hyacinth, daffodil, tulip, iris, orange lily, polyanthus, primrose, bleeding-heart,
poppy, phlox, nasturtium, spiderwort, salvia, aster, sunflower, petunia, coxcomb,
cosmos, ageratum, and the old-fashioned marigold, all of which make excellent
studies. From early Spring to late Fall the woods, roadsides, and vacant lots are
overrun with a wealth of suitable material--pussy willows and other catkins, spring
beauties, hepaticas, anemones, dog-tooth violets, marsh marigolds, trillium., clover.
dandelions, meadow phlox, wild mustard, buttercups, thistles, wild mints, mulleins,
teasel, harebells, pink yarrow, musk rotes, toad-flax, golden-rod, wild asters, many
varieties of grasses, sedges, and weeds, and a host of other flowers.
FRUITS AND VEGETABLES
A single specimen of fruit without stem and leaves is not, as a rule, a desirable
subject for drawing; but fruits or vegetables mav be studied and drawn in this
wav in the upper Forms. when this studv is preparatory fo a more finished drawing
in which tle sI,ecimen if to be shown with its natural complement of stem and
leaves, or in a composition ruade up of two or three of its kind grouped with some
appropriate uten:il.
Among the fruits that make good studies when thev are left on the twig or
small branch, are «herries. currant, plums, peaches, pears, apples, and wild or
uncultivated grapes. Other interesting studies are a head of corn with the husk
parted so that some of the kernels are exposed fo view. small or medium-sized
tomatoes attached fo a portion of the vine, and squashes or similar vegetables fo
tle stalk of which a leaf or two still adheres.
TIIEES
Trees must l,e observed out-of-door. and drawn afterwards from memorv.
At first, thev should be studied and drawn a]one; later, the height in relation fo
the horizon should be noted, that they mav be used in landscape composition.
The trees selected for study should be true fo type and comnmn fo the neighbour-
hood.
LAN-DSCAPES
The first landscape. drawn by young pupils must necessarilv be ruade up with
the tea(-her's help. Form I pupils learn fo observe the appearance of earth, trees,
and slv in a landseape through their drawings. Later. the process is reversed and,
REPRESENTATION 27
in the succeeding Forms, the pupils endeavour fo represent what they observe in
nature.. .
&NIMALS
AnimMs and birds may be studied out of school and dràwn .from momory
afterwards, but better results follow careful study b i the class mder the direction
of the teaO'ter. A pet aninial, such as a dog, cat, rabbit, white rat, or squirrel; or
a pet bird, such as a eanary, parrot, pigeon, or bantanl rooster, may be brought
by the owner after sehool is ealled and posed on a table in front, of the class.
is better fo have only one model af a rime, that the attention may be eoncentrated
and that there mav be no confusion. A cow, a pony, or a goat mav be tethered
in thê sehool yard, while the pupils sit on the steps of the school with a sheet of
paper fastened by rubber bands fo some large book and make rapid charcoal
sketehes. After an exereise of this kind, each pupil should make, from memory.
a drawing of the animal in some one of the positions in whieh the class has
observed if.
CHILDREN"
Figure drawing or drawing from the pose is practically begun in the illustra-
rive work in Form I, but not before Form II should anv attempt be ruade to
separate the figure from the story, to draw it by itself.
Care should be take.n in the choice of a model. A well-shaped child whose
clothing is ruade on simple lines is the best mode|. In no case should the abnormal
be chosên.
The model should be placed on a bench or table in a corner of the room af the
front, so that each member of the class will have a similar view; or two nlav
plaeed, one at each side, af the front. As far as possible, a different pupil should
be seleeted for each pose, aud no pupil should be al|owed to pose more than five
minutes at a time (seldom that long) unless in a sitting posture.
ZIANUFACTURED OBJECTS
Object drawing cannot be ruade either interesting or profitable withouî a
sufficient number of suitable objects that appeal to children. Fortunately it is
hot difficult fo get things that do interest them. Little brown tea-pots, jugs, tea-
kettles, jars, coffee-pots, saucepans, and other pieces of kitchenware, are hailed
with the joy with which one meets old friends in new places. Ju.t as welcome fo
SUGGESTIU IN GE, UUPIG
AN ADJUSTABLE MOI}EL STANI} 20
the school-room aro gardening tools and utensils, and most wclcolue of all perhaI,s
fo the younger pupils, are favourites from toyland.
Objects that bave lost their original usefulness may be brought fo the school
by the pupils. A cracked tea-pot or leaky saucepan, that would otherwise corne to
an inglorious end in the garbage can, may be rescued from its fate to form with
berry-baskets, lunch boxes, small suit-ca.es, and other articles already mentioned,
an interesting collection that may be kcpt in some unused cupboard or store-room
of the school ready for drawing lcssons.
FROITI"
30 ART
When money is supplied for the purchase of drawing models, if is unwise fo
spend it ail on Art pottery. A visit to an ordinary shop where such things as
utensils and toys are kept will often result in a collection of good models for a
mall outlay.
Whatever is selected should be chosen for ifs beauty of form or colour and
should have little or no decoratiol. Simple, useful objects are best. That which
is fantastic is rarely beautiful.
A single large objoct will suflïce for a lesson if if can be so placed that every
nember of the class will have an interesting, natural, and unobstructed view of if.
This cannot be contrived when objects are fo be drawn below the level of the eye
and, in that case, some means nmst be devised by which six or eight objects mav
be placed so that everv member of the class will have a good view of one. For this
[«rpose adjustable model stands like the one shown on page 29 may be
used, or boards may be placed resting on opposite desks in every other aisle, one
at the front of the ai.le and one half-wav back. These boards should have a
cleat fastened under one edge, fo overcome the slant of the desks and provide a
level surface for the object fo rest upon. Another wav in which a level surface
may be secured i. fo have a support for the boards fastened af each side of these
desks, parallel fo the floor and af the proper distance from if, fo permit every one
who is fo draw from the object fo see the top of if slightly helow his eve level.
In the Forms al)ove Form II. ,enior Grade, the greater numher of ol)jects
drawn should he placed below the level of the eye, in which case some suggestion
of the supporting surface must be made in the drawing. For this purpose a line
called the table line is drawn. If stands for the back edge of the supporting
surface and should be ruade less distinct than the outlines of the object, fo which if
should he subordinate in the drawing. If should not be placed ahove the object
nor in any position that would call undue attention fo if, but should be represented
as farther hack than the base of the object or of anv ohject in a group. The
placing of if is a marrer of good composition, but the classes that are fo use if
should experiment with an ohject placed on a book, raising and lowerin.g the book
fo see that the baek line of the supporting surface is not a fixed thing, but depends
on the level of the supporting surface. They should also more the object from
near the front edge of the book fo near the hack edge and should turn the book
with ifs «reatest len.h receding front them, fo note the changes in the position of
the back edge in relation fo the ohject, due fo the width of the supporting surface
and fo the position of the object on if.
COMPOSITION 31
COMPOSITIO:N
Composition in Art deals with the choiee and arrangement of things to be
drawn, the seleetion of the size and proportion of the paper to be used, and the
plaeing of the drawing so that it will oeeupy suitably the spaee ehosen. The
results aehieved should be pleasing and should exhibit thoughtful eonsideration for
variety in the division of spaees.
Composition is fundamental in the development of good taste and raises what
otherwise would be a mere statement of the appearanee of things fo the plane where
individual ereative power has sway and aesthetic jud-maent is trained.
USE OF FINDER
The selection of the shape
and size of the drawing mav
be determined by using a
finder, which can be ruade of
cardboard or heavv paper in
two pieces, as shown in the
accompanying illustrations.
The inner long edges of the
finder should be about ten
inches and carefullv marked
in inches and half-inches be-
ginnin zaf the angle, which
should be a perfect right angle.
The divisions will serve as
'uides for equal lenhs on
opposite sides of the "picture"
which is seeu framed bv the
finder.
If the sketch is fo be
ruade from nature, if will be
necessarv to determine what
part of the view will make the
most satisfaetorv picture and
what proportions in a rectangle
will best inclose if. The
32 ART
accompanying illustrations will show how, in a single view, a number of different
pictures, each a well-balanced composition, may be found. Four of these, if will be
seen, are animal subjects, and four are simple landscapes, each a study in itself.
No. 1, a hillside pasture with four shecp, shows the two white sheep at the loft
balanced in thc c.mposition by thc two black ones at the right; they are at different
levels and of diffcrent sizes, and thcir heads'are not in the saine position.
In No. 2, thc two dark masses of black sheep at the left are balanced by the
masses of tbc trccs af lbe right. The line of the pasture does not cut the picture
cxactly in hall; ils downward sh,pe to the lcft is opposed by the downward slant fo
tbc ri-ht of thc wooded distance.
In No. 3, thcre i. a panel in whieh the main lines of thc landscape give areas
of different shapes, thc light masses of the sheep in the forcground being necessary
lo balance the liht areas of skv and lake in tbe upper part of the picture. The sky
and earth spaces are in pleasing proportion, and the two trees and the distant bill
at the left bcyond the lake oppose the mass ¢,f trecs to the right. Rhythm of line,
mass, and value are vcry apparent in this picture.
In No. 4, the dark sheep at the left finds a balance in the tree group at the
right, while he bright sky has a balance spot of light in the foreground. The
ground lines do not eut the landscape in hall horizontally.
In No. 5, there is quite a different-shaped inelosure, in whieh the light spaces
of skv and water are about equal in area fo the dark earth spaces and yet are s0
shapèd that there is variety coupled with excellent balance. The landscape.com-
position needs the two trees af the left fo balance the dark masses of irees at the
right.
In No. 6, there is an upright panel where the trees fise across the long,
horizontal water-line, and the light areas above require the light boulders in the
foreground to balance the composition, while two small sheep in the meadow give a
little lire.
In No. 7, the shape is somewhat similar fo No. 3 Imt withont the sbeep, and
he two small tir trees are ruade prominent, aiding in a new foreground fo give
distance in the composition.
In No. 8, the three great requisites fo give depth, foreg-round, middle distance,
and background, are very clearly defined. The masses of dark, though of varied
shapes, balance each other and, as a whole, balance the areas of light occupied by
lake and sky. The long shore-line on the other side of the lake is hot allowed to eut
the oblong exactly in hall.
I I "1 " Il I" ïll
I I
34 ART
The principles of Composition, although here illustrated more partieularly in
eonneetion with Representation, are equally applicable fo Illustration and Design,
as will be seen in the lessons on these subjeets.
PICTURE STUDY
A suggestive iist of pictures f.r study in the different Forms is given in the
detailed Course of Studv. The teacher may choose two, or possibly more, pictures
for study during the year. fr.m this ii,t, or may substitute others of equai
excellence that are as suitable for the purpose.
The attentive consideration of a fcw beautiful pictures painted by artists whose
claire fo greatness is acknow]edged by the world, wili give the pupil a taste for
what is best in Art and will also aid him in giving expression to his own ideas.
Apart from this, it will be found that the concentration of the attention on the
thought expre..ed by the artist in his picturc and on the form in which he bas
expresscd it. wi]l bave an elevating effect on the mind similar fo that experienced
throug}l the study of good literature.
A I, icture lo I,c studied hv a class should I,e large enough fo be seen by every
pupil. Whcre it is not possilde to obtain one suflïeiently large for this purpose,
three or f-ur medium-sized prints of the saine pieture may be plaeed around tbe
room so tbat each pupil mav havê a good view of one; or one may be fastened up,
a day or two hefore ihe lesson, where evêry pupil will have an opportunity for
studying if s-me rime during the day, and eaeh member of the elass should be
cneouraged to discox»r all that tan be round oui about this pieture by dose
«,bservati-n. A print that is smaller than seven by ten inehes is hot of mueh use
for this purpose.
A picture that bas been studied should be left up afterwards for a few days,
in order tbat the pupi}s mav enjoy if through the light that the lesson bas brought
to bear up-n if and also that their impressions concerning if may be deepened.
The mothod of teaching this subject, as demonstrated in the Manual, con-
centrales the attention on a single picture and the artist who painted if. A
different metbod, bv whi«h several pictures that deal with the mme subject are
tndied t«,gether withont being in any wav connected with the artists who painted
them, may be taken occasionally. This method is particularly adapted for use
with young pupils, who may be encouraged fo bring pictures of children for study
af one rime and pictures of animais at another.
COLOUI 35
Pictures representing a season, such as Spring or Autumn, or some particular
rime of the day, as Evening, may be studied in Forms III and IV in connection
with landscape composition. The study of pictures that are applicable to any of
the drawing lessons that are being taken at the rime will stimulate the observation
of the pupils and strenhen their powers of expression.
COLOUR
During recent years many theories concerning colour have been advanced.
Some of these theories have established principles which can be incorporated
advantageously into the system used in teaching colour to children. Others, which
establish standards of undeniable value in the industrial world, are of too elaborate
a character for elementary school purposes, or are possessed of features that
render their use inexpedient in such schools. In dealing with children simple
materials and processes mu.¢t be used if logical developmellt i. to he achieved.
Again, it must be remembered that itis not the scientific but the practical side
of colour with which we are concerned, and whether the three colours, red. yellow,
and blue are, or are not, the three primary colours of the spectrum need hot
trouble us so long as we are able to produce with these three colours all the
variations of colour that are required in our school art work; and no other colour
elements in pi-nnents have been found that produce sati.factorv results.
The Course in Clour has been prepared in accordance with the principle that
education along anv line should proceed as far as possible from the known to the
unknown. Throughout the Manual the pupil's mental development has been kept
in view as of first importance.
The aire in the colour lessons is to cultivate the power fo observe, appreciate,
and express colour and colour harmonies; also to develop an appreciation of
harmony in the relationship of things, and the desire and ability to bring about
8uch harmony.
The Course covers the study of Colour in itself, the methods of applying if,
and the study and use of Colour Harmonies.
In Form I, Junior Grade, if is sufficient fo expect the reconition of colours
as belonging fo the red, orange, yellow, green, blue, or violet families and their
classification accordingly; and it is recommended that the pupils in this Form be
given a comparatively wide range of colvurs from which to select what thev require
for their work in Representation.
36 ART
In thc succeeding Forms, the pupils lcarn to modify one colour with another,
and in Form 11, Seni,r I irade, and Forms II I and 1V they should be restricted to
lhe use of be tbree colours, red, ye]low, and blue tu their water-colour work from
,aturo and should be requircd fo make from these all the colours they need. The
c«,lour-box should also contain black for use in Design and tu the making of neutral
values. The following water-(.olours are recommeuded: for the red cake, crimson
lako. or alizarine ; for the b]ue. ultramarine ; fol" the yellow, gamboge ; for the black,
(.barcoal gray. A Immher of satisfactory three-colour boxes are on the market,
snpl,liod wih (.akes of colour which produce simi]al" results although they are
called I,v different nanles. Tbe tea(.her should test the paints in a colour-box before
ree,,mmendin,,,, it te his elass.
It will t,e round that the work donc witll a three-eolour box is less hard and
crude flmn that wbieh resulls ïrom the use of a six-colour box; and even when
l,upils are not al,le o produce lo exact eolour tbat thev require, the effort te de se
t,.a,-bes them t analyse nd COmlare colours and develops a habit of thoughtful
w¢,rk wlli«h is most de.iral,le. Wb«.n pupils who bave beeu thoroughly trained in
llw use ¢,f a flree-col¢,ur box in tlw elenlentary sehools reaeh the high sehool., the
range «,ï et,leurs permitted them mav I,e enlarzed.
('olmr is eonsidcred in the Manual throuzh ifs three properties--Ilue, Value,
and lnlensilv.
In deseril,in a colour, wo mav speak of it as red or hlue, or blue-green or
vMct. cie., and tbi. property bv wbich we distinguish one eolour frein another is
«-allcd I ue.
We mav sav also that a eolour is li/zht or dark, and this property by whieh we
nleasure tho dislalwe «,f a e,,Iour frein white or black is called it. ralue.
Tho third I,r¢,perty. intensity, is mder eonsideration when we speak of a
«olour as I,right ,,r dull. If wo ean imagine a colour gradually losing ail its hue
without I,ee-minI lizter or darker, until nothing remains but a gray tone, we
imalzine it as passill fr¢,m full brilliance te neutrality; and if we represented the
stazs throuz whieb if wou!d pass, we would be sealin if frein full intensity te no
inten.ity. This third property is sometimes ealled f!hronla. Elementary Sehool
I,upils are expeeled te make scales of hue, value, and intensitv. Time spent in
workin over and over at tllese scales te produee aecurate re£ults would net be
profitably spent. ,s their chier efficaey lies in the faet that the eonseientious effort
te make a seal,.._-ives the pupil the power te analyse a given eolour and tell what
must be doue te produee it. It also helps him te discover where he bas ruade
DESIGN 37
mistakes in trying fo match colours and what must be done fo correct such
mistakes.
It is through the study of these properties of colour that the pupil is led to
understand what is meant by colour harmonies and to endeavour to produee them
in the different colour schemes he chooses for use in Design.
DESIGN
Design in the broad sense of the terre may be aid tobe the expression of a
thought or plan by drawing or in some tangihle materia]. We may have l'ictoria]
Design, whieh is involved in Ropresentatiou and IHutration- Constructive lesig*n.
which deals with the form and proportion of things, sueh as furniture, machinery,
and buildings of ail kinds, as well as with tbe simple probles carried out in the
Manual Training classes; and Decorative lesign, whit.h has for its ultimate aire
the enriching of things ruade for some purpose apart from the docoration. It ix
with Decorative Design that we are ehieflv coneerned here, altbough it must be
understood that the saine laws govern ail good design whether pictoria], con-
structive, or deeorative.
From the standpoint of deeoration or ornament, we may think of Design a
the order]y arrangement of lines or shapes and spaces, exprêssed in neutral tones or
in colour. ]t should have for ifs highest intentiou the effort to produce beautv.
]t is on]y through obedience fo the laws that produce order that we mav hope to
achieve beauty. There are manv different principles which nlst he observed to
bring about beautv in ornament; for example, unity, variety, contrast, repose,
subordination, restraint. It wi]l be found that these are inc]uded under the three
great laws of Balance, Rhythm, aud Harmonv.
Ba]_____ance ma), be said fo he produced in a design when no part of it attracts
undue attention to itse]f on aceount of its size, shape, position, or colour.
Rhythm may be said fo he produced when all the parts of a desigm are so
related to each other that the eye is led smooth]v and agreeably from one part to
another throughout the design.
Harrnony means visible unity, or accord. Onlv those things which have
something in common may be said to harmonize. T,, exhibit harmony, a design
must be fitted to the purpose for which it is intended.
38 ART
AIM OF THE COURIE
The Course in Design in the Manual has been prepared wth the intention of
cultivating the judtnent of the pupil and putting him in possession of kmowledge
tbat will enable him to appreciate what is good and lead him fo demand it when
the rime cornes for him to exercise cboice. Itis in this way rather than through
the l»reparing of professional designers that the School Course should affect the
indu.trial world, altbough tbe exercises in Design will no doubt be the means of
influencing those best fitted for the work to take it up later, professionally.
The Course in De.ign is so arranged that the attention of a Form I class is
directed ahnost altogether fo the repetition of a line or shape af regular intervals.
This i. ruade po.¢sible by the folding and creasing of the paper. 0nly in work for
.pecial purposes, and after some experience, should a Forn I class be required fo
n.qe a ruler for luea.uremeut.q.
Provision is ruade for a wider ehoice in Form II classes, and the help given
bv the teacher should be less direct and more suggestive. The side or top view of
a flower nlav be simplified as mucb as possible and repeated to forma border or an
ail-over pattern. Geolnetric and otber shapes may also be used. In Form II,
lunior (rade, incb measurements should be used fo prepare a plan to ensuro
rcgularity of repetition, and in Form II, Senior Grade, measurements in both
inches and balf-illches are required. In Form II, a feeling for balance is cultivated,
throu/zh the determining of the size of unit best fitted to oceupy the space prepared
for if.
In Form III, Junior C,rade. two constructive plans new fo the pupil are added,
and increasillg attention is paid to 1be unit of Desix. Tbe idea of Rhythm, as if
may be exhibited in the relation of a number of spaces fo each other, is developed,
and vavs in whicb the knowledge gained lu the lessons in Design may be made use
of out of .ehool are brought to the pupil's notice. In Form III, Senior Grad, the
saine type of unit i.q used, after if has been simplified, refined, and if necessary,
reconstructed so that if may be used with good effect alone, or in a border or an
ail-over pattern. The pupils in this Form are also expeeted fo be able fo modify a
unit so that if will fit any given one of the constructive plans that are fo be used
in Form III. The eonsideration of the rhvthnlie relation of spaees is eontinued,
and problem.q in Desi.o-n that interest the pupil through home or person are dis-
cussed in this Form and studied more fullv in the sueeeeding Forms. In Form
IV, a elearer understanding of Balance, Rhythm, and Harmony is established. In
DESIGN 39
the Junior Grade, the pupil is expected to make intelligent use of these principles
in constructing a unit from two or more abstract shapes; while the pupil ha the
Senior Grade must bring the saine principles to bear on the problem of breaking
up a given area into shapes that will be so related to each other as to make a
pleasing and consistent unit of" Design.
The above interpretation of the Course in ])esiga is given fo show the teacher
how the work of each succeeding Form grows out of, and is a .tep in advance of, the
work arranged for the Form immediatelv bêlow if. There if no reason whv a class
should not occasionally use, for special purposes, types of Design learned in previous
Forms when these seem fo be particularly well suited to the purpose in hand.
The use of squared paper, though not necessary fo the planning of designs, is
of great assistance in some problem. ; and it i. suggested that a supply of iuexpen-
sire paper marked in quarter-inch squares be kept for use, especially in the upper
Forms.
For use in Design an It B pencil sharpened fo a fine point is prefêrable fo the
regular drawing pencil.
Design develops the creative faculty, but in the elementarv school the develop-
ment of creative power should be brought about bv nmdif.ving and adapting natural
or other forms which mav be so treated by each pupil that the result is the outcome
of his own individuality.
A generous quantity of illustrative materia! should be kept on hand. ]1 mav
consist of borders, surface patterns, book "covers, title-pages, and other designs pro-
cured from magazines, drawing books, or other sources, su«h as historic ornament.
The work of some of the pupils in a class may be sufficientlv wêll done fo be
preserved for the help or inspiration of the other membêr.. Among discarded
samples of manufactured rnaterials of different kinds, the teacher mav be able to
find some that are good in faste and sufficientlv simple fo be_ of use in the lessons
in Design.
There are manv more possible types and arrangements than tho.e suggested
in the Manual which would no be too diffieult for êlementarv school pupils: but
limitations are neeessary, hot tnlv on accourir of the meagre amount of time that
may be ven,up to the subjeet, but also that all faneifnl, meaninless deeorations
may be avoided, and that the exereises chosen mav he those whieh will best develop
an understanding of the prineiples which underlie all good Design.
At the first, too great insistenee on aeeuraey would be fatal to the devêlopment
of power in Representation and Illustration, but in Design it is of the greatest
40 ART
importance and, when once a unit has been chosen and the manner and method of
repetition determiucd upon, thc greatest possible accuracy of which the pupils are
capable should he required of them. On this account the use of very intricate
patterns and those which necessitate manifold repetitions of a diflïcult-unit should
be discouraged.
W|mn there arc two or more classes in a room, designs which have been begun
in class may I»e finished as seat exercises, lu any Form, the completing of un-
fini.¢hed designs will be round t» nmke ideaI seat work, profitable from both
teacher's and pupil's siandpoint, and of ai»sorbing iuterest fo the average child.
APPLIED DESIGN
The greater part of he work in Design donc in the elementary school should
he I»lalmed from lhe first wih a vicw fo the ultimae purpose for which it is
intended aigri, whrevcr it is l»ossil,le, the designs should be actually applied fo the
articles for which they were plauned. In this way interest in the subject is greatly
increased, and he defiuitelmSS given fo each problcm is conducive to though[ful
work aud to a more iutelligent understanding of the pul'pose of Design.
OPTIONAL PROBLEMS
A number of optional lrohh.ms are suggested, which call for materials hot
generally f»uud in schools. The pride of owner.¢hip that tire pupil feels in some-
thing ruade hy his owu hands and the deeoration of which has been planned by his
own hraius, is ilden.¢ified whell the article ruade is hot only serviceable but also
suflïcientlv durahle o retain its usefulness alld charm for yêars, or possibly with
proper eare, for a lifetime.
]n no case are exl)ensive material.¢ required, and suitable remnants that the
owners would be glad o have used in sch«,ol in the wavs suggested are probably
fo be round in manv of ihe pul,il.' bornes. ,o fascinated are the bovs and girls
with this work lhat the teacher will be surprised af their timely suggestions with
regard fo matel'ials that may be substituted for those that are hot fo be obtained
in the neighbourhood. Butter paper (hot waxed paper) makes a good substitute
for transparent tracing paper, and a sheet of foolscap fo one side of which a coating
of stove polish has been applied mav be used instead of carbon paper. Straw-
board, or pasteboard, though hot quite so solid as mill-board, may be used in its
place for some things.
LETTERING 41
When an article is te be constructed and decorated, the teacher should make
one before fle class undertakes it, net only that an e.xample may be on haad for
reference, but that difiïculties may be anticipated and mistakes prevented.
HOME PROBLEMS
The planning of designs in school for home problems in which the pupils are
interested will help them fo realize that ornament must be thouht of from ihe
standpoint of the thing fo be adorned and will awaken in /hem a distaste for the
commonplace embroidery patterns and other cheap designs which corne in packets
for indiscriminate use on ail sorts of materials. In manv cases it will doubtless
arouse a talent that might otherwise lie dormant.
Good faste forbids the use of- ornament in connection with seine things, and
over-decoration is always te be avoided; therefore the points te be decided in a
problem in Applied Desia before lhe actual work begins, are as follows:
1. Does the article or surface te be decorated adroit of decoration?
2. Will it be improved by decoration?
3. What form of decoration will most enhance its appearance--border, corners, all-
over pattern, or single central unit ?
4. What proportion of the surface should bê occupied bv the.ornamênt ?
]n Forms I. II, and probably III, ail of these questions should be decided bv
the class under the guidance of the teacher. In Form IV, the third and fourth
points, as a rule, may be oettled bv the pupils individually.
LETTERING
It is of more importan«e that the pupil in the elementarv sehools should learn
fo letter one simple alphabet well and acquire the power fo adjust the spa(es
between the letters in such a wav that a consistent uniformitv is apparent, than
that he should have a superficial knowledge of many alphabets without a feeling for
that consistent relation of one letter or group of letters fo another which makes
lettering for any particular purpo a problem in Design.
As soon as the pupil has gained sufficient control of the pencil, he should
letter his naine and the date on each drawin when-it is donc. From the very
first, he should make the effort fo keep his lettêrs upright, of thê saine hêight, and
groupêd in words, so as fo be rêadily discêrnêd.
ART
The alphabet which is used by the class should be kept on the black-board, so
that if can be referred fo at any rime. If a piece of unglazed chalk be soaked in
mucilage till itis saturated and then used, while if is still dalnp, for drawing the
alphabet on the black-board, the letters when dry will not be likely fo blur or rub
off, but nmy be washed off when if is necessary to bave theln relnoved.
Practice brings increasing facility in lettering and a better grasp of its
decorative possibilitie., and thus gradually purs the pupil in a better position to
adapt the principles of good lettering fo accolnpanying conditions, so that in each
succeeding Form he is able to bring his lettering Inore and Inore into conforlnity
with fhe laws by which it Inu.t be governed when it is used in connection with
Design. On this account, the Course outlined in the Manual is arranged so that
proficiency in lettering may be attained through easy steps. A Forln I class is
expected to learn to use single line capitals so as to Inake theln fairly legible,
vertical, and regular. The placing of the lettering is to be considered carefully in
Form ]I. The ability fo control the light or dark value of the lettering due to the
weight of stroke used, is the development expected in Form III; while a Forln IV
class should be capable of a finer conception of the characteristics of good lettering
and should show gTeater abilitv in exelnplifying them. The use of Rolnan capitals,
and snmll (lower case) letters is permitted, but not required, in Form IV, Senior
Grade.
Alphabets are copied and, as the same general rules apply to ail, there is no
reason why a class that has gained the power fo letter one alphabet well should
find it difficult to use any silnilar alphabet, and a certain latitude Inight be per-
mitted when the lettering is required for solne speeial design, such as the title of a
book; a slant alphabet, however, should not be used. Examples of good lettering
suitahle for such purposes are fo be found in different sertes of drawing books of
recent publication.
The tendency to spend too nmch tilne on one division of a subject fo the neglect
of another Inust be guarded against sedulously.
CORRELATIONS
Art may be eorrelated advantageously with probably every subjeet that i,
taught in school, but it is in the teaching of Manual Training, Nature Study, and
Household Science that it is of thê Inost vital ilnportance. Some of the ways in
which it may be of use in connection with these subjects are given below.
CORRELATIONS 43
[ANUAL TRAINING
Art may be correlated with 3Ianual Training through the choice of îorm and
proportion in constructed articles and the selection of suitabie materials and colour
schemes for these ; through the use of borders, ail-over patterns, and single decora-
tive units for the adornment of various constructed objects; in the choice and
placing of lettering and decoration on book covers; in the making of book-plates,
wood-blocks, and stencils; i]l the furnishings of constructed plav-houses or dolls'
bouses.
NATURE STUDY
Art may be correlated with Nature Study in the arrangement of specimens
and collections; in the drawing of plants, trees, animal.,_-, and insects, and in the
illustration of oeils and other structural parts of these; in the illustration of oeed
germination and seed equipment for disperl; in the appropriate decoration of
covers for note-books or porffolios for mounted specimens.
IIOUSEHOLD SCIENCE
Art may be correlated with Household Science in the choice of china used on
the table; in the arranging of deeorations for the table and elsewhere; in the ehoiee
of eolour and eolour sehemes for house furnishings; il the ehoiee and arrangement
of furniture; and by the exereise of judgment in the selection of garments that are
beeoming in colour and fashion.
ORDER AND METHOD
IN TEACHING AN ART LESSON
The following outline, which is intended particularly for Representation. will
be round helpful in ail Art lessons. If should be adapted fo suit circumstances
and particular cases.
PREVIOCS PREPARATION BY THE TEACHER
1. Aire established, that is, a definite idea formed of what is fo be taught in the
lesson
2. Instructions given the pupils concerning preparations fo be ruade by them
previous fo the lesson, when such preparation is necessary
44 ART
3. Securing of the materia]s that will be required for demonstration
4. l'reparation of the materials that will be required by the class
5. Placing of the specimens or models.
No'rE.--Where paints are te I,e used, the paint-boxes should be opened and plaeed in
position and the eakes moistened by the pupils previous te the demonstration by the teaeher.
METIIOD
A I,proim«te Time:
2 te 5 rein. 1. A rapid demonstration by the teacher of the method and
order of atlack, while the class «bserves.
1 te 5 rein. 2. The distribution of materials.
2 nain. 3. The study of the particular ol,joct or speeimen by each
pupil, while Ihe general order te be followed is obtained
frein the class by questioning.
5 te 10 rein. 4. The class begins the work, while the teacher passes quietly
around noting every important mistake that is being
ruade.
2 rein. 5. The (.lass stol,s w-rk, and each drawing is held off and com-
pared with lhe model, while the teacher mentions the
mistakes he has ohserved and asks those who have ruade
these errors te, raise their hands. The drawing of any
l,upil who does net recognize his mistake should be
1,rouht forward se that he mav sec if beside the model,
with which he may then compare if at a better distance.
5 te 10 nain. 6. The pupils correct the drawings where if is possible or ben
a fresh drawing on the other side of the paper.
2 nain. 7. The drawins approved of for effort or d%ree of progress.
2 rein. 8. The best drawings brought forward te show the class.
Attention callod te merits, such as good placing, truth
of shape, colour, growth, etc., as the case may be.
9. When rime permits and interest is still fresh, another sketch
may be ruade.
IECIPES 45
ADHESIVE PASTE
To make one gallon of paste, use four level cups of flour, one rounded table-
spoonïul of powdered gum-tragacanth, two rounded teaspoonfuls of powdered
a|UlXlo
Mix the powdered gum-tragacanth in the flour, stir in water to make a smooth
paste, add sufiïcient boiling water and the alum, and stir while it cooks.
A FIXATIVE
Charcoal drawings that are fo lJe preserved should be sprayod with a fixative
fo prevent their being rubbed. Such a fixative is ruade of rive parts of wood
alcohol and one of white liquid shellac.
CHAPTER II
FORM I, JUNIOR GRADE
ILLUSTRATIVE DRAWING
SEAT EXERCIE FOR DEVELOPMENT OF SELF-EXPRESSION
In Fomi I, Junior tirade, the new pupils may be allowed certain periods in the
seats during the day in which fo make pictures telling stories. These should hot
be criticised, but each pupil should be able fo tell the teacher what his pictures
mean, and he should be given credit for them unless they consist of aimless marks.
Af this point a great deal of help may be given the pupil, without destroying
his individuality. A few strokes may make his indefinite figures take shape and, as
he is hot critical, no teacher fearing his own inability need hesitate to help.
Pictures on cards or around the room or sketches on the 1)lack-board will give
the pupil terres with which to express himself; but fo set him copying a picture
limits, rather than develops, his power of expression.
Let us suppose that the storv he is telling calls for trees. He bas hot yet
thought of a tree, excepting as a pole with cross-beams upon which apples or other
fruits bang. The relation of each part to the whole has hot troubled him ; therefore
his drawing bears little resemblance fo a tree. IIe will, however, recoguize the
photograph or picture of a tree and will adroit that it is more like a tree than his
drawing is; his struggle fo express things as they appear has begun.
SUITABLE SUBJECTS FOR ILLUSTRATIVE DRAWING
The illustrative, or imaginative, drawing in class in Form I may be begun with
short sentences expressing action, such as:
Mary pushed the chair across he floor.
Sam ran across the room.
The cat jumped fo catch the mouse.
Afterwards short stories within he pupil's experience mav be given, as:
The baby was so ill that mother called fo Robbie t'o run quickly for the
doctor.
46
TYPE LESSON 47
Advantage aise should be taken of the things in which the pupils are interested
and of events that happen in the neighbourhood.
Other suitable subjects for illustration are nursery rhymes; holiday happen-
ings; special days, as, Ilall«,we'en, Thank.giving Day, Empire I)ay, Circus Day;
any childish activity, as sweeping, dusting, raking, weeding; gaines and sports of
ail kinds.
lllustrative Drawing should aise be correlated with reading, number work, and
other school lessons, both in the class periods and for seat work.
5IETHOD OF BEGINNING TIIE LESSON
The teacher may open the lesson by making on the black-board a rapid sketch
representing seine action quite different fronl the one he intends te have the pupils
draw; for example, a boy climbing a ladder. Then he may put the question te the
class: " What is Johnny doing?" Every pupil in the class is ready te answer
immediatelv. The picture on the board is then removed, and the teacher proceeds
as suggested in the type lesson. If he sketches readily, this method of beginning
acts as an inspiration te the pupils. They may be led te sec that a story can be
told in three ways; it may be spoken, written, or pictured. The pictured method
appeals te them, because ail can understand it. The method of begnning must be
varied, however, and it is net necessary that the teacher should make drawings
every time a lesson of this kind is taught.
TYPE LESSON
SUBJ ECT
Mary pushed the chair across tbe flonr.
METHoD
When the elass is ]istening attentively, repeaf the sentence, " Mat
chair across the floor", endeavouring te make the action as vivid as possible.
Ask the pupils te close their eyes and think of Mary. " If is a heavy chair
and Mary has te lean forward se that she can push hard. Think how her arms
look. Vhere are her feet? Does her skirt hang lower in the front or in the
back?" After putting these questions, which the pupils answer for themlves,
mentally, ask them te open their eyes and make a picture of Mary pushing the
chair.
48 ART
While Che pupils are working, go about among them quietly, making mental
notes of their mistakes. In from three to rive minutes, no longer, have them sit
back with their drawings held at arm's lenh where they can study them, while
)ou ask questions relating fo the mistakes that you bave observed, such as: " IIow
many bave drawn Mary too slnall for the chair? Too large? With ber feet so
high tbat she appears fo be in the air? IIow manv have the lower ends of the
chair legs higher than Mary's feet, so that she appears to be holding it up? »
Watch fo sec that those who bave marie these mistakes discover their faults. If the
class finds if difficult fo get the action, dramatize the sentence. Call a little girl
forward as far as possible from the ,.lass, so that ail can sec ber, and have ber push
a chair across the rooln. If necessary, let rb-se in the back seats stand or more
quietly forward fo a place from which thev can sec.
As the little girl pushes the chair, call attention fo the relative position of
feet, hands, knees, head, elb,)ws, having the pupils note particularly the points
where mistakes were ruade in their first attempt.
Let the pupils close their eves again and call up the mental picture, then turn
their drawinzs over and try azain on the other side of the paper, or complete the
first drawing if it (.tn be corrected.
Send the pupils with Zo,)d drawinzs to the front, so that those in the seats
may compare their pictures with ones that tell the siory better. Let the class choose
the one which relis Che storv best.
The dramatic element is the tl)ing of vital importance in illustration; and an
illustrative drawinz in which this dramatic element is present, even though the
figures are but poorly drawn, mav be much hetter than one with figures well drawn,
which is lacking in this vital element. The teacher should do little if any criticising
of the drawings in Form :I. lits purpose sbould be fo direct the attention of the
pupils fo those things which he judges by the mitakes in their drawings bave
been overlooked and fo lead them o discover for themselves where their drawings
are faulty, in order that their future efforts may show improvement.
GAMES AND SPORTS
Amon Che manv gaines and sports that may be taken with pupils in Form I,
Junior Grade, are hide-and-seek, football, hockey, building a snow man or a Teddy
bear or a snow fort, snowbaliing, skipping, sliding, and skafing.
Certain games and sports seem to be popular in some localities and almost
GAMES AND SPORTS 49
unknown in others. The tca,-hcr must choose for illustration those that are
familiar te the class, and he should make use of thom ata rime hen interest in
them is at ifs height.
He ma)" begin a lesson bv dcscribing bricfly, but as vividlv as possible, seine
gaine he has scen which is common o lhc localitv.
The pupil. may ihen close lhcir cvcs and lry le ima;zine lhe gaine as dcscribed,
afterwards proceeding with charcoal, black crayons, or coloured crayons, te rcpre-
sent if by a picture or a sertes of picturcs.
AN EXA,I PLE
The tail-piece shown I,olow is a fair examl,lc of what mav be expectcd frein a
Ferre I c}ass. This is a drawing },v a Ferre 1 I»,,y. and has heen greally rcduce(]
in size. The class had |)een giX'el a s]cigh ride, and lhc uext dav lhc pupils marie
pictures describing their oufing. No two drawings XCl'C a}ikc. In the drawig
shown, the bovs are seen .campering te tire s}eigh in which the lwo chaperoncs are
alreadv seated. Marvellous as are the hais of these ladios, they pale in comearison
wiih the iml,ossihle steeds.
It is onlv whcn attempting te dcpict a similar sccne that one realizc: how
much the small hov has accompli.hed in this drawing notwiihstanding his in-
accuracies. He is just emerging frein the sxmbolic stage; the few dota(.hod house.
stand for the terraces in a citv strcet, the lar.,..,cr huildiugr.presents the schoo}-
bouse separated from the other bouses and the street, as the picce of fente indicates.
These are ttnimportant but necessarv dctails. The hurry, the capacious slei.,_*h, t]|e
horses, the interested onlookers, the restrainin chaperones, and that nonchalant
hero of the occasion, the driver--thcse are of conscquence to the b,.v and 1,»oto
large in hi. picture.
50 ART
In ail illustrative work the teaeher must endeavour fo get the pupil's point of
view. 11.. ntay find in the alJsurd pietures a fount of anmsement tobe inwardly
«'tjo3ed, Ira! the l.upil's thought is hot absurd, and fo depreciate or make fun of his
effort may result in the stunting of his development and will most certainly destroy
Sl,,,n|alleily.
Wl.q, lmpils are «, lmve an outin or are fo be iven the opportunfly of seeing
et «ireus ]u'ocession or a parade of any kind. they should know beforehand tbat they
will I,e alh,wed h» nlake lfictures deseril,iug what lhey have seen, when they return
to file class-room.
NCR.";I':RY I/IIYM ES
A |ist of nurscry rhvmcs su]tab]c for illustration is g]ven n the text for
Form I, ,Scnior 1;rade.
IEI'RESENTATION
PLANT STUDY
Pupils in Form I. under flw guidance of tho teaeher, should be able fo make
eroditable pi«turos of file fl«,wers mentioned in tlae General Introduction. If is"
oot alwavs ne,'e.sarv for thê teachor to draw the specimen before he class, Im he
IIIIISt lise |hochalk frequently tf, sllow the nlethod, nexer permitting lais class fo
,,q»y his work. I»ul eOllSlantlv ealling attention lo direction of stem. differenees in
shaI,«', atld 1,osili,,n of masses, lh, nust impress upOll his pupils that thev must
l,,ok ear,.hlllv Io seo wllere ea«h part is and. after havinff drawn any part, they
should compare with the plant to sec if if bas been eorrecfly place&
DRAWIN'ç. OF A SPRA¥ OF C.RASS IN" COLOUR
(Time, twenty fo thirty minutes)
IATFR IA LS
FOR TIIE TEç('IIFR:
f'olourod chalks, a spray of gra.s pinned op ai the front againsf a lizbI back-
zou.d wbore ail tan scc if. and a lare piece of drawing paper fastcned fo the
l.lack-board wilb a dr«, 1, of mucilage or a gummed label.
fin oaeh dosk a box of coloured crayons, two sheets of 6" by 9" paper, and a
specimen of -rass. The latter may be laid upon the sheet of paper on the desk fo
SPRAY OF GRASS IN ('(}L(}UR 51
the left of each pupil. This method of l»lacing the specimens
is particularly helpful fo a class of bcimlers. The teacher
should consult the (;eneral IItroduction for other ways of plac-
ing specinlens.
Each pupil should bave a good @ecimen and, if possible,
but one variety of grass should be used.
I ETI
Teaeher : " How graeefn], ver fd] of lire our rasses seem.
Thev look as inercsWd as vou de, when v<,u arc g,,ing o have
Vollr pic/ures taken. I,,-t us l»e a« fair t«,-dav to our litllo
visitors from the fields as we Wollld cxpoct the I,hotozrapher
be fo us.
What must we 1,e careful to get right? Colour. shape.
and someflfing el»e. m,»st inpol'tant of ail, the dircction of the
store, because it te]ls how the grass grows.
S-nm plants rira al-ng tle ground and clinff to evorv-
thing thev tan reach. Xot so our zay. independent little 7rass.
Others have a stronz ruzzod stalk. Lc.t us trv to draw
ass stem as if grows.
Lo,k ai this spo«inwn, which i not exaetlv ]iko vours.
I shall make a picture of mine whilo you watch, fil'St sweepinu
in, just as the store rew from the earth upward, a line of
green chalk so faint that we mav calI il a whispered line.
Do anv litilo branches show iii t]w head ? Thev corne
and nmst be put in just as thev slant fr«,m the store. N-w for
the head : we must shai,e tho Iitt]e strokes in the wav tho in"
tufts of flowers ow. Tho hlados corne noxt. First a
line is dram where each blade joins the store, to et the right
s]ant: thon eaeh b]ado must ho shapod with lon7 strokes.
wideninz toward the nfiddlc and taporinzfo its sharp point.
Does the sfem look strong enou7h, or must I strenhen if
above and he]ow each h]ade ?
Look again af tho co]our : is there a littlo red or xo]ot in
the top, and shouId I add a little brown along the side of
52 ART
«iem or iho «.tige of tho I,lades? I shall put lny picture awav now. ]tis )'our turn
fo mako a l»i«iul'Ç of OliF spray.'"
Thc Irai»ils now select tlw gecn crayon and draw thc light direction line;
thon compare if with tire Sl..cinmn and (orrc(.t, if ne(vssary, wiihout erasing.
Aficr cach stop the pal»er is lwhl at arm's length bcside ilm sl»ray of grass, and a
..mparison is ruade. Upon lhe extra s]w«.l of l»alwr trial strokes are marie and
c»l,»urs reste,l. ()lW tot Awet mav I)0 us.,l fl,r two or lhree ]ossons.) When a]l
have had rime t- finih, tlw drawinzs are placed al the front, and the lmpils ehoose
the I)esl I»v climinatin7 lhoso that arc irai quite trulhful.
It is wcll lo cxhil»it thc best drawings h,r a dav or so on the bulletin board,
s a reward for thoc who suceeed and as a hclp and eneouragcment for all. The
illustrations on l»a7c 51 arc I,v Form I l»Ul»ils.
SUGGESTIONS
If a pvpil has mad,- a strong effort to iml,r,,ve, if is sometimes a good plan fo
put his drawin Ul, as showing nmrked iml,rovement.
I;rasses nmv I,e l'el,rescltcd with colour«.d «halks. charcoal, black crayons, or
coloured erflvons.
I:FL STED FXEIWI.ES
A numl,er of ]ossocs Oll difforent gr.assos and sedges midlt follow, |)lit BOt in
succossion. I,erest is kel,t alive aqd boiter resulls are obtained when the drawing
]essons are varied.
SPIDERWORT IN COLOURED CRAYONS
(Tinle, twenty to thirt.v nfinutes)
To got eaeh pupil fo feel and express tire vigorous lire, peculiar growth,
shapo, and colour of ihc spe(.imen ho is studying.
]I ATI.RI .LS
:FOR TllE TEAt'IIEII:
Coloured chalks to be used on the black-board or on a large sheet of paper
fastened to if.
SPIDERWORT 1X COLOUR
53
Fon TIIE I)UI'ILS:
On each desk a box of eo]oured crayons and a sheet of 6" by 9" drawing paper.
(le good sta]k of spiderwort, with leaves and bh»om, te every three or four pupils.
For ihe plaeing of these eonsult the General ]niroducti,m.
5IETIIOD
Teacher: "We bave a treat iii store f,,r us to-dav. What fun it w-iii be te
make fine pictures of tho protty .piderwort! In what way is if like the grass we
drew. a few davs affo? .l,hn. sland up and hohl your arms in the way the first
leaves grow. Are John's arms lon.,.., enoug ? lh,ld veut arms up like the second
pair of leaves, Annie. Sec where the leaves begin, how verv close they are te the
stem. They wra 1) around it se as o bide il. ]rot they soon sretch out and awav.
tlow is the stcm different frein that of the grass? Did v«u ever start out te
down town one way, lhen change your mind and go in a difforent direction ? De
vou think the leaves had anyfling te de with tho st«.m's chan.,_,e of direction ?
Place your paper the wav the spray will fit on if best. First. put in a
whispered line, te show h,w the stem grows and the slight chan.ues in its direction.
Turn vour paper over new and on lhe wr.n._-, side of it make a blue spot. Hold it
off se that vou tan look at it and the flower at the same rime. Does he Nue
match the hue of the pretty throe-cornered blessera? ïaat does if need te make
it look right? Make a verv falot blue spot and rub violet over it. Have you
matched the colour new?
Notice the green leaves that poop from under the violet petals. These are
called sepals. Ail clos vour hand.¢ and let them bang frein vour wrists as the
buds hang frein their pink sIom..
With the hlue and vi«,h.t (rayons slmpe out the flower.¢ new. at the top of the
light direction line. lh,hl veut paper se that vou (.an sec l»fll vour picture and
tle flower, llave vou he«.n quite truthful? Make if 1,ettor if Sou tan. Choose
the crayons for the buds and their stems and make flom next. Compare with the
rem buds. .qh«,uhl ail the stores show? 3[ake veut I,uds lo,,k like the real ones.
Xext, te get the right slant, put a light lino'whcre each lcaf joins the stem.
Compare. te sec if your lines point in the ri.,_.,ht direction, thon shapo out each long.
pointed leaf with l«,n7, green strokos. Compare a.zain with tlo roal leavos. Can
you make them look more natural? Last of all. look carofullv te see how thick
the stem should I,«.. n,,ticing that in 1,lac-es if if hidden bv tlw l'vaves, and draw if,
54 ART
making if firm and stron. Once nmre, hohl your drawing off and compare if
with the spray, lIave vou nlade a truthful picture? Letter or wrile your naine
iwafly in fle 1,,wer ri:zht-hal,d corner of lhe pal,er. Eaeh row of pupils will
lmW corne forward in turn and ho]d up the drawinzs, se lhat we may piek
out thc best al¢l l,llt lhell u l, fol' a dav or two wh,re ail may study them."
I: I.LATI-:I» I.:X I-:R« 'IS FS
Express flowers of the .easoll in different medium.¢. Those having very char-
aeteri.tic .hal,*. : f-r exalnl,lc, oldell-I'¢,¢l, wihl a.Wr, and harel»ell, iii the Fall, and
tulip, iris, and daffodil, in the Spring, mav I,e rendered successfullv with ehareoal
r l»la.k «ravm.
Fl,)wers su«h as the salvia and gal'den aster del,end f«,r their beauty ]argely
u],on their ivi,l c,,h,urin.,_,. Such fl,,w.rs slmuhl alwavs I,e iii colour. The pupils
of F»rm 1 should l»e all,»wed t,» u:e c«,l,,tlr erv freclv.
TREES AND LANDSCAPI-:S
For hel l, in the drawing«,f tree. and land.cal,es, which mav l»e necessarv in
]llu.¢trative Drawing, the tea[.her is advi.ed te» (-on»uit the lessons for Form ].
Senior ;rade.
DRAWING FROM TOYS
(Teddy 1,car, fr«,m memory)
AIM
Te et llw l,al, i] 1¢, see f,,rln and te, eXl,l'eSs it as he sees it.
M AT EItIAL.
TIIE r['FA{'II ER :
.\ hr,wn T,ddv I,,-ar and a l*i,*,.e ,,f white ehalk.
TIIF PI l'IL.'4 :
A sheet of drawing paper and ],rown (-halk, or eharcoal, on each desk.
IETHOD
The teacher, holding the tov in c, ne hand, .¢ieps te the hlaek-board and, with
side of a short pie«e of «halk, rapidly shape. out a ma.es drawing of the Teddv
bear: tlwn lurnin,g t, the (.las. ho savs: " Of what have ] ruade a picture?" The
DRAWIN(t FROM TOY,q 55
answer is eagerly given. IIe then continues: " l[ow many would like fo make a
picture of Teddy?" The desire is unanilnOlls. '" Wcll, you must wa[ch hiln vcry
closely for a moment or two, for I shall put him in the chmk-rooln, where you
,.annot see him, while you make your l.iclure of him."
The bear is then held Ul» in a position different fronl
the one that was drawn on the board. The teacher moves
from place to place as he ea]]s attention fo tho shape of
eaeh part that ean be seen by the e]ass in the position in
whieh he ho]ds the bear. Every pupi] is given an oppor-
tunit- fo get a good view of the hear in this position.
The pupi]s then dose their eyes and imagine that they
are making a picture of the hear on some large, white
surface such as a wa]]. The teacher fixes their attention
on the subject bv sayinv: " Make the head first, shape out
the nose now, and the round ears", and so on. Then the
Teddv I.ear is a.ain hêhl Ul», while the pupils tell som,
of the mMakes thev ruade in their imavinary drawings.
The I»ear is now put away, and the pupil decide
which wav fo turn the paper fo bave the drawing look
best: then, with lheir chalk or crayon lhey pr«.eeed fo
make a fine, big, mass drawing «.f him. Everv litllo
while thev close lheir eyes t reeall his image and open
flem fo compare their drawing of him with this image.
In about rive mhmte the drawings are finished, and
lhe bear is again hrou7ht out, in order that lhe pupil
may make emparisons and discover where thev haro.
ronde mistakes.
If any pnpil bas diffieultv in 6ndin. his mistakes,
his drawin 7 shauld ho hold beside the hear, so that, fram
his seat, he mav empare the two side bv side.
Tho losson mav end here, with the arran.oEing of the
best drawings af the front and, in that case, should
not have occupied more than from fifteen o entv Er BEARS
minutes.
If interesf is sill fresh, he bear may be hidden again, while the pupils make
new drawinffs on the other side of the paI, er, eorreeting the mistakes ruade in their
56
ART
I)I'AWING FROM TOYS
first attempt; or they nmy study the
bear in a new position and again make
drawings from memory.
Drawings from memory after care-
ful studv (except in the case of plants)
are usuallv better than those nmde from
lhe mod(.l, but exercise should be given
occasionally in drawing from the nmdel.
DRAWING FP, OM TIIE IODEL
Followin.ff a losson of this sort
where the .I,ject is drawn fr.m memory.
«»n another dav three or four objects of
the saine kind mav be 1,1aeed so that
ea(-h pnpil has a good view of one. and
drawings nmv ho ruade from the.e, after
the shape and the relation of the dif-
ferênt par. have heen nrded bv the
pupils under the direction of the teacher.
CIIAI'TER III
TIIE PUPILS in Ferre I, Jiinior (lrade, shouhl beeome familiar with lhe names
of the six eolour fami]ies--red, orang,, yelh»w, green, hlue. a.d tolet, and should
learn te e]assifv different eoloured materia]s or objeets as belonging o one or
another of these families. "A saln]»lc -f the standard eo]our should be set up
s«»mewhere iii the room. and ail the ce]ours that appear te]»elon/ te it should he
gl'ouped with it. Standard green is the reenest green that eau he imagined, a
green that u««e... neither vellow nor b]ue and camot be spoken of as either
light een or dark een. The standard of anv eo],,ur is lhat e¢,lour at its
normal value and at fui] intensitv.
A Ccd.ur Itunt is an instructive yamo that mav ]»e played with F,,rm 1.
.Iunior ;rade pupils. A eolourd i,icture is hung up in fr.nt of the elass, and
the pupil point out all the different places in whi«h eaeh eolour appears. A pieee
of manv-coloured woven or I,rinted fabrie, or a bouquet of flowers mav take the
l,]aee of the pieture.
A sequenee of lessons on ('olour is given in F-rm 1. S,-nior rado. none
whieh wou]d he rond too difficult for an average Form I..Itmior l',rade, in the
latter hall of the terre.
Coloured eha]ks wi]l be round prefera],]e to crayons for the use of young
pupils, where shal»es that are rather large are to be ruade.
Wherever possible, the patterns ruade l,y young 1)upils should be al)l,lied t)
seine arlMe eonstrueted by them. S,,me little pra(.tice, howexer, is ,eees.ary.
before thev tan nmke unit. that are nearlv of a .ize or ean space theln at al]
regularly.
Their first borders may be ruade with sma]l squares obtained I,v eaeh pupil
folding and ereasing a square of eoloured paper se as te make sixteen smal] squares
whieh ean I»e pulled apart easi]v. A slle«,t of 6" bv 9" drawing paper i. then
folded lenthwise le ferre four sfrip.. Thi. is separated ahmg the middle el'ease.
forming two sel»arale s[ril»s ea(.h with a nliddle erease.
57
58 ART
Along the crease in one of these strips the little squares are arranged, the
pul,ils moving them along uutil hey look well and are eenly spaced. A great
variety of I,orders may bc ruade by differeut groupings, spaeings, and positions of
lhe squares. (bl«,llgS and trian71es may be ruade fr,,m the small squares by
«reasing ami separating aud may then be used similarly. Wooden shoe-pegs or
sma|l stit.ks, aud such sceds as those of the l»umpkin, squash, watermelon, or
citron are uscful for the saine purpose.
DESIGN
Whilo ho (.lass is ai work, le teaehor should go about amoug his pupils, appre-
eiating what is g«,od aud makiug suge.¢tious where improvement is needed. Each
pupil shou|d draw wil a coloured cravou the 1,est 1)«,rder he has been able te
arrange, as .¢oou as if bas been appi'«,vod of by the teacher.
When a few good borders have been ruade, a pr«,blem iii construction calling
ï«,r lh«, alTlicaion of a bor,h.r shouhl bc gien.
(t
APPLIED DESI _,N
59
BoI:DEI:S
APPLIED DESIGN
TOWEL WITH BORDER
AII
To make a small paper towel and decorate it with a suitable border.
IATERI.çLS
For the teacher and pupils: Each a sheet of 6" by 9" drawing paper, a pair
of seissors, and a Idue or a red crayon.
60 ART
-I ET I I OD
The teach,,r, standing in front of thc elass, gives
direcli.ns and illustrates what is te be done by doing
it with his own .h(.ct of pal»er.
The drawing l,al»er is laid on each desk the long
wav across and f,,ld,.d o make four long slrips of
cqual size. The outside fold is well creased and then
careïuHv SOlmrated, lcaving lhe shcet of drawing
pal)er lh_ree strips wide. This is new placed on
desk the long wav up and don, the near edge
folded te mcet lhe back edge. Ol)ened out again, and
the I«,ttrm and l-p ed.,_,e.q in turn foh]ed te meet the
middlc (.rea:e. Whcn the paper is opened out once
m«we. the creases are round te ferre twelve ob]«ngs.
Tbe row of three obl«mg at each end i.q required for
the I«wder and frin7e of the towel. Ab-t two thirds
of lhe ]ength .f the space should be taken for fringe
and one third for border, or vice versa. The strie that
(.ame off lhe side nmv be used as a measurer, as
widfh is two thirds of this spaoe.
The tr, wel is new readv te have the border applied. Only one eolour, red or
blue. is u,ed for this. The border space mav l»p edgcd on both sides with a line
of colour: bctweC these two lines each puldl arrangeq a coloured border similar
le one he bas alreadv made. Thp fringe is'cut t,» the coloured line. and thc towel
i, ««,ml,leted. producing a result
similar te the illustration.
If anolher strie is romove, d
frein the sheet of drawil
l,al.q', flw l>rrprriirns nre suit-
ahlc for a sidcboard scarf or a
table runncr, f«w eilber of which
file saine sort of decoration is
alq»ropriate.
Where the primary room i.
f,«'{unatc enrmgh te l»ossess a
d,dls' h<,nsp, lhese proldems may
APPLIED DESIGN---CHRISTMAS BOOKLFT
AI,L-OVER PATTERNS 61
be worked out in cl,th inslcad ff
paper. Linen, scrim, co/ton voile.
eveu unblcached cotlon may
used, and window curtains, tabio-
cloths, hangings for doorways, I,ed-
spreads, or anything similar, re-
quir««l for the furnishing of the
dolls' house mav he ruade I,v th
little desimers. Some crayons arc.
manufactured, desims ruade with
which will stand washin.z. If
these crayons are used and
desi._-,n. are pressed with a
ir«m. the articles decorated hv the
pupils mav he washed without
being spoiled.
Other thins that mav be
deeorated and different plans for
arrann decorative units are
shown in the illustrations for thi
class and also in those given with
Form I. Senior Grade lessons.
ALL-OVER p eTTERX'.
For ?he makin7 of ail-over
patterns the 6" hv 9" drawin 7
paper mav bave a 3" strip removed
to make if a 6" by 6" square. The
paper mav he prepared beforehand
hv the ieacher or l,v on or two
memher of ihe cla.¢ more deft
tban thc average Form I, Junior
C.rade pupil, or ifs preparation
mav form a measurin_ excrcisc for
a Form I, Senior class.
ART
CROCUS
When the 6" bv 6" squares are in
readiness, each pupil should fold and
crease his so as to make sixteen equal
squares, fo help him to space evenly the
unit that is tobe repeated.
The unit nlay be chosen f-r the
«.lass by the teacher, or each pupil may
('htn».e hi. own frolll a 1tomber of suit-
al»le «mes sug7ested bv the class and
drawn cm the board bv the teacher.
Anv of the units alreadv used for hot
ders wouhl be suitable. Others that
(-o,,ld he drawn in this elass are a round
d-t. a ring. a lilac leaf. a bud. or other
simple form su._,zgested bv the pupils.
For special purposes, sueh as the Easter
constructive work. nnits apprt)priate fo
the sea.¢on hul not too difficult in shape
for the class should be selected.
Anv one colonr, or anv one eolour
and black, should I,e u:ed iii the colouringof these patterns, so as fo allow the
I,upils a certain anmunt of indixidua! choice, while using sufficient restraint to
i,reveu/ lheir makin7 uly c,,mbinations of colour.
CHAPTER IV
FORM I. SENI(R ¢;RADE
ILLUSTRATI VE DRAWIN(;
|LLU.qTRATIVE I)ll.>.wIXl3 should I)o takcn up in thi. Form in practioally the samo wav
as in Form l..Junior Grade. A little truer tolling of a story by pi«tures is fo ho
expected here, howevcr, and the seat work should take a more practical form. For
A GaME OF UOCKEY--By A FONM I PUrlL
instance, tho pupils mav make pietures of ail tho ol,.jcets montioned in any other
losson and write or Iottor the naine undor eaeh pieturo. Af another ime the
teaeher mav write on tho blaek-board a numl,or of sentenees epressin action, for
the pupils to il]ustrate in their seats; or lhey may express a whole lesson 5y a
selles of pietures.
63
ART
tri numl,cr work, the making of pictures in lhis way may be made te provide
l,rofital,lc as well as intcresting exercises for impressing tables and enabling the
teacher te sec at a glancc whether or net the ïacts he bas taught bave been
undcrstood.
The l,upils are usuallv verv much interested in making pictures te illustrate
lmrsery rhvmes. One method of taking the illustration of a nursery rhyme with a
Ferre I class is suggested here:
LITTLE MISS MUFFET
The tea«her seats a litth, girl «,n a bcn('h or lai,le ill one of the front corners
of the roc,in, se that the wholc c-la.es may sec her sittilJg on a ]arge dictionary or a
pile of books--sOlncthingwhich will reprcsent the " tuffet ". She holds a bowl on
I,er knee and dil,s a Sl,ç,on in this, carrying it te ber lips as though she were eating.
The I,upils watch this tableau for a while and are then allowed to.tell whom
thcv think the little girl represents.
This qucstiç, n t,eing settlcd, thcy are encoura.ued te describe the place where
thcv like t,» eat thc bowl of bread and milk or piccc of bread and butter that mother
cires theln aftcr school, and se suggestions are marie as te Little Miss Muffet's
l,rohal,lc surroundings.
The littlc grl is thcn taken down frein thc bcnch or table and, aftcr the
first erse is rcpeatcd for them. the pupils cl,,.e thcir cvcs and think of the un-
suspecting Little Miss Muffet eating awav 1,usilv at her curds, with the spider
danglingabove hcr. As so,m as thev imagine flmv can sec her. they open their
,vos and makc their pictures on one side of the drawing paper, using charcoal or
hlack crayon.
During the lcsson thc teacher should bave the pupils correct their drawings
after the plan gven in the lesson in Ferre ]. Junior Grade.
When thev bave had timc te make their pictures frein the first verse, the
«econd verse i.¢ repeated as vividlv as possible bv the teacher, and the pupils show
in a new sot of pi«tures how thev imagine the startled Littlc Miss Muffet would act.
At the end of the le.¢son the best pictnres are put up af the front, se that
the whole class mav be hclped and inspired bv thcm.
LIST OF NUR.ERY RIIYMES SUITABLE FOR ILLUSTRATION I" For I
Little Bo Peep: Sing a Song of Sixpence; R«,ck-a-bvo Baby, Thv Crad]e is
Green; Ding Y)«,ng Bell: Old King Cole: Hush-a-bve Babv on the Tree Top;
NURSERY RllYMES ANIt STtltlE,S 65
Little Tom Tucker; IIark, Ilark, the l»gs I,» Bark; Three Little Mice sat d,,wn
te Spin; ïhe Mouse ran up the Chwk; 'ja«'k ami .lill; Lillh, l;«,y l:lue; Wee
Willie Winkie; Mary, Mary, Quite Contrary; I had a little l'ony; Little Miss
Mutïet; Little ,Jack llorncr; Jack be Nimble; l'ussy car, l'ussy car'. hcre have
you been?; llumpty lhmpty; an,I others.
in addition te tlle sul»j,.cts alreadv treated, simple fairy tales and other stories
will be found excellent for illustrait,n.
The ï-llowing st-ries are r«.commend,.d I»y a Kinderffrtner «,f eXl»erience , as
likelv te appeal te the imaginati,,n of the children. SI,ries sllould be tohl. net
read to the class.
The Sleepin$ Princess, ïronl a Kinder,arten Store B¢,ok, by .Iane I[oxie:
Thumbliny, frein he Bost«,n eolh.cti¢»n of Slories (adal,ted frein l[ans l'hristian
Andersen) ; ll'ishiny llï.hes, Giant En«r.qy and Fairy Skill, and The Search [or
the Good (__'hild, fr¢,m "3Iother Stories". l»v Maud l:ilt«Isav: "l"he Kiny et [he
Golden Riccr, l»y uskin; Rayy!llU 9, fr<,m "Wild Aninmls 1 llave K,own", bv
Ernest TImmpson-,";eton; The Vi.,.i[, fr«,m "More M,,lher SI-ries". I»v Maud
Lindsay ; Little Dccd.¢ et Kindnes.ç, frein " In the Child's World ". hv E Poulsson ;
The Leffend et the Dipper. frein "" For the f'hildren's /leur" l»v Carolvn Bailey.
SILOERLOCKS AND T/lE THREE BEARS
Te develop the pupils' imagination and power «,f expression.
.-'il t.TERI t.LS
A sheeI f,f f;" bv 9" drawing pal,er and «-hareoal or eoloured erav«,n on eaeh
pupil's desk.
5IETItOD
As a preparaic,n for ihis lesson, the teaehor gives se,me timo previonsly one
or me, re ]essons ¢,n drawing the T,.ddy bear. similar te, flm gien anmnff le
Ferre I, Junior rade lessons. New, sanding I,oforc flw class ho tells the sorv
of Silverlocks and the Three Beers as vividlv as possible. Five minuIes is spent
in a discussion of the sIc, ry, as te the prc,bable appoarance of the house, the bears,
and the sevcral situations in which Sih'erloeks round herself.
66 ART
Tbê I,lpils el,,se tbeir eyes te see which of the many scenes in the story they
sec most distin(.tly; then, oi,ening their eyes, each proceeds te depict the scene
whicll is most ivid te him.
As th«.v work. the teaeher passes r,,und, noting any mistakes that are being
ma«le, lle llwn SWl,S te the front and asks ail te close their eyes while he ealls
alt«.lfli«,n te, llwse nlistakes, l,erlmps in seine su«h wav as lhis: " Silverlocks was a
verv little girl. and the trees in the wo.d were rail trees, llow high up against
lhe tr(.es w«,uld her head corne? You will rememl»er that the bears' bouse was
two st,,ries hig. b«,w big w«,uld little Silverlocks look bêside it ?" Thê pupils then
,,l,Cn their ew. and look af their drawinz as the teaeher asks: " llow manv have
ruade .";ilxerl,,cks too tall and the trees and house too small?" The pupils diseover
fleir mi,takes and. xhere possible, correct them. When thev find the paper too
small te e\l,ress thinzs in proper proportion, tllev mav 1,e shown pictures where
onlv a I, art of the house al,pears and where the upper part of the trees is eut off
hv tho top of tlle pieture. The pullinz down of a window shade will help them
I,, realize lhat we de sec trees and houses oeesion«tllv in thi. wav.
The best drawin.,._,s mav be eolleeted and put up at the front. A good exereise
in jld:qm.nt w,uld 1,e te have the pupils choose the pieture they eonsider best,
zivin.,_, tbeir rea:,,ns for tllis deeision.
[ïlhl'Tl'UI IN FLOVER-POT--
B A FORM I PUPIL
REPRE.'4ENTATIçN
DRAWING FROM FLOWERS
The lessons given in Form l. Junior Grado. on the
drawinz of grasses and flowors are equa]ly .¢uitable for
Form l, .enior ;rade. As in ]llustrative Drawing,
I,ctter work is to 1)e expected from the senior 1,upils.
M«mv of the mistake. ruade bv verv young pupils are
due fo laek of muscular eontrol" ],ut.'as'each effort ruade
to draw som¢.thing woll bel],s to overcome this trouhle.
there should I)e a marked difforcnce I,etween the draw-
ings ruade at the I,eginnin,,, and tbose ruade af the end
of tbc ¢irst year af school. In Form l..enior Grade,
special attention should be paid to direction, relative
position, size, and shape of masses.
DAFF}I}IL IN (_'}I(-)UI 67
l"+xcellcnt tic»avers for drawing in thc SI,ring are tulil,s and dalt'odils, whilo
sunflower. California pOlTY, and salvia in lhe Autunm Inake delightful studies.
DAFFODIL IN f'OLOUR
T» get ea('h l,Ul,il te, exl,rc.s as trulhfully as he tan, the growth, shal,e, anti
colour of the l,articular dalrodil that ho is stu,l.ving.
MATI:If ! A
FoR Tll E TE.t, Cll vit :
Col-ur(.d chalks.
FoR TllE l»Il'IL:
lin ca('h desk a box «,f (.,,lour(.d erax«ms and a dw,.t «,f I;'" I,+ '" (lrawing
paper; (me g«)od spe(.imon +ilh th,xxm'. 1,,ng sic.m, nnd h.axv. 1o (.verv rive ,,r six
pupils. ('onsult the (;cncral lntrodut.ti,m for directions regarding the l,lacin of
specimens.
[l'Tllllll
The teachcr sh«)uld riliike rapid skoleh(,s
tions of the flowor. The pnrt of lho hl«,«smn that is neart.st sh«)uhl 1,o skot.h,.d
first. Iii the side "¢iew. oiw «,f tlw 1,clals is nearer than the fl-wc, r ('ni». The
teacher seleets tho y(.ll.w ('halk nnd ,lraw lhis petal in niass. It niust be marie
shorter and llroader than lh-se on each sid.. a it extends t,,ward lhe l,erson
drawing if and is, theref.re, nolic(,iil,lv f-rcshort(.ned. The I,«'lals on oaeh side of
it are drawn iiext, thon. wiih a deopor 3ollow--possihly a
the cup wifl its crinkly edge is drawn al»o in mass. and if I,'lal l.,int l,«'Ol, fr-m
behind the cup. theso aro added, a are als«, an
petals. In a front iow of lh«. fl-wer, lb,' cup i drawn fit'st, and flu, 1,olal< put
in radiain from it. Three or four diff«.ronl I«,sitions lnaX 1,c r,,uhl 3 shmn in a
few minnIes.
Each I,upil now de«ides whi«h of lho skel«hes on the I,la«.k-l.,ard bcst repro-
sents the flower as he secs if. The black-board sketches aro thcn erased, and lae
pupils begin their drawinzs, each puttinff in, fit'st, a faint green stroke for the
direction line of the stem. with ifs queer liltle turn at tho t«p and its slight bend
backward as though it had braced itself fo 1,var th,. wcidt ,,f Ihc hl,,»»,,m. The
68 ART
flowcr is put in next anti, tal,cring frein the petals, the strong green part that
l,eel,S frein the shcalh; th«.n th,. sh«.ath is ruade with faint brown strokes tinged
with gl'een, and l,«.rbal a littlc l,ink is added at the e(lges. Next, after the
attenti«,n of thc elass has been callod te the faet that the green leaves grow up
I,eside thc Steln. net out of it. a hmg line is drawn h,r cach lcaf. te show the
direction in which it bends. Lonz, green strokes are added te the direction line
of eaeh lcaf till itis ruade the right width and shape, and a little blue is added te
it and tf, «,ne side «f the sri, In.
As the l»Ul-»ils wm'k, if their dr.'winzs are te be truthful, thev must hold them
off aain and again in sucb a position that eac ean COnlpare his drawin with the
particular dffodil which he is representing, te see if he is making as truc a like-
ness as possible.
The best drawins should be coll«cted and placed at the front, the pupils
themsehes deeiding which is the verv best likeness.
TREES
When trees are in fn]l reliage, the shapc of the mass is clearlv defined, and
they arc much nmre easilv representcd than at anv other time. F,»r this reason
Septembcr is a particularly good nmnth in which te begin the studv of trees.
THE POPLAR TREE IN CHARCOAL
AI_I
Te teach thc (.Mss te observe and represent the growfl and general shape of
the poplar tree as seen in Summer.
PREPARATION
In drawin from fl,wers or ohjects, the specimens or models, exceptin.c in
rare instances, are I,r,uzht into the sch«,ol-room. This cannot be done with rees;
therefore unless it is eonvenient fo take the class where thev can studv the tree
from a suital,le distance, some special preparation is needed. This nmv eonsist of
a short talk with the «lass a dav or two bef«,re thev are fo draw thê tree. in which
he charaeteristic shape and zrowth of different trees are discussed in a very simple
way. The pupils' attention mav be drawn to the level branches of the pine and he
disposition of ifs masses of foliage in dmnps; to the umbrella-shaped top of the
P(I'LAI: TREE 1N CtIAR('L,L
elm; to the height and the wide-spreadingbranches
of the mal»le ; and to he great height of the p«)plar as
('ompared with its width.
If the tca(.her can ske(.h rapidly, three or four
dilferent trees may h(. drawn in nlass, and le l)upiis
mav naine thee, giving he reas«,n why the" think each
is the tree they mention, l'lmt«»Tral»hs or oller pie-
tures of trees ma3; hoput Ul, for examination if tlu.
eacher eannot draw, tlmuTh 1o «,thor pi«tures quit«.
lake the p]ac.e of thoso pohals far ]ess l,erfect, which
are rapid]y skotched heforo tho elass. After this ueo-
oral talk on trees, tho l,laeos where fino pophir troo
mav be seen are (liseuss«d. and lido pupile nro eoun-
selled o ehoose ono «f thoso f«r studv, standin far
onouh awv fr«»n it in soo its who]o shape .uainCt the
skv or whatever is behind if. If wouhl he a .gond plan
o have them look af numhor of p«,l,lar trees, tç'ing
to soe in what wavs t}lov ro Mike.
In order thnt tho pupil nmv put w}mt thev haro
loarned about tho troe inIo dofiniie ha so as t hve
a c]oar image of if hofore proeoeding to draw if, ques-
tion shonld be askod of them as to:
1. The heighI of the trunk eompared with the
heihI of tie upper paN of the tree.
2. The width «»f the tmmk eonlparod with the
eatest width of the upper part.
3. The eharaeter «f tho hranching.
4. The shape of the wh,)le mass of foliage.
!
POFLAR TREE--BY A FORM I
PUPIL
69
M'ATEP, IA LS
For eaeh pupil a pieee of ehareoal and a sheet of 6" hv 9" drawin. paper.
M'ETIIOD
Tho pupi].¢ should he askod fo plar.e tho papor on the dock with the long
edue verfieal or horizontal, ar'r.ordin, to tho wav iii whi«h iho tree will beCf fit
upon the paper. Thov may indi«ato with their hands jnst how wide and high
0 ART
thev intend le make it, for the tree must be well placed and as large as it tan be
ruade without haxing the al}pearance of being crowded on the paper.
They mav then he a»ked te close thcir eves a mmlwnt and try te sec he
troc. al't,'r h]th the should ho.gin le draw it, comparing the draving frein rime
1o time with thc image in thcir minds by closing their eyes te think about it, then
t.orrecting any l,lat'c in hich lhc drawing is net like the pitturc in thc mind of
cach.
.k th,«" work. tho l,.mlwr sh, mhl go al,out notinz mistakes, se that the atten-
tion of the elass as a holc may I,ç calh'd te thesc. In ordcr that each pupil may
be led te deteet and correct his oxn crrors, th" drawings should bc held at arm's
lcnth, se that thç.) mav ho compared with the mental image and. as each mistake
i» mentione,l, the pupil shonld look te sec if he ha» ruade that mistakc and. in case
lin bas. ho shc,uhl at once correct it.
-k< indi«ated in l»rei«,us ics»ons, the best drawinzs should ]»e exhihited at the
fr,,nt an,l. when te., mm'h tin,. bas net airoadv heen usod f,,r lhe lesson, the judg-
ment ,»f thc ,-lass sh,mld I»c ««fltivaed bv allowin thc lmpils te dmose frein among
the good drawings thc one which most rcsem]de» the rcal troc.
TIIE POPLkR TREE IN COLOUR
Summer aI, pearance)
Te teadi thc das. te, oh:erre, and repre:ent the yrowth, colour, and general
appearanee of the pc,l,lar tree in .%ummer.
For, THr.
Coloured chalks.
FOR TIIF PI PILS:
',,l,,uro,l eraons and a :heet of drawing paper on eaeh desk.
\ a preparation for this le..¢on, the pupils miht he allowod tn tako home
their drawins frein tire previou loson, se a in have an oppoflunity of eomparin
flwm with the real ree at a proper dMance. Thev should aise be ured te
speill attention thi timo te the eolour of the reliage, se as te }, al,le to make $
truc çir.tur,- c,ç tlw trpo in r.olour.
I
LANDSCAPE DRAWING 71
IETIIOD
The teacher might draw on the board a light line te indieate the height of
the tree, getting the pupils te show what portion of this should be trunk, how wide
the Ul,per part of the tree should be, and how thick the trunk. Experiments with
the crayons shoahl be ruade, te sec how best te get tlw l,rOl,<.r colour and h<»w and
where te begiu 1o represent the foliage. This suggestion of the troc should thon
be rubbed out and lhe lesson continued alol,g the li,es of the l»re tous oJ,e.
LANDSCA PE DRAWING
Although landscape work appears verv dicult, vom papil. are f, md of if
and, as they have already, in their illustnïtive drawi[gs, ruade attempts at rcprc-
sentincarth and sky, thc lessons on landscape drawing c«me as a w«.h.omc hcll,.
First lessons in landscape drawing must necessarily be treated in qaite a
different way fr(,m any lcsson. that have been takcn up hitherto. Ther are
inIended chiefly te make tire pu[dis observe the appcarance of tr,.,.s and th,.'carth
in relation te the sky, and also In show tlwm how te use charcoal, chalk, and
coloured crayons te represent what thev bave obscrved.
The best rime o hcgin these lessons is in the winIer after thc first ShOW bas
fallen and covered up all the distractin7, if delizht-ful , details of paths, grass, and
flowers.
The first losson mav eonsist of corering the lower part «,f a C," 1,v .q" sheet of
drawing paF,er with chalk te re[,resent the snow-covcred earth, leaviz the col,,nr
of the paper for the sky. and puttin in a line of ditant trees with zi7zag strokes
of charcoal ap[,lied se lightly that the result is atone of gray.
Ai first .ome pupils will be found tf, draw the distant frees quite detached
frein the earth and lookinff mi,re Iike a eaterpillar in the skr flmn a line of real
woods. A short discussion on the wav. ¢,f trees will call the àttenti¢,n of the least
observant meml»er of the class to the tact that trees 7row out of tho earth and de
net float in the skv. Fortunate is the teacher who tan lot his class obser-e the
di.çant w,od. frein tho sehool-room windows and n-te tlw snmnth line of the
snow-eovered earth a_,ainst tho 'ray mass of trees, tho irre.,._qtlar tnp. of whieh are
seen against tho pale wintrv skv.
Landseape., sueh a. tho Wintor .qunsots, whieh wero draw-n hv ]7orm I pupilq
with coloured crayon., tan ho uod in tho makin_ of h]oçters." ea|ondars, and
booklets for Christmas. It is a very hopoless ]andscape in whi«h a snmll cern-
ART
position cannot be found which will lo,,k wcll when eut ont, edged with a firm
crayon line. at,,1 mounted on a suitable ba«kground.
'hristnms I,,,,,kh.ts nmde of drawing pal»er or paper of a heavier weight, with
one of these small landscapes mounted on /he outside of each and a Christmas
vors,, wrillcn (,n the insid«, in the l,upil' best writin, makc s.uve.irs that it
«h.lighls him t,, lakc h.me ami l,rt.scnt fo his parents as his own
WINTER SUXSET L.kN'I).qCAPE WITH ('OLOURED CRAYONS
MATI:]:I.XLS
For cm.Il lmpil, a l,ox «,f («,l,mred eravons and a sheet of drawing paper.
Xs a 1,rel,:,,'alion f'-r su,.h a lcsson th.re shouhl l,e eareful ol,servation of the
coh.trs se.on in lho wçstcrn sky ad of the a]q,earam.e of lhe snow-coverod earth
at stmset rime.
IETHOD
After a short discussion with the «lass regardin the appearance of the sky
just after the smt has disal,pearcd, the tea«h«.r, holding a sheet of drawing paper
with one hand against th. bla«.k-board where ail tan sec it, draws a blue crayon
line dividin, the l,apor into two spaces--all abc»ve the line f-r sky. all below for
sno'-«overcd earth. 11. also show the class bv chalk lines on the board that
this line might be ruade to rcpr.sent lovcl land. a hillside, or roliing country.
The pupils 1,1ac. their 1,apers the long wav across on their desks with the
rouh riht side up. a.d cach, selectin the },lue crayon, draws the line which will
I,,.st rel,rosent the lamlscape ho wihcs to depict. Then with the blue crayon held
vorv l,«»selv un«h.r his hand. he puts a faint blue line across the top edze of the
upper spaeo. A fainf vcllow tone is l,lended into the l»lue: nexf. a faint orange
l»no is carriod d,,wn to the l,luo line. deepenin as if reaches it and faintlv tingin
}«»lh tho vvllow aud the blue above. Lastly. the red crayon is put on in the saine
w.y. fainlh- tingi. the three ««,h,nrs alreadv applied and deepenin into a few
irroular lines of crimson af tire Sl,ot where the sun is suppoed to have just
disapp.arod.
B,.f,,ro oaeh eol«,ur is apl,li«.d 1,v fhê pupils, the fea«her shows, on a shee
«,f pap«,r h«.hl against the I,la«k-l»oard. h,w this is dme. and also that fhe
ora.n musl I,c 1..M 'crv liChlly and «arriod l,a«k and forth in a lanting direc-
tion a«r»ss th«. pap«r fo get an even forte. As the 1,upils work. he mut go
ANIMAL ,qTUDY 73
among ihem, carrying his paper with hiln te show tlaose who are putting tire eolour
on too heavily how il nmy best be managed. Those also who are making even
hands or stripes of coiour nmst be shown how le la)" the crav«,n on se as te gel the
irridescent effect of one colour showing through another.
The skv },eing comldeted , thc distant trees are llOW put in, starting in lho
},hm line and exlmlding a short dislance up ,nie the sky. F(,r thc line «,f wo«»ds, a
light zigzag str«,ke of blue. whid turns te a iolet against the red (,range of lhe
sky. is used. If this is too bright, a failli tome «,f gray may b«. put over it with the
},la(.k crayon, h, lhe I»-,tlom of lhe h)w mass of w«,ods the bluc tone is streltgthcm.d
and is then extended hclow the trees, te rel,resent the appearance of the Sl,OW in the
distance. The blue tone is ruade gradually faintor as it cm,les h»ward lh«. h,»llmn
of Il,(. Pal,er, disalTcaring altogelhcr about two thirds of lhc dislance down frein
the trees.
Even though in riais lesson lhe tea(.her bas drawn the landscal,e liltle hy little
befm'e the ],ui,ils. in -rder te show them lhe l,rol, er halulling of thc cray,,ns, if
will be found that in vory few cases, if any, has lais drawing ],een copiod. In every
(,ther lesson outlined here. the pupil's own thon.,..,hf bas }»een developed and, having
had this previous train,ll.,.., in expression, ea«h wili ],e intent on w«,rking out lais
«,wh idea in the landscape lesson. If will lm,},ahly ],e nocessary, lmwever, le bave
(me ar two lcss, ms in makin.,... Smlset skies without the landscal,e , bcfore thc class
wili haro gaincd contr«,l «tf tlae medium.
In this, as in all other drawing lessons, the teacher should guard against
cultivating an imitation of his own work.
ANIMAL STVDY
Mass drawings of hirds and animal. make a plçasant .]lango frein ]le draw-
ings fr,m plants and common obje(.ts whM1 are nie,re frequellfly ruade in the
sehool-room.
The ('lass is an exception, al least one menti»er of
which does not possess a pet tanle enough t,, be nsed as
a model. If nmv he a ],antana rooster, a pigeon, a ],inl
in a cage, a squirrel, a quiet kitten, a rahl»it, or a well-
trained dog.
A lire model of thi. kind should he hr,,ught after
school has been called, as there is less likelihood lhen
AXlM.*tL TUDY--B" A FeRai I
PUPIL
74 ART
,»fits being too frightened fo assume a natural attitude when if is placed in position
,m the table af the front of the room. Suitalde food should also be provided, and
ihe owner shouhl stand close t,, thê model in such a position as uot to obstruct the
vi,w while the elass is ,»b,.rving it. lle shouhl take his seat and draw with the
others aftcr the animal has been studied.
Bofore tho animal is brouzht into the school-room, the class should be warned
that thev must sit very quiotly whilo they watch the model, as ]aughter, noise, or
disordor of anv kind is almost sure
fo frighten an animal into takin
some erouehing position hot at all
suitable for drawin.
, :,. : As the owner feeds or plays
-"" with the model, the teacher, stand-
. in,.., at the hack of the )'OOnl, calls the
- attention of the clas.* fo the different
l»-.*os it takes, urging the pul)ils fo
-- _" note the shape of the head and how
"" =" if is placed in relation to the bodv.
: the direction in which the tail
" I t " points or eurves as the case may be,
fle shape of the le.s and their post-
tion in relation to the body, the
/_,]¢ shape ,f the feet and the wav in
oe : which thev are joined to the
- qaen their attention has been
ANIMAL 8TUDY--BY FOIRM I PUP1L8 called fo ail the points Ihev are
(Original in eolour) likelv fo overlook, the pupils are
asked fo close their eyes. o discover
which attitude they tan recall most vividly. Thev then open their eyes. the aninml
i r,.moved, and they l)roceo,l te» draw if in the position that oa,.h r,.mend»ers })est.
using c]mr,.oa] or crayons.
A dav or lwo afterward., the saine bird or animal should be drawn again
with«,u! the m,»,M" a .*tory for illulration which would re, luire the drawing of it
n,iht },v gie. adantazeouslv.
MSS
DRAWlMG
FRrlIII
I'IEMORY
IIM
?6
ART
OBJECT DRAW[NG
-FIO]I MEMORy
Arrangcd on lm:o 5 arc several ,,hjocts drawn from m««nory In" Form I
lml,il. 'l'heso drawins arc xcrv
«,l,j.«.t in eaeh case had 1,een slndivd in the saine way as in the less,n on the
T,.ddv I,ear in V,n'm 1..Jlior (;ra,le.
I'I:«»M TIIE MOIEL
After lho ('hrislna.q holidays, ymm. l, Ul»il. are alwavs anxious to show what
an/a ('l;us hr«mght lh«m and, ;t t,,3s make me,si intere»ting mod,.l, eaeh may be
alh,xx,.d 1. l,ri hi t'nxom'ile l-v. Wher,. sl«mds t'«,r lheso re
l,,v mav I,e arraned on lahh.s «,r on 1ho teacher's desk for lhose in the front seats.
.ml -n 1,.ards 1,1a,-ed acr.s lho aislos f-r lhe olhers, s,, lhal eaeh pupil bas a good
x i,.w «,t" at h,ast c,ne. The 1.,ards sh,,uld 1,e 1,]acpd in exerx" olher aisle lr-m desk
I,, «h.sk. one at lhe froll of lhe aislo and o.e half-wav do. Thev should have a
,-h.;fl lm-ked m¢ler oto. ««lg«. 1o c, xor,.,,mo lhe slanl .f'lhp desks a,.l'l,rm-ide a level
sm'faee for lh,. -I,joçt t,, ret upom
B,.fove ,',,mmeneig Iris skeh.h, oaeh pupil shouhl doeide how mtwh spaee lais
drawin will o, tuiro and. as h,. draws, ho shouhl compare his drawing with the
lov t« soo if he is m«ki a lrulhful rel,rs«mtatio n «,f if. Th«. tors on 1,;ge 56
wore drawn h Ihis war wiih hlaek crayons 1,v F,»rm I pupils.
;reat dolight is takon in lhis exereise if the Iovs are drawn wilh white ehalk
and et,lored crayons and the best ones eut out ad paled fo a Crismms tree
whi«h has hoen i,im..] Ul, somewherp in the ro,,m. Thp ç'hrishns tree is easilv
ruade l»v folding a lre pieeo of green paper in half and euttin l»oth sides of
lvoo al oncp. T,.uch,.rs s.metin.. 1,in lhesp 1,ichred tors te» a hranch of re«tl
o«roon lree, but ile resnlt is less in¢'ongruous when l»ofla Iree and toys are eut
from papor.
PI('TVP, E ,qTVIY
WOMAX ('IIURXING--MILLET
The preparai«m f«,r tli.q le.son deppn,l.q on tle size of tle reproduction avail-
al,le. In the present case we will .uppose lhat a print 7" bv lo" in .ize bas been
I'I-«I'U RE 8TUDY î7
TIIE ARTI.T
When the hour for the lesson bas arrived, lle teacher, standin before thc
t-lass, savs: "" You have I},'eil Irying I,} tit«i ont ail ou cali ah«,nt lhis l,i,.lur,.-
I,efore you tcll np what the artisl bas manad to t«[ll x'ou we shall hae a littl,.
talk about him. 1 shall write his naine Oll the hhtck-l,oard..h.an Fran«ois Mille.t.
A]lhouh he died I,cfon. y-u w,.re born, it is hot I-ng ag«,. and inan 3- [»t.»l»l«.
kuew him arc still alive. 11,. was born in 181 att,l died in lsîS. lh»w long
is lhat. and h,,w old was he hon he dicd? Ilis father and tn,,/h,.r
l,easants, dav lal,,,urcrs we {'{,uhl call them. Thev lived af a litll«, l,lace call,.d
(;ruchv in France and rorked toether in the ficlls. We ean imagine the lilth.
lean ffoinff 1 the filds rith Iris parents, watchin thcm w,,rk, f;'yinff fo h,.ll,.
carryinff a drink to them sonwfimes when tho sun was hot, falling a»h.o 1, und,.r lhe
shade of a tree or a hedo when he was woarv.
These scenes of his chihlhood must hae ruade a great impr«.ssi«,t on him.
afterwards he painted many l,ictures «,f lahourers sowinff, reapinff. h'anin:.
in in the fields. When lw was still a l,,v. ho r«,uld take a pie, e «,f charc«»al from
the store and wilh il draw. on the whitorashcd outer all of the cot/ag, l,iclures
of trees and orchards and of peasana at work or l,h,ddinff to and fr-m tho fields.
If is hot hard to fancv these friendlr neiffhbours pausinff on their h«,m,.ward
way fo look af the sketches marie hr the 'oun. .hîan. w,,ndprinff at his cleerness.
sometimes discovering a likeness and savinff: 'There is .lacques fo lhe life . or
" Who couhl doul,t that that is Marie's sloulder and hcad ?'
I[is father and moflwr were anxious flat he should sludv to I,e an artist and
by and by, wh«« ho ras lwenty-three )ears old, he was sent tÇ Paris.
lus long liht hair foll h,osolr abou his broad shouldvrs and, no doubt, his
clothes were coarse and hom-made, f,,r lais fellow students calle, l him 'The man
of the woods', lloro is a print of Iris own l,r,rtrait painted by himself and we tan
sec whaf a kind face he had.
tic did hOt star many years in Paris. He lon.zed for the poasant lire he knew
so well. fr,r the men and r«,men wh,, worked in tho fiehls, loiling for th«.ir famili,.s.
oner«,tts fo lheir neihl,ours, and ha},l,y iii their h«,llleS, lb. Bf'IIt tel ]hlrbizon.
took a bouse with llaree room, and therc with his wife and little familv he lived.
very poor part of tho rime. but happy fo ho once more where he coud sec tho
simple, kindly peasants at their work. and thero me,st of tho picturos flaat l,rouzht
him faine were painted." '
78 ART
TltE PICTUIIE
"'Y«,u have seen the fille heneth this pieture. What did Millet call it
Ilow manv of vou have seen a churn? Was it like this In what way this
diffcrcnl ?"
In smne su«'h wav lhe teacher prn«'eods In draw fr,,m the pupils ail that they
hav,. dis«,,vered in lh«. picture. Wlwn their ideas concerninz it are exhausted, he
shouhl question them somewhat af ter thc f,,llowing fashion :
"" Ilow de we kn,,w lhat lhe arlist wished us te look af the woman first?
Somclim«.s. in v«»ur l»ietures, y-u make the lhings Uie storv is al,out, very small.
ls that what Millet did in this picturc?
I the w«,man tall or sh,,rt ? Bv what in lhe 1,icture can we measure ber height?
Did thc artist wish us te think shc was halTy or unhapl,y in ber work ?"
Thus lhe teach,.r quesli-ns hore and lmints oui lhere, until the pupil realize
h,,w diff«.rent fr-m lh«.ir -Wh hom«.s is this inierior, with ifs soli& queer-handled
churn, ruade l,«.rhap hv lhis w«,man's zreat-grandfather, its stone flazs, and its one
wind,»w pla«-M hizh in the wall. as we «an tell by the short shadow cast bv the churn.
'" ll,,w trim and h-w suital,lv dressed for ber work is the w,man Notice her
big apron, hcr sl«.eves r«»lled hizh. the Slmiless white of the zarment that shows
af the neck of her dress, the tidv cap under which everv strav hair is carefully
tu«.ked, ll,»w different she lo«,ks wiih ber simple dress and her wooden shoes frein
the w,,men wc are acçust«,med te sec workin»[
It is mornin, f,,r tho spaeê hotweên the house and the shed is sfill in shadow,
1,ut the sun shines «,n tlle slwep that we ean sec thronh tho shed window grazing in
the meadow. ]11 the shed. too. we ean jut distinguish se,me one milking a eow.
As we look int llw l,ieture if seems o grow lizhter and. in ihe dark eoer
behind the w«,nmn, we 1,ezin te, dise.re'er jars and ero«ks on the shelves.
As the arist skeeh«.d the ro«,m the t,,p sholf wa even wil his eves; for we
ean sec iis ede «ml)'. th«,uh w«. ean soc ihe top of the one bel«,w if. A broonl, net
ai all like lhe one we use. stands bv ihe shelves, and a towel hanzs af the door.
l'erhaI,s there is a I,asin on a beneh jnst outide the door and the men c«,ming from
work pause to wash their hands and faces, then reaeh in for the towel te drv them.
Whv does tho woman smile ? Does she hear ail the lovelv Summer sounds that
«.orne floatinz in through the open door? Is she anmsed af Pussv? De vou think
Pussv knows ihe butter is e«,ming? Can she see the three hens af the door, the
boldest 1,ausing. with head o one side and one foot raised, te see how far she dare
PI('TI'IF;
"o r ls the W«mlan waitin¢z f«»r llle I,est moment fo stamp her foot with ils wooden
shoe, o send the frightened hens scurl''ing out of sigh ?"
N,,lllO ¢»lll. iii lhe .lass lhinks lhat lhe light, round nrlielo han¢ng hih on lhe
wall near the doorway is a hal,-'s muslin cap, md that s«mlowhere out of sight
owner sleeps in a woodon t'radio, lullod Iy the reular sl»lashing of lhe churn dash;
and he sanm litlle nlaid wh,, diseoverod lhe supposed ca 1 , thinks that the nl«»ther
smil(.s }»e('ause the I,uttor is ('onling while })a},v still sleeps, and lhat silo is happy
because lhere will be time f,,r an ]lotir with baî,y l,ef,,re father's earlv dinner must
be prepared.
Whatever if is that hrings tllat snlile te, ber lips, Millet has nlade lS feel that
she is happy in hor work; and Io«,king ai hor we seem fo hear the sort swish of the
Cl'Oam in the churn, the purr of the car, and tho dr, m'sy eroon of the hens, ail
minzlin with the sounds that float in from the nl«ad,»ws to make tlle glad music of
Sumnler.
CIIAPTER V
COLOUR
ENJOYII'G TtIE SIX COLOURS IN THE .SPECTRUM
l:'«m 1, Junior [rade, learned te» classify (.ol,urs as I»elongingfo one or other
of six families--the red, orange, ycllow, groen, blue, or violet family. When these
pupils reach F,»rm I, Scnior [;rade, lhcv have I»ocomc fairly familiar with these
colours throu7h making them with cravms or chalk or naming them when round in
spccimcns and materials of various kinds. Thev should be given an oppoHunity
now, t discovor aud cnjoy thcse colmtrs in the glory of that perfect purity in which
they apDear in lhe speetrum.
For tbis lcsson, a sunshiny day, prcferal,ly one shortly after a rainbow bas been
seen. should I,e chosen, fn the dav of the lesson or some time previously, each
pupil should arrange the six colours in their proper order in a row of squares or
oblons on a slwet of drawing paper, making each spot of eolour as brilliant as the
crayon or chalk will make it. en the row of colours is complete, if thev have
had the good fortune to sec a rainl,ow recently, thev should be led to talk about the
colours that were displayed in it. The teacher should contrive fo set them wonder-
ing where the colours the rainbow came from and where they went when they
d isappeared.
Whn the pupils have been told that tbese heautiful colours are in the light
all the tim, and that thev are revealed onlv under certain conditions, the teacher
miht ask tbe question: " ll«,w manv would like to sec tlw Iovelv spirit colours in
the light, now?" Of course the desire to sec them would be unanous. They
mizbt thon be shown the prism and all«,wed to examine it, while the teaeher divul.s
the secret lbal lhis little three-sided pieee of glass ean he ruade fo separate the
colours in the light so that thev ean be seen in ail their beautv. Then the prism
should I»e suçpended in a window in th sunli.ht, so that the glowing eolours will
appear on the opposite wall. If the wall is not white, a sheet of paper should
fastenod on if far the tinw being, in su(.h a position that the eolours will appear
on il. Tbe pupils should then be allowed fo point out the different eolours, naming
tbem and showinz their relative position in the speetrum. Thev should also com-
pare them wilh the brightest eolours thev have been able to make with their crayons.
80
LEARNIN(; T[t RE('(tGNIZE ('OLOUR 81
LEARNING TO RECOGNIZE RED IN ANY OF ITS TONES
The teachcr, standing hefarc his class, says: "L«t us see how many rimes we
can find red in the school-room. Choose first the reddest red we can find here, the
one most nearly like the red in the rainhow" Mary's hair rihbon is decided upon
by the class. " Mary mav eOllle to the front and stand in the middle. The colour
of ber hair ribbon is what we eall standard red. There are a great many other reds
in the ro-m but they all belong to he sanie family. We shall put all the light eds
above Marv and ail the dark reds bel«w hor, h, a line."
The pupils pick out ail those who havc rPd iii their clothing, and these go
forward. After these are ail at tlm front, those in the seat. rearrange them te
order from ligh! pink «» dark r«,d. Those at the front al.o nmke suggestions as to
where thev should place themsëlvÇs iii the line.
Anv eçdour mav ]»e tau.ht iii thÇ wav indicated, or the pupil. mav bring
bright patehes of silk, (-lath. or pieces «»f paper to school aud arrange them iî order.
Flowers or fruits may take the place of the patches. Other expedients will suT.gest
themselves te» thc teacher.
In each case a drill should f-llow the classification. Where the pupils bave
heen arranged af the front, thev may take their seats aeeording to their relation to
some one in the line. For example, the teacher may ask th«se with a red lighter
than Marv's ribbon but hot light enaugh :o he called pink, t« take their sÇats;
meanwhile those in the seats watch to see that no mistake is ruade. This sort of
questioning is continued till al| are in their seats.
I.IGIIT P, FD 'kND D.'I:K RFD
A lesson ic, foll«,w ihÇ one alreadv 7w'n might consist of a short explanation
and denmnsiration by ihe teaclmr of tire work te he done, foll«,wed bv a seat exercise
in which the pupils make three two-inch squares on a strip af drawi'ng paper. The
rniddle square is then covere with red, using the red crayon in full strength.
Over the square te the lcft a smooth+ light laver c,f'the crayon is rubl)ed, while
over the third square is first put a li._ht, eron laver of charcç.al, which is then
covered bv he red crayon used in full stren._-h. Tho three squares, when finished,
represent standard rod, a light, red, anti a dark red.
The lesson is intendod te prepare Ihe class for the ropresentaIion of simple
flowers and fruit, where a lighter or darker tone Ihan the standard is offert requirèd.
The other rive colours should he taken up in a manner similar te that suggested
for red.
8 ART
3IAKING ORANGE FRO$[ I{ED AND YELLOW
MATER IALS
l"oll T]IE TE'IIE :
Stries of red and ycllow tissue paper about 8" wide.
FOR TIII-" IqPILS:
('oh»ured «.rayons or cllalks and ;" hv .q'" «lrawin paper.
IETHOD
T.a«h«r: "" Il was a ;rreat surprise te find the six c«»lours--rcd, orange, yellow,
/zreem }due, and vioh.t, hidden in the light, and there are othcr surprises in store
for us. Let us bang a strie of red tissue pal»er in |he window at one side and a
slrip -f yell-w at the oth«,r side. se that the light will shine through each. ,d hv
iiself i.¢ just red. and yellow bv itself is just yellow. Between the two we shall
han a strie of red and over if pin a double strie ç,f vellow. The cç, b,ur of the third
Hrip i.q new neither red n.r yellow. What is it? With v.ur red crayon, on the
leït side of your l»aper nmke a strip of ce»leur a.q smooth and even in tone as
the tissue paper. (}n the right side make a vellow strip. N¢,w hetween the two try
to make the orange strip. 12uh the red crayon ¢,n very gntly, so as not to nmke a
»hiny. slilqery surfa«o to whi«h lhe vellow will hot elin. When vou hae an even.
li._,zht red tone, go over if with an even eoating,f vollow, ll,,ld vour paper up now.
llave vou malehed the eolours in the wind-w? Let us pick out those having the
best orange strip and pin them up at the front."
IODI FYING t OLOUIIS
Tho followingmav form a conHnuation of the lesson aboie or may be given as a
seat exorcise :
The pupils whose papers have been taken are ffiven a fresh piece, the others
turn the papcr over and use the other side. Each makes with his orange crayon a
square of orange in the middle of the l»aper, rubbing the colour on lightly but
zoing over and over if till lhe colour is evcn in tone and as strong as if tan bc marie.
A similar square of orange but mueh lighter in tonc is put on eaeh side of the first
square. A light tone of red is then put over the orang in the square te the lcft,
and a tone of vellow over the orange in the square te the right. Aftcr this exercise
in the modif.vinzof ç, ranze, tho pupils should bc encouragcd te bring seine flower,
fruit, or sample of material that will exhibit one of these hues of orange.
DESIGN
IIavinztauzt the six colours that appear in
thc spcctrum and flw making of orauge, green, and
violet as indicated in thc foregoing lessons, lO
furflmr lessous on eolour need bc giron in Form I.
as thc representativc work, especially from natur,,
when colourcd crayons are usod, will increase the
pupils' knowlo«lo of eolour through experienee.
TIw lessons in lWin will also sere fo familiarize
t]lOn with tho different eolt, urs.
None of the typo lesson bi eolour shouhl
o«eupy more than twentv lllinlltOS, alld fl]ov may he
given as a change and relaxation between two
heavier sehool suhjeefs.
DESIGN
Units to I;e used sinzly, in borders, or in
surface patterns, mav be obtained in the saine wav
irl this Form as in Form I, .Iunior {rade. A
little more latitude in the choiee of unit may I,e
alh,wed, as []lO l.ower to rel,oat units rçgularly and
keep them of the saine size grows.
When tho «lass is hlying hordors with small
squares, oblollS, or trianges of papor, or with
seeds, sonm mombors are sure fo diseover that one
square may lap or he laid on top of another in such
a wav as to produce a ploasing unit. Three or
four ohlongs or three or four triangos mav be
grouped safisfactorilv and the new unit repeatçd.
Attractive unifs mav also be ruade bv grouping
three or more seeds. Units ronde in this wav
hould be finished with black and one eolour. In
some cases some of the shapes mav ho eovorod with
black crayon. Other desis will look bottor if the
eolourod shapes are outlined with black. en a
unit lends itself fo such an aangement, some pari
or parts of if should be left uncoloured, as this
SURFACE PATTERNS--By FORI 1
PUPILS
84 ART
UI%'IT PLACED II THE CEN'TRF OF I:'FRY
SQUARE, AN'D ALSO AT THE INTER-
SECTmX Or TE er, E.,SES seeoud and fourth rows: (.c} place the unit in
the centre of everv square and al.ce at the
interseeti.n of the ereases. In the second arrangement, tire diflïeultv of hall shapes
for the left and rizht edze. arises: aud in the third, llae furflaer diffieultv of top
and hott.m halves, as well as quarter units f,,r tlw four oulside e.ruers of the
paper, ha. te 1,e over«ome. ]t mav be neeessarv te bave seine memlmrs of the elass
separate the paper ah,ng one of the creases, or fo]d it under, te help them te under-
sand how le hall units shou]d he dr,wn on the edzes of the paper.
class may use black, white, and one colour in
finishiuz their desizns.
In Ferre I, Juuior {rade, tire class folded
the pal,er in squares, te make a constructive
plan te help thpm te space their uuits evenly
tu their surface patterus. The uuit was flen
placed in the ceutre of each of these squares.
'Fhe ««mstructive plan is ruade in the saine wav
tu thi. «lass: but the idea of alteruafion is
develol,ed 1,v haviug the class (a) place the
units in everv otler square, leavin alternate
squares vacaut: eh} ],lace the unit in the
middle .f everv square in the first and third
rows and on the line hetween the squares in the
APPLIED DESIGN
FIGVRED M I'.<LI \'S
A delihtful prohlem for the pupils is the putting of a surface pattern on
plain white muslin. The pattern should be rather small and dainty, and before
the cravous are used they mav be sharpened. The rea|lv good results should be
pressed with a hot iron. In the case of seine crayons flfis will make the colours
fast. ]f there is a sehool doll. he best fiured nmslin resulting frein tle lesson
mi,,sht he ruade into a dres. for it. Onlv tho.e who have previously ruade a
successful paitern should be allowed te work on the muslin.
STPIPES
These mav be used in the makin z of horders and surface patterns. Two or
three stripes of different Widths mav be put around the edge of a square of paper
DESIGN: STRIPES 85
whieh is heing thought of as a handkerehief. A similar border would be suitablo
for the edge of a tray, a box, or a basket, or for the ends of a towel, or a rug woven
with Stl'il»s of «'otton or rata.
Strip(.s also nmv be used in the making of surface patterns. This kind of
dc(-oratiol is i»arti«.u]arlv adapted for apl»]icatiol to soln ,,f the paper or card-
board furniture, th«. lnaking of which is an interestin exercise in colStl'uction for
],rilnal'y grades. For a scai s[It.]l ils ]le olle in the illusiralion, two shcets of
STEP.' IN" TIIE IAKING OF SrAT
6" bv 6" pal»er are required. Tho creasing of he pal)er and the placing of
stripes must ]»u carefully dono, so that the Stl'ipes in thc back and in lhe seat will
match. The sheet of l»awr which f,»lds to form back and ends should hae
stripes (h'wn on hoth sides. OlflV one colour should be used in the decoration.
Sleps fo be followed in making and decorating the seat :
1. F,,hl and el'easo lwo sheets of 1,al,er, as shown in Figure 1.
2. Sel»arate one strip froln the side of each sheet. (Figure 21
3. Draw lhe (-(»]ourod sril»«,s a]ongthe short oreascs and edges.
4. Cul along the (.re«ses af each end of one sheet, as far as the fil'SI crosswise
crease. (Figure 3)
86 ART
5. Fold the other sheet along the middle crease and cut both arms af the samo
time. (Figure 4)
6. Fold and paste lllc elds of the firsl shoet to form thc box for the seat.
7. J'lace thc other shect in position and i»aste the ba«k and ends.
(»TII ER I'I:OBLE:MS
The Autunn b«.»k c.vcr illustrali«»ns show g«»«)d placings for lhe tit]c and
suggest s.m. wavs in which a bcrry .r .imilar nnit may l»e repeated to decorate
the front cover of a foldcr intcmlcd to hold the drawings nmde from nature during
.qeptomh¢.r and ()ctoher. The moasurements nlav he ruade hv nmrkinff the spaees
on tho eoer from a sheêt of the saine size that bas heen fohled and creased.
('hrismas h,,,k eovers mav bê ruade bv cutting desirns from coloured papêr
and lmsting theln in position. Anothor plan is fo bave each pulfil eut out the }»est
l»i«'ture ho tan make «»f something appropriate to the season--a hell, a li.,_-hted eandlo
in thê candlestick, a Christmas tree. or oven ,q:mta ('lau.--to use as a pattern in
trar.ing a border or othor arrangomont of the unit. whi«.h mav then I)o coloured.
In work f-r a special «)ccasion such as Christmas. the tear.her mav Nvê a great
deal ¢»f help fo tho pul»ils bv nmkinff mass drawin._-s on thê blar.k-hoard.
Vah.ntin«,s, su«.h as thoso illustrated, are oasilv mado from paper hy folding
I'ROBLEMS 1N APPL1ED DESIGN
87
and cutting. The small hearts, Figures 2 and 4. may be eut, traced, and coloured
with era)'on ; or small heart-shal«: d seals mav be used. C,lour«.d crayons are us«.d
for the other deeol'ati«,ns and for the lettering.
CHiITNAS
STOII ES.,.
CHRIST,[AS BOOK COVER CIIRISTMAS BOOK COVER--BY A FORM I PUPIL
Simple flowers such as the crocus, daffodi], or tulip make apl»ropriat e decora-
tions for an Easter tard or book]et. Coloured drawin.,_,s ruade prexious|v from
lature by the pupils mav he eut ino recta,gl«.s of suitablo size and paste,i umh.r
lhe leterin after file r,'ca|i._,dle has been outlined, or fret.hand cutlincs from the
fl,»wer mav he utilized in the saine way.
VALENTINES
88 ART
LETTERING
As soon as possible, the pupi]s shou]d be requircd fo put the naine and date
on all drawings. For this l,urI,ose, lettering is botter than script. The teacher
shnuld kee], on lhc black-board a straight line alphabet similar fo thc one given in
the Form Il ]ess.ms. 'Fhis will give each l»upil «111 Ol}lmrtunity fo find the letter.s
in his own naine.
Ïhe tirst lettering done by the pupil should be laid by him in stieks on his
,lesk and then drawn on pal,er with lead-peneil or crayon. Such letters as
A, E, F, II, I, K, L, M, N, T, V, W, X, Y, Z, lend themselves fo stick laying.
When these bave I,een praetised till the class as a whole ean make them lêgible and
fairlv regular, l«tters having upright bars eombined with eurves as B, D, J, P, R,
and "1" mav be taken, the more diffieult letters being left till lhese have been fairly
mash, red.
The chier points to be kept in view in this elass are tiret all letters should be
the saine hei:_,ht and should stand upright in an even line. Letters in words should
he kol,t dose to.,.,,ether without tou«hing, and there should be a spaee as wide as a
letter between words.
The lotterin of eaeh drawing, the filles of ho,klets, ana short mottoes sueh as,
" Date fo he true ", " Be on rime ", "Be polite ", "Work while vou work ", "Play
whilo vu play ", will furnish plent)" f «»pportunity for practiee.
l«tterin nmv l,e eorrelat««l with spelling bv having words written on the
hlaek-l,oard t,v the teaeher translted into h.ttm'ing bv the pupils. Only straight
line capitals of lhe simplest formation l»,)ssible sllould be ruade.
CY[APTER VI
FORM 1I, JUNIOR GRADE
ILIWSTRATIVE IRAWING
(_'OASTING DOWN IIILL--BY A l"ORal Il PUPIL
]:vo.'v. taking the ]llustratix-e
]lrawing in I:ornl 11. the
t«,achcr S]louhl read file sug-
e»tlons regarding its use in
Form 1. S«,nior ;vade. lIere,
as in that Form. it ean ho
lnade of great assistance in the
içaehing of other sul,jects.
For flic Sl-,ocia] lessons in
iihstration, the pupil will
elljoy fairv tal«,s and storiv¢
such as those nwntioned for
Form l. S«.nior (',rade. Sic,ries
fu]l of action without grue-
some detai]s are best.
When nythingwith whi«.h the pupi]. are quite unfamiliar forms a part of
the story, a mmfler of picturos of it shou]d ho eut from newspap«,rs or mazazines.
mouned, and pu up for studv rond tho school-room. The aire in the case
an unfmi]iar aninml, for examp]o, is to give ech pupil a eneral idea of itn
charnOeristic shal»e and attitude.s, so that each is equipped with an image which
will help him fo express his vision of the store. Where ]llusrafive Drawing does
not develop individuality, it mav ho taken for anted that some mistake is being
ruade in the method of teaehin it.
Stories that deal wifl things bevond the pupils' «.omprehension shouId noyer
ho ziven. It is a sale fuie o give onlv those sories whieh a pupil ean ]ire throh
in his own imazination.
[ to fhe preseni, the ehief aire bas heen o seeure freedom «,f expression and
at the saine rime fo sfimuIato the observation of form. Form II «]asses shouhl lw.in
fo exhibit a finer sense of form in their drawings but, if too great a stress is put
89
90 ART
up«,n aeeuraey, the drawing. are likelv te I,e la«.king in sponfaneify. This diflïieulty
mav I,e avoided, te a certain extent, hy eorrelating the other lessons in drawing
with ilhstratioll. A lesson in which a pupil has been posed and drawn in seine
intel'estintz position nmv I»e folh,wed I,y the illustration of a gaine or story in whieh
that 1,artieular 1,ose w,tthl lmturally ferre a r»art. Take for examl,le the lessol,
,,n l,a.,ze 1".'7. The elass has seine time l,l'exiously heen ol,serving a gaine of hockey,
and a I,ov is posed with a hockey stick, afh.r which the pupils make a picture frein
mem,rv of a eharaeteristie l»oso. Thc next gaine c,f hockey ea«h 1,ul»il observes
will leave a mental l,ietm'e more vivid hecau.e of the effc,rt he has nmde te depiet
this 1,o.e and. if lhe next lesson in drawin I,e the illustration of a gaine of hockey,
the reults are likelv te he good.
The pose mav ho ruade le determine the h..son in illnstration, or the teaeher.
desiring te haxe the elass illustrate a certain tzame «,r event, may plan te take in a
l,rexiou. h.s.«m a pose lhat will be requir.d in illu<tratin:z it.
('hareoal, i,k. and c,»l,mred crayons are the best mediums le use in illustrative
work in Ferre Il..lunior ,;rade. The drawinz donc in ehareoal should l,e taken
home; those in ik or eoloured crayons mav I,e l,reserved i the pupils' l,ortfolios.
DRAWING FROM FLOWERS
The method of teaching drawing fr«,m flowers in Ferre II should differ but
litle fr-m that used in Ferre I. [-p te the present, mueh attention has been paid
o the position of flower and leaf masses in relation te eaeh other and te their
,lifferenees in size and shape, la Ferre Il. Junior Grade. while the al,ove-
mentioned properfies of the speeimens are still kept in mind. eml,hasis is also
l,laeed upc,, the charaeter of g,'owih. The hal,it of eonq,aring the drawing with
the specimen after eaeh stel» in the drawing of it. shol,hl ho formed. A lesson may
be divided advantazeouslv into tlle following steps:
1. Di»tril,ution of the materials
2. ('la:s studv of the sl,eeimen
3. The placin of the faint direction line on his sheet of paper, by each pupil
4. The drawing of the fl«»wer nmses
5. The drawin of the h.af maes
. The drawing «,f lc sh.m wherexer it is no hidden by leaves
DRAWIN(I FRO.X[ FLOWERS 91
7. The correction of any mistakes wherever itis possible without erasing, af ter
a final e-mparison iii wh|ch lhe 1,aper is hohl off fr.m him I»y lhe
pupil in [le]l a l«»sition that ho ean readilv l-,,k from his drawingto
the speeimeu fo note. every l,oid lu wllich ho has faih.d fo r,l,reseut it
trulhfully.
The larger part of |ho work in I[cl»i'oseidation donc iii Foi'nl ] [. Julior (;rade,
shouhl he ex]»rcsse«l iii charv«m], hlack CI'US[IilS , oi" («»h»urcd .raV*qlS. A }»OXfililiil
may be ruade iii file haldlilig (ff lhe ilow lue«liuni, hrush alid ilik, wh|ch should be
taken ul» lli«»l'e l]loroughly iii l:,,rnl ]1. Soli|or (;rade.
PURPLE A.qTER IN* t"OLfUR
(Time, twenty to thirty minutes)
To get eaeh pupil to sec aml express to the be.t of his aldlitv the rowth,
shape, and eolour of the l,artieular Sl,oeimen of purple aster that he is studyiug.
FoR TIIE TEAçlIER :
Coloured chalks.
M ATERIALS
For, TIIF PUPIL.q:
On each desk a box of eo]oured crayons and a sheet of 6" I,v 9" paper--one
good specimeu of purl,le aster wi|ll loilg stcm and leavês for af lea.t eerv three or
four pupils.
METHOD
The teacher hohls up a purplc aster before the cla.¢s and asks: " IIow manv
know file naine of this flower?" Several haud. are held up and vihrate with tlçe
ea,ornes. of flic owuers h, auswer. The nalfie hein Zgiven, he asks: " I[ow manv
differen parts de» v,u see?" The a,lswer is ol,taiiled: " Three--flower. stem, and
leave.". From the class is al.o drawn the information that wo toll these apart
hy difforonee in eolour and .hape. "' But how eouhl a h]ind man toll a piece of
the flower from a piece «»f |ho leaf?" ,qome one Sll.Eff(.sts that il: is l,v the
and the class is tohl that this feeling is called "" txluro "
92 ART
" Can we make a picture of the aster that will show difference in colour?
In shape? In texture? The elass is net quite sure al»out texture, se the teacher,
with a piece of chalk, represents on the black-board a smooth surface by even strokes,
«1 r,»u.h surface by uneven, ],rok«m strokes, a fine, bending steln by a light, Cl' i
line. and a lhick, strong stem bv firm. hoavy stroke..
" What else must we think about beïore we ean nmke a truthful pietul'e of the
aster?" Seine one sngvests the position of the leave on the sta]k. S,mm one else
ealls attention te the difference in size of the leaves; another, te the differenee in
hal,e of those near the I,l«»ssom. The difference of the green of the stalk frein
the vreen of the h,aves is noted, as is aise the trace of dark red or of violet on one
.ide of tbe sta]k. The teaeher himself eal]s attention te the shape of the petals and
the wav in whieh they radiale frein the centre.
.\Il new nmke a rapid trial drawing of the 1,1«,ssom ajonc, on the wrong side
of the l,a],er. Meanwhile, the teaeher notes nfistakes--l,robably petals too thin,
and in their radiati«,n su.,..,gesting a whirlwind rather than a star. The wav te
correct these mistakes is shown rapid]y on the blaek-board, another quiek attempt
is nmde. the pal, ets are turned over. and eaeh pupil is eautioned te wateh his own
1,artieular speeimen and tell the truth about it. They then proeeed te draw it as
thev did the gras. in the les.«,n «,n pave 51, first, the ]ight direction line of the
sh,m. lhen. a li:zht direction line for eaeh ]caf. ne\t. the beautiful blos.«,m and
the l«.aes. Last of ail, the sturdy stem is strengthened between eaeh pair of leaves
and its «,]our carefully matehed.
Iurin:z the lesson, each pul,il as he works eonstantly compares his drawing
wifl the speeimen he is tryinz te represent. At the end of the lesson the best
dl'awinzs are placed in a row af the front.
TIIE IE OF WET PAPER
Saine teaehers prefer te have the pupils work on wet paper and, when the
crayons are fre from wax, se,me astonishingly good drawin._s are secured in thi.
wav. With dry paper, the drawings are less the result of accident than of careful
oll'ort, and on that aeeount dry paper i. te be preferred.
When wet pal,er is te be used, eaeh pupil Iavs the paper on a slate and passes
a verv wot «lolh «,r spongê li.,_,,htly, first over the wrong side and then over the
rizht, smoothin the paper out on the slate.
When the pal,er ceases te glisten, if is readv for the drawing, and this is marie
in xa«-llv lho saine manner as with dry paper.
DRAWING FRUIT 93
FRUIT ON TtIE BRANCH
For a Form 1I, .lunior
[;rade elass, very simple speei-
mens should be cllo.en, such
as a twig or small bran(.h with
an apple, pear, or ldUm, and
two or thrce leaos, or a pair
of bean 1)ods on lhe stem wilh
a sinzo spray of loaves. Rose
hips, haws, p,»ppy heads, and
other sced pods also nmke in-
t«.resting drawing for this
class. The first cff«wts nmv be
ruade with charçoal or with
I,lack crayons.
When a lesson on the
drawin of fruit is to l,o tak«.n,
lhc teacher shoald see that
there are readv a sufficient
nmnber of spocimens pruned
of ail leavçs lhat add to the
dii«ultv but hot to Ihe beauty
«,f the spocimcn. The ordcr of
thc lesson may then be as
f,,lh,ws :
CRAYO DRAVING OF FRUIT--By FORI II PUPYLS
94
ART
3. The studving by each pupil of the specimen which he is fo draw, aided by
ques(i(,ns put I,y the teaeher as to the direction of the twig, fruit, and
leaes, and thc sizc and shape of these in relation to cach other
k The l,lacing on his 1,ai, er I,y cach pul,il of the faint direction line of the
twi
5. The l,lacin of faint lines to show thc direction in which the fruit hangs
and iii which the middh, line of each leaf points
G. The drawing in mass «,f the fruit, being careful fo get if truthful in size
at,d shal,e
7. The shapin/z out of the leaos «« ea,-h side of the mi,ldle line already placed
f,,r ea(.h, care I,eing takcn to make them hot onlv correct in shape but
of the ri7ht size in proportion fo each othcr and fo the fruit
S. The drawinz of tho stem where it is hot hiddcn I)y the leaves
9. A final, carcful comparison with the specimen, followed by any corrections
that can I,e ruade. Xo erasing should I,e attcmpted.
In a sccon,l effort, the class nfi.,:ht endeavour fo sh-w which of the three--
fruit, stem, or leaves--is darkest and which lightest. (Sec illustrations.)
FRUIT IN COLOURFD CR'tYONS
To make a ,lrawinz in eoloured crayons of a specimen similar fo the one just
trcat«.d, the saine melhod mav l,c ï,llowcd in almost everv particular. A faint mass
drawin in vellow or grcen, accordinz to which of thesc colours seenls fo be most
l,r,minent in the fruit, mav first bc marie oï lhe wholc spccimen, after whieh the
colours showin in the fruit as red. or deeper green, or yellow, may be softlv
rul,bcd in l,lace over the zreen or vellow nmss. each stroke following the surface of
the apple, until ifs appearance is satisfaetorily represented. The colour of the
Teen le.arcs mav then bc matehed, and the stem strenNhened with hrown and
violet str«,kes, till ris colour and shapc are obtained. In the case of a violet fruit
likc the plum, the first mass drawing of the specimen would require to be nlade a
faint bluc.
TREES
The lesson. on the drawing of frees given in Form I, Senior Grade, will be
round helpful in Form II.
Il I
MAI'LE TREE IN CIL[UR 95
THE MAPLE TREE IN COLOURED CRA.YONS
(Autumn appearance)
AI
Te teach the class te observe, appreciate, and try te express the beautiful
appearance of thc maplc tree in Autumn.
PIIEPARATIO.
Choose a rime when the trees are most boautiful iii colouring, l,efore tbe leaves
have be,un te fall te auy great extent. 1o net xorry very youug pupils bv talkin:
of the different varieties but call their attention te the fincst mal,le. i the noib-
bourhood. Speak of the general shape of the nmple as compared with other trees,
the firm, straizt trunk, the strong lilnhs that grow out of if, and the glorious
colour of its folia,.-e in Autumn.
Allow a dav or two for this study, during which rime the pupils are kept
reminded (possibly throuzh seine other school suhject) of the trees. Permit them
te draw maple trees on the black-board during recesoes.
If the lesson is te be in the afternoon, take a few minutes before noon te stand
af the black-hoard, chalk in hand and, drax inff a li:zbt, vertical liae al»out two feet
long, sav : "You are g«,inz te t«'ll nie how te draw a mal,le tree just this hizh. How
much of the heizht should be trunk? llow wide should the trmk l»o for the heiht?
llow many big limbs eould vou sec in the trees SOU studied ? 1 what direction
did they grow? Where shall I make the tree widest? ]Iow can I make thc
foliaze ?
I shall trv first over hero on the black-board. Does this up-and-down stroke
look like it ? No, if is too much like pine needles, and this curly stroke where if is
thick is too much like wool, and like shavings where if is more open. Ilow manv
think this zigzag stroke lo«»ks best ? Lot us trv if. What colour shall I use first ?
What colours did vou see in the maple tree.? P, ed. yellow, orange, green, brown.
Was the red like the rose or like the poppy? A poppy r¢.d, then if had yellow
in if. and se have all the other colours that we see in the maple ff»liage at this rime
of year"
The teacher then he,,-ins te make ho folia._-o with vellow ehalk, shaping out the
whole mass of folia-e li,hfly with a zigzag stroko. ",qhould 1 make the outsidc
edes a close as the centre of the troc, or de the tips of thc branches makc the
outline look uneven or raggcd ?"
96 ART
When lle li.,_,,ht, blurred mass of yel]ow is complete, the pupils suggest the
placin.g of lho dilh'rent-cohmred boughs, and he orange, red. green, and brown
are sol'tir hh'nd..d, wilh the sanie zigzag stroke, into [he ve]]ow mass. The trunk
and fle Imre limbs that show benealh or throu.h the foliago are then pul in firmly
with lhe Purlde and hrown or hla(-k crayons. A fow irre]ar up-and-down strokes
of green af lhe hase of the ree .u-.»,e_. _ the ._«rass, and fle picture is complcted.
The tree is t]len orased hefare tho pupils return, so as hot fo interfere with the
mental image of lhe particular tree each pupil ]las been studying.
A box [ff (,,],mred crayons (.,mtaining lll«, six slandard col, tors and black and
hrown, and 6" hr .q" drawi,g pal,er ,,n eaeh desk.
MET]IOD
The teachor, standing in front af lhe (.las. rives cammands or asks quostions
as f,,llaws: '" Pl:we file paper in lhe 1,est wav. First draw the direction line so
li.,zhtly tiret if l,,,ks liko a whisl,ered line. ]Iow hi7h is the tree to be? Show me
with vour banals h,,w wido y-u are gain.,.., fa make it an vour paper, llow much is
ta be trunk ? ll«,]d up 1ho ('rayan with which vou are v.oin._'z fo bein making the
foliage, l'se if verv lighily, so lhat the other o,l,m}s will show over it."
The pupil lhen continue sketdfing the "ree, constantly pausing fo campare
th«.ir drawin.,..,s with lh[,ir nlmnarv ldciures «,f ihe iree. and the lesson is closed in
lhe way indicated in former lessons.
WINTER APPEARANÇE OF TIIE ELM TREE
Allhdugh. sa far in lhe Manual, a differen tree bas I)een taken in almost
everv ]essan in order o give the teaeher, whatever his environmen, as much he]p
as p«ssil,le, if is 1,erhaps advi.ablo fo teach but one or lwo trees in each Form,
sludying thmn under all conditions.
Tlm ehn lroes illustrating this les.on wore drawn bv Farm 1 bru's. These
hors had heen studying lhe elm tree far a few dav. and ]lad a]readv drawn the ree
once. Thev were allawed ta lake these firs drawings lmme. st) as fo compare them
on their way wilh elm trees that grew just outside lhe school yard. During the
ART
second lesson, as the pupils worked with black crayons, the teacher passed round
thc l'o-m, notingmistakcs, sending one boy to a indow with his drawing to com-
1,arc it with tbc clin trecs which could be seen from the school windows, fo ascertain
whethcr his branches grcw out of the trunk in the right way; another fo compare
the trunk in his drawing with the clm trunks; another to note the shape of the
upper part.
Iuri the lesson, which was very ordêrly beeause the boys were intense|y
intcrestcd in wbat they were d-ing, nearlv everv boy out of tho fifty or more in
tire room had c¢mpared his drawing with the real tree and corrected his mistakcs.
Thcre wcrc three pupils af each of the two windows most of the rime.
The poplar tree had been studipd a short rime before; note the hranching of
tbe popIar, in one side of the third tree in the top row, and the improvement after
the I«,v wbo drew it had comparcd his drawing with the elm tree fo correct the
branching.
NOTE.--The average drauings resulting from a lesson on trees given to a Form II,
Junior Class, should be quite equal to those in the illustration.
LANDSCAPE DRAWI.XG
It was shown in Form I, .cnior [rade, how the teacher might draw a
land.capo bv a method that would give the pupils assistance in producing certain
effect,¢ with their crayons, and would, at the saine rime, teach them to observe
the appearance of sky, earth, and trees in winter at sunset time. The saine method,
although fo a less extpnt, mav be used in Form Il, Junior Grade, because the
lessons in landscape drawing in Form I I, Junior Grade, as in Form I, Senior
[;rade, are dcsigned primarily to aid the pupils fo express their thoughts more
clearly in lllustrative Drawing.
A SUMMER LANDSCAPE IN COLOURED CRAYONS
To teach the drawing of a simple Summer landscape, using coloured crayons.
AIATERIALS
F'OR TIIF TEACIIER:
Coloured chalks and a large sheet of drawing paper fastened up in full view of
ihe class.
ANIMAL ,qTUIY
Folt TIIE PuPIL.q:
Coloured crayons and G" I»v 9" drawing paper.
99
MI-'TIIOD
Introduee the los.qon I,y asking if any of the pupils have raml,led throu._-h the
fields on a sunnv day in lhe Nunmu.r acation, or hare gone to the w«,ods «,r the
park. Let them describe lhe Smmner colourinbright bine sky al,ove, lighter
near the earth, fresh grecn tields, dark green woods, blue-gra.n in the shade,
deepening to violet.
()n the white sheet of paper beïore the class demonstrate the method of draw-
ing the landscape, using coloured ehalks. Ead pupil mav then draw on his papor
with the black crayon a rectanglo for his landscape, leaving a marffin of an inch ail
around il. Next, he mav draw aeross the roclangle a light blue line, to mark how
mueh of this is fo ho sky and how mueh earth. IIe may now rub lhe hlue crayon
lightly over the part for the sky, until he bas ruade it an een tone of bine. The
crayon should be held under the hand, so that the side «,f the point touches the
paper and produees a faint, broad stroke whieh mav be ffne over and over until
the depth of lone required ig producod. In a similar way, level strokes of green
crayon laid close te,gerber mav he ruade fo represent the grass-eovered earth. The
mass of woods showin. a.ainst the skv in the distance mav be repreented by
zigzag or up-and-down strokes of green, modified bv the blue crayon fo give the
effeet of distance.
A little violet rul,bed into the lowor ede of the wo«,d will give the deep
shadow under the très. If yellow crayon be rubbed softly over the green of the
field or meadow, a more sprin-like effeet will be obtained.
The pupils should be eneouraged fo look for views of this Mnd N the neigh-
bourhood and note the changes ruade bv weather and season.
AN-I.IAL STUDY
The method su.gested for teachin.- the drawin of animais or birds in Form I,
Senior Grade, may be pur.oued also in Form Il. The pictures ruade bv pupils te
represent animals in their illustrative drawing.¢ arc u.uallv inferior fo their pictures
of children and trees. A few les.ons on the drawing of aninmls will hclp theni
fo get clearer mental images and will lead to improvement in their illustrativc work.
100 ART
AIIMAL STUq)Y
Successful mem-ry drawings have heen ruade of large animais, as a pony, a
cow. and a zoat, which were brought at different times te the school yard and
studied there hv differont classes.
Charcoal if the best medium te use where numbers of sketches showing
differcnt pe,strions of the animal are madc: but wherc a single representation of
sonie characteristic pose is marie frein me.more after careful study, an ink paint-
ing, or silhouette, of the animal is a lnore dcsiral,le kind of representation.
DRAWING FROM THE FIGURE
F,r sug.gcstions with regard fo drawing children see the text for Form
Senior Grade.
OBJECT DRAWING
FROM ME.MORY
The first ,,I,ject drawings ruade iii a Ferre 1I class should be drawn in mass
and from niem«l'y, after class studv in the manner descril»ed in the Ferre I text.
S,,me of these mcmory drawings mav I,e ruade with charcoal or black crayon,
but the greater number of ohject drawinzs ruade in this Ferre should be expressed
in ink mass.
FROM TItE MODEL
Thus far in thochild's school life, very little drawing has been done directlv
frein the model. Bv the rime he has reached Ferre Il. Junior Grade, the averaz
pupil has arrivod af a stage of developnwnt where a dÇfinie effort should be ruade te
,,.,et him to draw from the object rathÇr than frein his memorv of if. therefore,
although drawing frein memorv should net be dropped, increasing emphasis should
be placed upon drawing frein the model.
PICTURE STUDY
101
A Ferre II elass should net bave te struggle with problems in foreshortening.
Objects prcsenting dilticulties of this kind should be idaeed definitely af the eyê
level or ahovè it, in such a positi«,l as te obviate the necessity for dcaling with
foreshortened surfaces. Many objects may ],e obtained which de net show fore-
shortened surfaces or arc of sueh a character that the PUl,ils draw naturally frein
the appearaa(.e rathcr than frein their klmwledge of the forlll. Anlollg these are a
closed umbrclla, differen! kinds of lmad-],ags, oil-cans, and cvlindrieal laaterns.
Whea elle large objcct or a sutticient lltlnl],er of smallcî" objects bave been se
placcd that ea(.h ],u]»il has a good view, he must dccide how he should place
represcnlation of thc objeet upon the paper alld ]low large he tan afford te make it
il order te bave it l«,«,k well. lh, then dips his I,rush iii the ink and draws a line
fo indicate l]le height he il.tellds l«, make his illk paintillg. ]-'pOil lhis central liaè
he I,uilds hi. l,ietttre, shapig thé main part out on e«wh side of it, eOlslaatlv
eOlnl,arill..Z his I,aitil with thé ol,j«.et, tre/il he bas the proportion of width t)
height «md the coatour correct. When thè mai l,art of the ol,jeet is satisfaetorily
rel,reseted, the l,rol,er l,laeilg of mimr parts, such as spout and handles, is
déterlnilmd upon, alld these are shal,ed out frola the lnaia part.
PI('TUI',E STUDY
THE SHEPIIERDESS--LEROLLE
TIIE ARTIST
Henri Lerolle, a modern French artist who died very rêcently, was born in
Paris in lS48. l[e was a wea]thy man and net in any way ol,li.ed te make a
living 1,y his brush, se he painted just what he wished and when he wished. At
first he chose landscapes for Iris subjeets, ],)t his later pictures were of peasant life.
Of these, the mo.t popular are probably The Shepherdess, which is now in the
Luxembourg (/llerv in Paris, and By the L'iver.'ide, which is la the Museum
of Fine Arts, Boston. The Arrival of the Shepherd.% a beautiful picture of the
Nativity, i.¢ also a .'._'rent favourite.
Lerolle seems te bave ruade verv ('lever u.e of ideas leaned frein other noted
artists of his day, amon. them Millet, about whom we learned in Ferre I. Senior
Grade. lIi paintin,zs, however, are net ,s striking ner as vi,..,orous as the works
of these artisls, but they are carefully lhought out and full (f a clear, sort light
that is very beautiful.
lo2 ART
TIIE I'ICTUP, E
The meihod uscd in siudying this picture wilh pupils in Form li. Junior
radc. slmuhl he very similar 1. that uscd in Form ]. Scnior (;rade. They slmnld
I.. giv<. an Ol,p«,rlunily te» sludv the picture and alk al»out if amogthmn-
s(.lvcs b(.fore itis iaken up in (.lass. S,«ne .f tle quesiious ihat may I»e askcd to
discover how mach lhey have galhered frmn it and te, lead them t,» go Imck fo it
with frcsh inicrcst af(, as foll[ws:
'" Wh:t/ do we t.all a numher of shocp f«.cding iogeihcr as thcse are? What is
a shcldu.rdess? Whero is s]m taking 1lit she«p? ]. ]t.olde tare f.r animals in
ihis wav in 'anada? Whv n.t? ]s l]m wmnan dress«.d as {lanadian womeu are
in ihe «mmlrv? In what wavs is ]wr cl«,lhin7 (liffm'«.nt? Is lhe dav warm or
(.«dd? Whal l«ads x',,u 1,, lhink it is wnrm? What tinlc of vear is it? Would
ih«. l'«,liag on lhe l'«.«.s I,o h«aim" if il w«''e lhe middle «»f Smmner? From their
snmoth, lm(.uliar I,ark w«,uld vou judge the irees fo I,e mal,le or I)eeeh ?
What w.rk is 1..ing dm(. jnst l»ehind the trecs? What con 1)e seen in the
distance i,, lhe right «,r lhe 1,ielur(.? Te, lhe l,.rt? ll,,w has ihe arlist mode these
ihins se«,m se, far awav? l il «lear ,,r ]mzv in lhe distance? Why do the sheep
no{«sl,read out oer ihe grase sa as la have nmre raton? De» flmv secm fo be
hungry? D,» sheel» «,ften arranTe thmns«qes in rows. (.ro!,ping with their heads
in a line as we sec th(.m in this pi«lur.? Whv ]las {he nrtist su('h a wide space in
front (,f lhem. whcn some of tho flock seem to ho lert out ,,f tire picture? Con vou
seo lhe wo«,l ,,n iho ne.arc.st sl:ecl,? Whv is il hot slmwn so cloarlv on tire ]m(-ks of
i]msc that are farther nwav ?
I ihc wmnan ],.adin ihe sheep or drivin7 th«.m? ls she fond «,f them? Ie
the paslure «,«,d? Con you see any l,lace near. where the sheep might drink if
lhev wore lhirstv?
Why de,es lhe w«,man n,,t wonr n hot? 1 she in a hurrv? Does de look
I,ri7ht and ah.ri, m" 1,aile.ni nnd o«s3"-g,,in7? Is i]u.ro anything in hot occupation
fo make ber n]w.ar thns? 1)oes she seem int«.rested in what is going on around
Thc anwers eiven I,v the 1-ml,i] mav «,],(.n Ul» a diff«.renf line of lhoughf.
Thev shau]d I,o n]]owed la c,/prose lheir i(loa respevtin7 the picture quite freelv
se, h,n7 as there le smm.lhig in if ul.,n whi«h lh(.v haro 1,ascd tiroir opinions. Imt
id]«. cm,jc,.tur«, shou]d ho, disc«m'a7ed.
A
A
C I
A
C
A
C
CIIAI'TEI/ Vil
('OLOUI',
TINTS AND SIIADES OF COLOUR
TIIE çOLOt'lt work nssi.,..,ned fo Form l I, Junior (lrade, is a eoniinuation of l]e
work ah'eady taught in Form I, Seuior {rade. In that Form ]e pupils learn fo
make a ]ighler aud a darker tone than the standard of eaeh eol-ur. In Form 1I.
,lunior {lrade, they should loarn that le OlmS of a e-lour lighter flmn the staudard
are ealh,d tiuts and those that are darker are ca]led shades. Thev shou]d a]s- ]oarll
fo make rive tones of each colorer inC]lldinff file standard, lu doiuff lhis thev cire
really ]earning fo make scales of values, a]though they are hOt expocted fo slow a
rcgular gradation of vices, ner are they taught te speak of these toiles ils va]lies
until lhev reach Fom III.
Te make a s«ale of rive ones showing lhe standard eolour with seine of
tiuts and shades, a vertical row of rive squares, each an il,ch in size and about a
quarter of an iuch apart, should be arranged hv each pnpi] on his sheel of 1,al,,.r.
Excepling in the case of yel]ow and violet, lhe iddle square shou]d ],e chosen for
the standard, and over ifs whole surface lhe crayon should I,e rul,l,ed firmly, uutil
the eolour is as smoolh and a. stronz as if tan ],e matie. Iii lhe square ncxt al,ove,
the crayon should be rul,bed lighlly over lhe surface, until an even t-ne i. l,roduced
whieh allows lhe white paper te shine throngh sufiïeient]v te nmke lhe eo]our appear
li.,..,hter than the standard. In lhe top square, a slill li.,..'hter tone should l,e ronde.
If th.e pupils have heen aught te hold the crayou looseh" under l],e hand, l]ley will
have no difficultv in making a light, even tone.
Te produce two shades of lhe colour, a ]i.¢..,]lt ay tone of chareoal shonld 1,e
n,hbed over tl,e square imil,ediat,]v heh,w the standard and a deep¢.r gray loi,e
over the hottom square. Tho crayou is lhen ruhbed firmh" over th,.:* gruy roues
nnlil thev are covered with a laver of eolour as stron.g a. il eau be madÇ.
In the case of .voll,w which i.q vorv li;dt, the standard eolour slmuld eome in
the second square, so as fo allow for three shados and onlv one fini. Standard
violet, which on lhc other hand is dark, should he placed in the fourth square in
the row, so as fo allow for three tints and only one shade.
In the illustration, fhe standard eolours arc nlarked (a), tlle lints (b), the
shades (c).
103
] 0t ART
The shades of yellow are greenish in tone and the shades of orange are brown.
An cvcn gray tone may bc produccd by rubbing the black crayon lightl over
tbe paper in the saine manncr as thc coloured crayons were used in producing
different tints of colour.
DESIGN
A Ferre I pupil is expected te nmke little if any use of the ruler in Design,
exeept possil,ly fol" seine very lmrti«.ular purpose, sueh as Christmas work. hl
Ferre ]I, Junior Grade, he should learn te measure in inches and should be able
fo mark off lhe Pal»er in ilmh squares |il|g light l,cncil line..
In Ferre I. more attention was paid te the keeping of the units equal in size
and spacing them regularly than te the slmpe of the unit itself. The pupil should
new lcarn that units may be too large or ioo small te look well in the spaces in
whit.h th«.v are ro]»oated. IIe should aise begin te .im])lify units. An excellent
plan for teaching bim both te simplify tbe unit and te judge of the best size te
use, is te bave bim eut if frein a piecc of paper of the saine size as the space te be
««'cupicd. If mas bc eut fr«,m col0mrcd paper or coloured with crayon, se that he
can see it distinctly when it is laid on the space prepared for the unit in the
constructive plan and can judge wlmtber it seCs te crowd the space or be too
slna]l for it.
When a constructive plan of inch squares bas been drawn on a sheet of paper
iii preparation f«»r a surface pattern, ont row of squares may be eut frein the
l,al)ér, leaving it 6" bv 8" in size. This strip will. wllen eut into squares, give tbe
pupil six squares with which te experiment. Tbree of these might be used in
getting a niait good in shape, leaving tbe otber three te be used in determining the
size that will look best.
LEAVES AI,'-D FLOOERS IN DESIGN"
A collection of rather small leaves, such as the lilac, rayrtle, poplar, clover,
hamrock, or otber leaves as simple in sha])e, should be brought te school, se that
each pupil may hase af least one on his desk te use as a nmdel. He should draw
this in mass with black or coloured crayon as near the middle of his inch square as
iossible. Tbe square should ihcn bc folded down tbe middle te divide the leaf in
ha|f. and tbe smallcr hall should be eut around, se ihat wben the leaf is opened
eut both side. wi|l ho alike. The pupil mas a|so get tbe unit by folding the paper
and cutting fr«»m the natural leaf witbout previou.¢ drawing.
LEAVES AND FLOWERS IX DES](IN
105
The sido viow of the rosebud, buttercup, apple blossom, etc., and the top viow
of sut.h flowers as the buttert.up, shamrock, begonia, wild rose, lilac, hyaeilth,
eherry |,lo.ssom, sweet syringa, and phlox, mav be treated in the sanw wav. Where
ail the peta]s of the flower are of the snw hape, the ineh square nlav'],o fo]dod
in quartel's |,efore tho top view is eut. bi ] JvsiTn, as long as the 7enel'al sha],o of
the flower is kept, ail the se],arate parts need hot be shown. If is often advisable
to reduee the numbor of peta|s.
When the l,npil bas eut a satisfaetor unit, he mav use if for a patlern, i.lacing
it in the middi,, of each square of the'eonstructive "plan or in alternate squares
JMT REPEATEO IN AL'rERNA'rF' UNITRE.PF_.ATED IN EVER¥ ,SOEU.&RE
,O, UARE5
according fo its .ize and trac.ing around if. If there are hot more than six
repetitions of the unit, he .hould I»e required to draw froln the patterl unit instead
of traeing it for eaeh repetition, so as to give him praetiee in judging size and
shape.
Simple geonwtrie shapes similar fo those obtained in F«.rm I bv rouping
small squares, oblons, or triang]es of paper mav be used bv this elass or borders
and ail-over patterns. Some eometrie unité, when they ar repeafed in every
square, form baekground shapes that are very attractive; others, to hok their best,
lO6 ART
mttst be repeated in alternate squares. A Form II pupil should deeide whieh
arrangement is the better one for the uuit he has ruade, before he repeats it.
.';onm of the objects drawn by the pupils in the lessons in Representation nlake
apl»roIriale units fol" spet.ial imrposes. The teaeher should plan to bave objeets
lhat mav be ruade use of in lcsign drain on small pieces of paper, so that when
thov are eut out they will hot be too large to be used. A tea-kettle, tea-pot, or jug,
wo,ld l,mke a suitahle u,it for the covar of a I»ooklct eontaining the story of a
|,icnie or tea-party. Il'awinzs ïrom animals or birds mav be u»ed in the saine
wav. A ral,bit, a ehieken, or a duekling, mav be used for Easter, and a toy eamel
will ïurnish a good unit for a I»order to :_,o al»ove or below the title of the story
,,f the Wise M,-n, for a ('hristlnas booklet. ther objeets nmv be used with equal
appropriateness fol" these or for other oeeasio,s.
The l,Ul,il should be tm,zht fo rcalize that, no matter what the mit i., it,must
],e arrat,yed in an orderlv wav when it is used in I h,:i..__,n. Children mav run, play,
and shout when thev are at their gantes out-of-doors, but when reeess is over and
thev are SUmlnolmd fo the school-ro,,ln, a verv different sort of behaviour is seemlv.
In the sanw way, flowers, animal:, and other ol,jects, when thoy are represented,
mav I«, shown in a perfectly natural way just a. thev appear, but the moment they
are ruade into desizns for the decoration of s,,me article, good taste requires them
to I,e arranzed accordinz fo some re.._qlar plan. The saine uniformity and unison
in mode.ment that makes us enjoy seeing drills and dance. when thev are well donc
mu:t be apparent in tlw arrangement of the units that are used in Decorative
Desi&n, if the result is to be sati.¢faetorv.
CONSTRUCTIXOE PLANS
A. has alreadv been indieated, Form 1 I, Junior (;rade classes should learn to
use thcir rul.rs to mark off thc ]»al»er in inch squares with li7ht pencil lines for the
rcglar sl»a(.in.,.,, of traits that «tre to be repeated. Thev mav also use a constructive
l,lat obtained bv folding and creasin.,.,, the pal»er into sixtcen equal oblong.. When
many rl»etitions of a small unit are desired for a surface l)attern, a better method
is fo have the i,u|»ils measure from the top of the sheet of paper, making a row of
(lots an inch al,art on the ed._,ze at each side. The rtflcr mav then be laid across from
ed7e fo ed7e and kept strai._,zht bv mean.¢ of these dors, while other dots are placed an
inch apart ac.ros. the paper in regular row.¢ from top fo bottom. When the pattern
is to l,e rcpeated in straight rows, the dots in each row are placed exaetly under
C(}L(}URIN(; (}F I}ESI(;NS 107
those in the row above. When an altêrnatc arrangement is desired, the ruler may
be nmved a half-ineh t, the left in everv other row so as t,J bring the im, h mark,
where the dot is fo be placed, exactlv under the middle of the space belween the
«lots in the row al»ove. The unit mav then be drawn or traced at each d,»t. This
is a rapid mcIhod of obtaining rezu]ar rel»etition and nmy bc u.ed in aay class
fl'om Form Il upwal'd, w|len it i de.iral,],, to covcr a large surface with lllllllV
repetitions of a unit in a lilnited tinle.
TIIE COLOURING OF DESIGNS
The detailed Cour:e of Study suggests the use of one colour with gray, white,
or black, in the desins ruade bv Form I1, Junior {;rade ela.:es. They mav use
one eolour alone «,n the white or nearlv whitê pal,er, or they mav make certain part.*
of their desizns gray or black, or mav outline .hapes with black. A pale, even
gray tone may be put over the whole of that part of the t,al»er whieh is to
oeeupied 1,v the surfa(.e pattern or other desitzn, aml thc unit.* lnaV bc drawn
eolour on this gray baekground ; or an evên tone of thê eolour may |»e used for the
baekground, and the uniIs fini.*hed iii black on Ihis eoh, ur.
PROBLEMS IN API'LIED DESIGN
Some prol,lems in apl,lied design for this elass have |»eell sugested alreadv.
Together with these, he fol]owin/z il]astratious, and th-se given vith the text for
Form I..Senior {;rade, and Form I l. Sonior ;rade, shou]d makê it l,ossil,]e for the
teaeher to plan a succession of l,l'(,l»lenls fo keep the interest of evêrv nwlnher of
elass sufficientlv a]ive to ensure that painstakilg effort without whieh good results
in Design are impossible.
IlANDKER('II IVF BORDERS
lO8 ART
l)ainty borders for handkerchiefs may be ruade with lines, dots, or a com-
bination of both. The manner in whieh the corners may be turned is shown in the
illustration. ïhe drawing paper, ïoolscap, white tissue paper, or any other white
or cream-coloured imper light in weight, may be used in making the han.dkerchiefs.
The uaruled side of a sheet of foolscap paper will allow for a handkerchief eight
inches square. A plain margin should be left outside the border, to show the width
of hem cach pupil prefers.
Class results may be said
to be ideal when the arerage is
high and no two individuals
have patterns precisely alike.
The making of a square
-- doily or a eover for a doll's
f table will furnish a little more
t diffieult l)roblem of the saine
kind. The stel»s to be taken
t bv the pupils in making a
tal»le cover similar fo the one
a quarter of which is shown in
the illustration, follow:
Plan for a six-, eight-, or
ten-inch square of paper,
aceording fo the size of the
paper from which the cover is
o be eut.
CORNER OP SQUARE DOILY 1. Measure and eut the
square of paper.
2. Mark off the inehes along eaeh side and ru]e very light lines, making a
douhle row of ineh squares ail around the cover.
3. Leave the outer rows of squares for the fringe, and draw a line inside this
Otl(er row.
4. Rule somo im.h squares on a sheet of heavier paper, and practi.e drawing
/he top of some simple flower in ome of these squares, and one of its
loaves in ohor squares.
5. ('ut out flo 1.st flower and bo.t h.af fo use as patterns for the border.
6. Vse lhe row of squares inside the line for the placing of the border. Put
APPLIED DESIGN: PROBLEMS
lO9
the flower in eaeh corner and draw the leaves facing from the eorners
so that they will meet in the middle of each side.
7. Colour the leavcs and flowers, keeping the tone light and delic'htc.
8. Determine whether a line or lines connecting the units in the border would
improve it, and finish the border accordingly.
9. Round the outer corners of the paper with the scissors, and cut the fringe
carefully. The tearher should illustrate on the black-board the method
of cutting the corners.
CIRCULAR .MATS OR DOILIES
!
PAPER DOILIES--By FORI I PUPILS
The round papor doilies
in the illustration are the
the work of Ferre 1 pupils.
The averae results fr«,m a
Ferre II, Junior ;rade class
should be as good or better.
A small plate, saucer,
and ink-botflÇ wore used for
racing thÇ three eoncentric
circles, the outer one for the
ed,,-e of the doily, the one
insido it te which tho fringo
was eut, and the inner one
frein whi«.h the units in the
border spring. A circlo
marker like the one des«.ribed
in tho. Ferre 11I. .lunior
Grade text, might be used bv
this «.lass.
WhÇn oa«.h doilv was eut
out. if was folded carefully, first in halves, then in quarters, then aain,'to crÇase
the eight equal divisions in which the units were te be repeated. A unit was then
planned te spread toward the outer edge se as te look well in tho space prepared
for if, and was finallv drawn in such a position as te appear te radiate or point
frein the centre of the circle outwards. Lastly, the fringe was eut te the line, with
the scissors pointing te the centre of the circle.
i io ART
VALENTINES
Suggestions for the making of six different alentines are shown in the
illustrali,,ll. Tllev mav be ruade anv desired size. Figure 1 has a gilt heart
rais«.d bv ]a(hlers llmd«. «,f strips qf stiff 1,al,er foldcd in thirds with one end of each
stri I, pastcd to t]lc und,r side of the heart and the other end attached to the tard
I,,.h,w. Ul«m llicll a :quare .f red pal,er ]la,, alr«-adv bcen pasfcd. Below is lettered
thc ilScl'il,tiol: "" For Mv Valvltine" Figure : is a booklet decorated with a
VALENTINES
surface pattern of tinv ]waris. Fire 3 is a heart-shaped booklet opened with
lle hack out so as to show the hinge. Fio-ure 4 is the saine shape closed, with
;t l«,rdor «,f hlue ïorget-nle-uc,t. for dccoration. Figure 5 is a double heart, with
]e fc, hl at the tc, p making the hinves A and B. Fi_-mre 6 i. eut from paper and
i, hackcd ith I,l'etty c,,loured tissuc-l,aper which shows through the openings.
LETTER IN(;
B¢.fore he rcache. Form II. Junior (;rade, the pupil ha. learned fo tre to
make letters that are ul,riht, of the saine heizht, and arranged in an even line.
IIe bas also lcarncd that the letters in words should be kept close together without
touching, but that therc should he a defini% space between the words.
IIi. vreatcst difficultv bas bcen e.xpericnccd probably in tryin to keep the
lettcr vertical. The «,uie wav fo overcome this difficuhN" is fo sit facin the desk
squarely, with lhc lowcr cdve of the paper on which the lettering i. being done
kcl,t para]l«.l with thc lowcr ed7e of he dcsk.
Tho paT of an rdinarv exercise bock or a ha|f sheef of foolscap will be found
useful fr pracfice, as the space t,ctween the lines is an aid te the pupils in keeping
the ]etters f lhe samc height and in an even line. Larger letters mav occupy two
spacos. A space shou|d be left between everv two lines of lettering.
LETTEltlI G 111
When a title is fo be lettered, if may be done carefully between the lines on a
piece of foolscap. The space occupied by thê letters may then be eut out and placed
mmediately above the spaee where the lettering is to go on the cover. In this way
the letters may I»e copied without ditticulty in exactly the right
UVW
254,.5
XYZ
6789
CHAPTER VIII
FORM II, SENIOR {;RADE
ILLUSTRATIVE DRAWING
TIII: MFTItOD of teaching Illustrative I}rawing in Form 1I, Senior (;rade, need
differ ery little from that used in the Junior (;rade. In addition to the use that is
ruade of drawing in connection with other school subjects, games, sports, events,
and e\periences mav be illustrated. A strong effort should be ruade in this Form
to help the pupils to realize the relative size of the figures of children or people and
of an)" trees that may appear in their pictures.
L ,tt
]"RE D ToJUM p ON, 1"0C K,
II/T Il JOLTED UPHIL L
G I VING O01"tNN YA 5 PI L L
ILLUTRATIVE DRAW1NCrBY FORM lI PUPILS
112
/LLUSTRATIVE DI{AWING 113
Pure fun is dear te the hearts of Fol'm II pupils, and humorc»us
deseriptions appeal strongly te theln. [ecasionally they mav be
allowed te makÇ illustrations such as the drawings of "Little Johnnv
_.
('anuek", whieh are the work of Ferre II pupils. They mav
eneouraged also te })ring the teaeher funny rhymes, frein which he
lna 3' ehoose suitablo ones. IIum«,r«»us hap[wlfings may also be
deseribed by seine mcmber of the elass, after the teacher has approvêd
of theln. When a elass is allowed te make the.e sketehes, vood draw-
ing should be insistêd on as far a.¢ i. possible with fo ycmng pupils.
The ]llllllOllr nlut dt, pond up«,n tho situation, net upc,n grotêsquely
oxagerated figures. Althoush if would 1-,e unwise te allow a elass te
indulge often in fulmV skêt«hes, there are dull and heavv days whon
an amusin thouffht and the effort te express if in a pieture will put
evêrvbodv in good humour and make work lighter.
Where the storv i. ahout people. ,'hildren. or animal., the fires
expressing the action should 1,e nlade first, aftêr which the neeossarv
surroundin may 1,e added. The attention of the pupils should be
eallêd te seine ood pietures, in ordor that fl]êv mav see the wav in
which thê artists have plaeed their main ;sures te oi,tain a ploasing
result, also t,, the size of these fiorês in pr,,portion te the distant
objêets in thê pieture and te the sizê of the pieture itself.
In thê Ontario Second Reader are nlany seleetiOllS which abound
in word picturês suitai,le for illustration. Alnong these are My
,','hadow, The Land of ,"tory-books, (-'hange .lbottt, ,S'omebody's
Mother, The Duel,.A IVonderful Workman, and Jackanapes.
Charcoal, crayons, or brush and ink may be used in the making
of these pictures, which may i)e drawl] in hlack and white or in one
colonr and black alld ,1 hite. The result. are seld«,m goc.d when t]lê
pupils are allowed te use man)" colours. Either oral]ge, green, or rêd,
however, used with black, makes a plea.in. conlbination. Touches of
crayon colour may be added te a charcoal drawing te increase
attractiveness.
"'The old, old lady
and the boy who
as half - past
thr«e"--By Form
Il pupile
114 ART
REI'I¢ ESENTATION
DRAWING FROM FLOWERS
Thc differencc betwcn Form l l, Junior I;radc, and Form lI, Senior Grade.
in the tcaching of drawing from fiowcrs lies in thc mediums used çather than in
lhe mcthod ,f pres¢«ltalion of thc subie.et -r lhe order to be foiiowcd in the lesson.
When ehareoal or crayons are used in the Senior Grade, the instructions already
.,ziven in he Junior (;rade mav he foii«»wed. Mass drawing with a very soft peneil,
.««n(.time. eaii«.d p«.n'ii painting, may he taken up in this F,)rm and should be
handled in a similar way fo ehareoai. Il shouid be borne in mind that fro outlines
are u.ed in anv of this work.
The grcater mlmb(.r of fl,)wers or other speeimens from nature drawn in
Form II. S««i-r I:rade, .houl(i be paintcd in ink or water-eolours. Full directions
for the use of these mcdiums is giên in the lcssons lhat follow.
I,III, L IN" MAKINf BIII_'Sl[ STROKES
The prin(.ipnl cause for failure in painting with ink is the diffieultv experienied
l,v thc pupil in hnn(iling the new mcdium. ]|i. hand must be taught o fide and
,ntroi tbe bru»h bof,re he can expect to make creditable ink painting.. A drill
ic making bru.h ]ine. wi]! hcl[ him fo 't control of the medium. The bru.ch
.hould be br«»uht o a «»,)d point and held in a vertical position bv the pupi].
hi]c ho druws strokes of li.uht or heavy weight, as he teacher directs, from left
«» rizht or from top fo l».ttom of the paper. In the second Exercise on handling
water-colour. in this F-rm will be found directions for making brush strokes that
mav be practised, using ink instead of water-eolours.
GRA.SES IN" .ILIIOUETTE
.IATERL,LS
FoR TIIE TEA('[IER:
Spccimens of grasses or sed.cs and a larze bru.h for the demonstrafion ?o be
nmde .n the b]ack-|»oard, using waicr instead of ink.
FoI TIlE P['I'[LS :
Drawing paper 6" bv 9", speÇ-imen Ç,f grass for ea«.h desk. heid erect in jr
of sand or pla«-ed in position on a sheet of paper exaetlv like the one upon which
it is fo bc drawn, bru.h and ink, water pari, and clean paint cloth.
DRAWlNG FR(tM FLOWERS 115
*METIIOD
A lesson on gasses is giron in Ferre I, page 50.
Thc le, re.hot may got s«me suglzcstims frein il, or the
Iosson in FOl'lU Il lnav bc introduced by callin atten-
lion te the charactcr of gl'owh as sh«»wn in the
si,e('imolS lhat hae bCel prmided. The difforonces
in dil'cclion, shape, and textm'e of lhe parts should
also ho note& Thc eacher should doln«msratc on the
black-hoal-d llu. pr.per slroke o be usod for store aad hladcs and
the touches that will hr«t express the texhre of the grass head.
Tiu. class mav new fold lhc ;" I,v 9" shoet of pal)er and separatê
lhe lwo hah-es te produee Iwo 3" bv 9"" pieces.
Aller arraninff the spoeimon upon one of the sheels of paper
se as te got tho most interesling view of it. oaeh memher of the class
mav shldv if in this position, in order 1o eslinmfe how larffe 1o make
his drawing and in what position 1o place if on the other shoot of
l,ai,er. The spoeimens mav then he pla«ed in the .jars of sand or
mav 1,o drawn just as thev lie upon the
Imper: hut in no case is a sper'imen fa he
lraeed or drawn on the sheet on whi,.h
if lies.
Wilh«,ul making any peneil kêtch of
lhe ,-ra.¢., eaeh pupil mav first dip his
bru.ch in lh waler, se thaf the ink will
net soak inIo lhe so(.ket and l»o diffim,lt
te clr.an oui; ho mav then fill the hrush
wilh ink. drain it te a good point, and
li.,_.,htly sweep in the direction line of the
nmin stem; he mav then paint the head,
ryin Zwith li.'..,h touches o roro.en is
texture. Next, he should paint tho hlados
nftor lho mannor he has airoadv learned
in tho bru.h stroke losson and. las, of ail,
strongthen the stem where if is net hidden
bv tho 1,1ades.
SILHOUETTE OF BLUEBELL BOOKLET COVER
116 AT
If for any reason il is desirahle to have the silhouette in colour, a small
quantity of wash of the desired colour may t,e prepared in one of the hollows in the
lid of lhe p, imml-lJox and JlSed inslead of ink f-r thc l,ainting of the grass.
When a sequence of lessons in different grasses is given, the results may be
hmlnd int,, a small I«,oklet, far whieh the accompanying illustration suggests an
aI,l,roI,riate cover.
t tflwr specimens from nature «,f whieh sueeessful silhouettes mav be marie are
I,uddin.._, and l«.aïv twi:_,s: fl«,xters that are distinctive in shape, such as the snow-
drol,, tulil,, and datt',,dil; stalks with seed l,aeks: different kinds of fruit on the
hranch ac,«nl,anied hv sonm «,f their leaxes; and sueh vegetables as the carrot,
I,eet. t,r onion, with a few unwilted lcaves still attached.-
EXER('ISES IN IIANI»LIN«; COLOURS
There are different meth,,ds of handling water-eolours so as fo keep them
hri.¢_,ht and transparent, I»llt ail are alike in requiriny_, eolour fo I.e got with as little
mixing as possible. The foll,.wing Exereises will help the pupils to realize how
little mixin,._, is neeessarv and will aid them in getting the erisp, transparent eolour-
ing that is so desirable in water-eolour sketehes.
FIR.T EX FRf'IE
Each pupil e\amines his l',aint-l«,x and makes sure that the paints and the lid
,f the paint-hax are quite clean: he the brushe «-lean water over the yellow, the
red. and the Mue eakes, so that the wh-le te, I, of em-h cake listens. N'ext. while
the surface of em.h cake is softening so that the ealour will eome off easilv, eaeh
I, uI, il l,laees a sheet of drawin.,_, pal, er, thÇ long wav aeross, on his desk an¢ draws
qx reetan,,_,les al«,ut one ineh wide 1,v two inehes long. arraning them in a row
al««lt ono quarter of an ineh apart. The bnlsh is filled with vellow of full
stren.,_,th hut wet enouh to flow êasilv from il. and this strong yèllow is floaled
fr-m the ta I, de,wh over the second, third, and fourth rectangles. The brush is
n-w eleaned hv pressing il aainst a elean pieee of -ld c-trou, whieh will be
fmlnd preïerahle fo hlottingpaper f-r the pupils' use: the brush is then dipped
into the water and pressed aainst the cloth, and this proeess is repeated until
il is quite elean. Bv his method the water is kept clear. When the brush
is quile clean, il is fi]led with strong hlue. wet enough to flow easilv from the
brush, and this colour is floated fr«,m the top down over the fifth and sixth
EXERCISES IN C(}LOUR
117
rectangles. A slightly weaker blue is ruade by dipl,ing the point of the full brush
in the water and thon twisting if il, thê lid of the paint-b«Jx, so that the water will
run up into the brush and weaken the bluo with which it is filled. This sli/zhtly
paler blue is thon fl-ated on tho fourth rectanzle mer the yellow. B«th yolhw
and blue will immediately disal)pear ' and a billiant greên ill show in their
place. Tho brush is once more cleaned and filh.d, this time with a str,mg, wet
red. which is fl.ated over the first rectangle. The saine strong, wet redis floated
lightly on the sixfl, rectangle over the blue. t]lU. forming vi,,]et. The redis flmn
weakened slightly with wator aml floated ¢)11 the second rectanTe oer |],e vellow
fo form orange, l,, each case the first wash sll,,u]d be drv or near]v s,,. befire t],e
second wash is floatod oer it.
The pal,er s],ould ho kept s]ightly ti]ted so that the co]our will tend fo run
dowa to the b.tt,,, of the reeiangles. When the brush i. presse,l dry, the tip ,my
I,e al,plied fo tl,e i,o.l that forms ai tl,e I,ott,,zn «f the rectanglo, l,, al,sorb the excess
of moisture.
Il the aboxe Exerei.es, the eolours blel,d on the paper; in tl,o next Exorcise.
the blm,ding is dole in the I,rush.
Whon we try fo match the eolours in a flower, we fii,d that tho salue petal
may sl,ow yellow-orange and various tones of red-orange. This i. frequently the
case in the nasturtium, l'etunias and l,hlox sç,metinles show red-viol«t ald blue-
violet in the saine blossom, a,d a similar play of hues is fo I,e seen in most
flowers, h, the saine way we find thai a I,lade of grass or lhe loaf of a i,]ant may
exhibit a range of huos rm,lii,g fr««n vellow-greel io h]t,e-gn«.n. The f.llowing
Exen.ise is designed l. bel l, the Pul,ils ici ei flfis l,l»v «,f huos lhat we soo in l,aiuro.
If is desiral,le, though hot al,.olntdy noeessar, lhat each pul,il be providod
with petals of differez,t flowers and with green loavès of different varieties, but the
tom.her .hould bave a nmnber of spe«imens of vari.us hues that n,av I,e fa«tonod
up. in ortier that the pupils may analyse /ho eolour and deeide wimt the exact
hue is.
SECOND EXERCISE
The paints are preparod as thev were for the First Exorcise. It is most
important that they should I,e kept elean and shouhl I,o woll moistoned with water
before eaeh lesson bogins, in ordor that the brushes mav I,e filled wilh e,,lour oasilv.
If the colour has fo be worked off a hard cal, e, it boe,:mes frothv and tho hrush }s
also injured.
BB.USII PPACTICE--FOR5f II, SENIOR
EXERCISES IN C(LOUR 119
The pal)er is placed on eaeh desk the long way across, the paint-box is place,l
af the back of the desk and te the right of the paper, the lid being opênêd toward
Ihe pupil. The watêr is plaeêd êith«.r |,chind the box or te the rizht of it. The
ImpiI, with both fêêt fiat on the fl,,or, sits at the left side of the dêsk, whi«.h
faces squarely.
For an orange petal, t]e brushes are dippêd in the watêr and filled wilh
yellow paint, Ihên brushed aeross the red cake and wisted lightly in the lid te
ensure the I,londing of the eolours in tire |»rush and aise te hring it te a good
point. The petal of the flower is then painted with one sroke, if possible.
The teacher should ïastên a shêet of papêr up at the front and show tire elass
how te press the brush down se as te widen the stroke. If thê petal the l,upil ]ras
ruade is ye]lowêr than he intêndêd it te be, Ire adds more rcd o the |»rush and twists
it lilzhtly in thê saine spot in the lid whêro tire first I,rushful of eolour was Iwisted.
then makes a second pêtal: if it is rêdder than ho intended, he adds more ve]low.
In this way, without washing his ]»rush or working exer anv ot" tire peals, ho'makes
fresh strokê. until he has ruade one of the co]our he dêsire. te, match.
For practice in stem and blade strokes, thê papor is turned over and p]aeed
the long wa S up and down. Thê eakes that bave beeomê soi]ed are clêanêd off, and
the brush is filled with vêllow and bluê, twisted te a ood p,,illt, and hehl
vertical position, whilê the fine line ia swept in frein thê bottera of the pal.«.r
npward with thê point of the brtlsh just touehing, tire paper. If
net strong enouh, more of both v«,llow and Mue are addêd; if if i. too |,Iue, more.
ye]low is addod, or more blue if it is too yellow; if if is too dark, more water
nêêded. The brush should t,e twisted liffhtly in lhe lid «,f the ho\ ],clore it is al,l, Ii«l
te the papêr. Whên the bru.h i. too wet, it mav ],o allowod te toueh the «loth.
whic]l wil] ab.orb the extra moi.ture. For ,,,,ras» hlad«,s, the sr,,ke
point just touching the paper and he 1,rush is pressod down as if swêeps slow]v
upward, o be ]ifled alsain se that onlv the l»oin! touches a. the sharp end of thè
blade is finished.
Daffodi]. narcissus, and tulip leaves are excellent for brush ]-,rar.iee of
kind. When more than one stroke is neeêssary, the brush i. brou_-ht frein tire t,.p
dom, lappin. Ihe edgê of the first sr«,ke whiIo it is sill wêt.
When the Second Exorcise is taken in tho Sl,rin.,,_,, it mav I,e followêd 1,v
a lêsson on painting the tulip or the daff«,diI. Whon if i. takon il thê Autunm,
salvia, sunflower, or eommon mariold mav 1»o p,qintod in thi. nmnlwr. ,qnml]
fruits, such as haw.¢, ro.e hip., and harl,orrios mav 1,e handlod in a similar wav.
120 ART
In the following lcsson, instead of mixing the colours in the brush, as would
be done iii painting from any flowers attempted in this Form, small pools of
strong col,,ur are prepared, so that a suff¥ient quantity may be floated rapidly
oer the comparative]y large surface required for the representation of the leaf.
it will be fonltd necessary oeeasionallv to take eolour straight from the cakes,
een lhough pools of colour have I,een prel»ared.
TIIE AUTUM.N 5I.kI'LE LEAF IN" WATFR-COL(I'R.q
Eaeh pupil should be 1,rovided wilh a brilliant malde leaf and should have in
readine.*s Oll his desk a three-colour paint-box, a No. 7 (or larger) paint brush,
a l,i,.('e «,f ohl, elcan eotton, a wat(.r l,an. and two sheets of drawing paper. ,)ne
»heet of pawr may be us(.d for tesing eolours.
.kflvr the cakcs have b.cn w«.l] m,,ist(.ned so that thev are softenig and that
«.olour may be easily obtained whe it is needcd, the maple leaf may be studied
},y the elass in some ruminer silnilar to the followin:
The leaeher asks: " What have we for to-da's lesson? On what /ree does it
r.w? What eolour are mal,le lcaves in Nmmn«.r? Describe the shape". The
hst question being rathcr too di/ficult for tlw c]ass to answvr, the pupils are told
1. hold their hands up. turn the pahn toward th«-m wilh the fingers well spread
out. and count how mattv tiI,s there are. Their attenti,,n is then called to the
f,«t that. like the hand, eaeh h.af has rive loiats. Thov note also that. althouh
s«,nw leaes are broader and sonae bave doel«.r notches than others, ail have rive
lare ribs whieh taper to the points from tho place where tho st,.m joins the leaf.
The tea«.hor then continues: "Are the leave reen now ?" Eaeh pupil decides
wnat e«,lours can be seen in his leaf, and a few are allowed to describe theirs.
Tlwv are now tohl to mix hall a teasl,oonful «,f stron yellow wash in one recess
in the lid of tho paint-box, a little bright r«,d in anothr, and s-me reen marie
fronl yellow and ]due in a third. The te«hor sh«,w thom, Ol1 a sheet of pair
al the front, how thev nmy paint the who]e shal«- of the ]eaf with the )e]low wash,
and into this wet ve]low mass blond the red and grcon toncs that are seen in
their leaves. on thev bave been eounsel]ed to stm]v tire ]eaf earefu]]v and trv
«, match the ¢«,]ours, placinvcach hue exaetlv whero if cornes, they begin b
shapingout the loaf with the yellow wash and, wh«.n flmy bave ruade flis founda-
lion shape correct, thov procd o match flac eolours, eonslantlv eomparing their
painting with t1 roa] leaf as they work.
PUMPKIN 1N WATER-COLOURS 121
The colour of the ribs is matched next. The ],rush is brought to a good
point, the central rib is swept in fronl the stem toward the tip, and the four side
ribs are ruade in the saine way. Care should be taken hot to make the ribs toc
l,rolnineut and, if they are lighter tu colour than tlm leaf, no attcml,t in Form Il
should be ruade to rel,reseut thenL The line of the stem shouhl be painted with
che, long, steadv stroke, thickeniug toward thé end whcre it was aitached t,, the twg.
When the work is finished, the really good exam],les may be ],ut up for
exhibition for a day or two. The paint-boxcs nmy now be wipcd out, the brushes
washed and brought to a good point, and all material., put carefully away.
TIIE P['MPKI',q IN WAT|"J',-t'OLOURS
AI ATLR I_, LS
FoP, TIIE TEACtIER:
A fair-siz¢,d ],umpkil of good colour, water-colours, large brush, draui,g
l,aper, and paint eloth.
I;OR TIIE PUI'ILS:
Water-colours, water pan, No. 7 ]»rush, drawing paper, clean cloth for drain-
ing out the bl'ush and briuging it to a point.
.METtIOD
Discuss with the class the best position in which to place the pumpkin so
that it will look well and be seen by all and, with the lmpils ' help, decide u]»on the
colour to be used for it and al.o for its stem. Call their attention to its gelmral
shape, and lead theln to notice the crea.es in it and that tho o,e at lho ('entre seem.
to be a straight line, while those on either side se(.m to eurve more and more as lhev
approach the sides, though all begin t-gether at the top and end together at th'e
bottom.
The attention of ]e pupi]s having thu.¢ boen directed to the general char-
acteristics of tire modeI, thev may prepare fo paint it.
The ]are wash for the orange colour of the punq, kin is ronde bv blending red
with ve]]ow until the colour of the pumpkin is maiched. At lea.t ha]f a tea-
.poonful of this wash wi]] be required te cover the wh.le shape wiih lhe exception
of the stem, whioh will ho paintod afterward.. A little of tho first wash is taken
in another ho]]ow of the paint-box, and from if tho stron.or, darkor eolour for
the ereases is ruade by adding a ]ittlo moto of rod and a touch of b]ue.
ART
After the teacher has ruade a rapid demonstraiion of the method of begin-
ning, thê pupils may paint the pumpkin about four inches wide, by putting a
hrushful of tho orange wash in thê middle of the paper and pushing it out,
making it larger and larger wiih plenty of wash, uniil the painted pumpkin is as
ncar the shape of lhe model as each pupil tan make it.
The class should be cautioned to work quiek]y, keeping the whole shape wet,
and nol forgetling h» make t]le small carres that show in the outline at top and
I.ottom between lhe hollows.
While this general wash is quite wet, the pupils should fill their brushes with
the strongr, darker eolour whieh th W bave ah'eady prepared and paint lhe middle
(.rease, or holh.w, making it with onê long strake of the brush, treating the side
«,nes in a similar wav wilh eolour just wet enough lo show the hollows without
spreading. If lbe wash is apl,lied quiekly and the ereases are put in before any
«,f the shal.e is dry, a soflly-hlended surface will result. If the high light, a pale
spot on the shinv surface of the model, is ver)- notieeable, it ean be shown by
wil,ing put some of lh«, damp wah wilh a squeezed-out brush.
While lhis oran,,,,e wash i. drying, lhe eolour for the stem mav be marie. If
is dark green, almost brown-green. Yellow aud blue without mueh water will
give the green, if a toueh of red be added. The class nmv now paint the stem,
I,,aring in mind that it is short and thick, aud widens and is fui] of ereases where
if joins flic pumpkin.
The fini:hed water-eohmr skeleh mav be eut to shape for the eover of a
Thanks.,,,dving eard.
¢lh«,r fruit. and ve._,zehd,les that nmv be handled in a similar manner to the
1,uml,kin are different kind. of squa.¢h, lhe ez-plant, onion, carrot, beet, and
t,.malo. See illustration opposite page 134.
Tbe allentim of a Fm'm 11 .lass should not be ealled lo the east shadow.
TREES
The Form II, ,%nior Grade teacher is advised fo read the lesson. on lhe
drawinz of trees in the preceding Forms, as the ehief differenee in the work done
in this Grade lies lu lhe use -f ink or water-eolours iustead of ehareoa] or cravou.
In lhe ink painling of a tree, an atlempt fo gel the different textures "of
trunk and fo»liage s]muhl be ruade. The severd illustrations of trees in the
Mamml will he]p le eacher to see how thi. is done, and he may show the c]ass,
TREES 123
COVERS FOR BOOKLETS OF TREES
using a large brush and water on the hlack-board for the purpose. A short,
irregular, ul,-and-down stroke is generally used fl,r the trunk, and the str,kes
should lai» sufficiêntlv to give toit an appearanee of so|iditv. The saine sort
handling is givên any bare limbs. The stroke should follow the direction the
limb takes. To represent the foliage, the brush should I»e kel,t verv full of ink
and held so that it ]eave. an irregular three-cornered blot on the paper. The ink-
filled hrush is zigzagged upon the paper without being lifted wh,,lly from it, until
a nmss of thrêe-cornêred touches that overlap each other thicklv al«,ng the irregalar
ventre of the bough and show leaf-like, indented edges, ha. heèn shaped out, and a
I,ou/:h in fu|l foliaze has been fairlv represented. ther simihtr masses are added.
until the shapê of the whole tree top is portrayêd, l'ractice will .,..,ire the sort of
stroke or touch that is required to express different kinds of foliae, l'sua|lv touches
that most nearlv represent the leaf shapes will. when nmsst.d to.'_.'ether, best express
the te.xture of the foliaze.
The two extneme.q of a solid mass of hlack and a collection of dist'Olmected
spots are tobe avoided.
WINTER AI'PEAI:AN,'E OF TREES
Before the Winfer appearance of trees that ]ose their lêaves in the Autunm ean
I,e expressed with brush and ilk. the «'haraeteristic I,ranehin. as well a the pro-
portions and general shape of the whole must he faithfullv tudiod.
It will-be seen that. even in those trees where tho I,'an«hos are almost level,
eaeh braneh joins the mMn branch or the trunk in sueh a wav that it eonhl hot
I,e broken off af the joining, while the sap is in it, without t«,«illZ dnwn for some
distance. Each braneh or twiz bas the appearance of eontilluinz, throuzh the
larger I,ranehes from which it sprinys, ail the wav d-wh to the root. This
appearance tan he given bv heinnin the line for eaeh branch in the branch
fl'onl which if Sln'ins, SOl,le distance below llw pOillt frt,llt w}li«-}l it is fo I,e drawu
124 ART
and turning it out at the right angle when that point is reached.
Great care must be taken te show the diminishing size of eaç.h branch
as the slnatler ones grow out of it. Considerable brush practice is
ecessary before the fine twigs ean be i,dicated, and too much shoutd
ot be expeeted frein a Ferre 11 class.
The tree should be studied ata sufficient distance te prevent the
seeing of details, .uch as terminal I»uds, which the pupils are likely te
make t0»o important.
LANDSCAPES
In the preceding Ferres th¢ pupils have been led te study the
appearance of the sky, earth, and distant trees and te tr" te represent
the.¢e in iheir landscapes. No definite effort has I)een ruade te have
them 1,lace tree. in the foreground, a]t]ou;zh a F«»rm ]. Snior [;rade
cla.s has done .o under the training of a .pecial teacher in the
land.¢cape illustrations shown. With aerag pul»il. it will be round
se»on enough te undertake it with a Ferre l I, .enior (-;rade class.
B«.fore attempting te paint a landscape .,howing trees in the fore-
7ound. the (-las: sh«,uld be urged o notice how much of a tree that is net far awav
>h,,ws a7ain,t lh«, .kv and al:o what difference there is in the appearance of a tree'
hk.h i «luite t-lose and of one ,,f similar size a little farther awav.
LANDSC..PE IN" IXK
The white papor mav repre.ent the skv. For the for%_-n'ound, a tone mav
t, prpared in one of the h,llows in the lid of the paint-box bv adding a drop or
o of ink te a erv *mall 1,ool of water. Twice as much ink nmv be added te
this pool for the distant trees, while near-by trees may be painted with the
m-lihtt¢«l ink. Black water-o,lour mav be u:ed in the saine way instead of ink.
t',»r a Winter scene, the sky .¢l»a(.e may be eovered with the liThter tone and
h,. xl,it«. 1,ap,.r mav I,e lft for the suow-covered earth.
The f«,]lowiu,._, steps mav be tak«.n hv ea«h pupil in paintin. an ink landscape:
1. The preparation of po,ris ¢,f gray wash
o.. The drawiw., of a rectangle with peneil for the landscape, leaving good
margns
2. The drawing of a brush-and-ink line across the rectangle, se as te divide it
into two unequal .¢pa«es for .kv and earth
LAN I SCA l'ES 125
4. The brushing of a wash of water over the wh«,ic rectange
5. When the paper bas ceased to glislen, the laying of tire lig]lter gray tone
fr«»m the hrush line aiready l,laccd to the h,wer nmrgin «»f the rectangle
( Instructions for the laying of a wash are gien on i,a«, 13.3. )
6. The shai,ing out «»f the uneen mass «,f the ditant woods from the brush
line up against the sky, while it is yet damp
L.£1'DSCA PE IN
7. Whcn the landseape is most dry, the painfing of the trees in the fore-
zround, with the undiluted ink
8. The drawinz of a firm but narrow bru.h-and-ink line oxer the inclosing
pencil lines.
8orne classes lmve greater sueeess when the fiïtl-and sixth steps re inter-
ehaned.
If two small ]andseapes are kept oin a( (h saine time. (hr cla.s ean work
from one fo the other, without having fo wait f,r a tone fo hecome set belote the
next step in ortier can be taken.
1»6 ART
DRAWING FROM ANIMAL
,";ugg.sii-ns «'oncerni»g lhe draing of ani-
mais hae heen gien in lhe previous Forms. The
aire in view in ea«h case is to make the pupils'
mental c, nc«.l,ts «.loarer. If it is not convenient
fo have an animal I,roughi to school for study, the
class mav l,ae their attention directed toit by
periiuent questions from the teacher. .t_fier a few
davs bave been all,,wed for ils study out of school,
a storv for illusirati,,n may be iold. that will
roquire ihe drawing of it. The elass mav then
he alloed to criticise ihe drawiugs, in the light
of the obsenations ruade previously.
DRAWING FROM THE FIGURE
Somo hiuts regardingdrain from the
figure have been iven alreadv under " ]llustrative
Drawing" in Form I. Senior Grade, and Form II,
Junior (;rade. M..re thought should he given fo
lhe suhject in F,rm ]I. Snior [Irade. Action is
the lhing of firsi importance in this Ft»rm. and the
pupils mav he posed fo ropresent such actions a.
sliding, walkin.u, loaning, pushin.m pulling, climb-
ing, etc. The first drawings should be in charcoal
mass, and moro emphasis should be placed upon
geitin.u the aciion of the fire than lhe propor-
tions. Proportions are important and must be
considered here, but the rime fo emphasize them
is later.
DRAWIG FROM AIIMALS
I.'oE PAINTINGS, OR SILHOUETTES,
OF CIIILDREN
Pose. takeu from sports or ganlos in which
hors and irls are interested are excellent subjeets
for paintinr in silhouette and mav be painted in a
simple wav with ink or black water-colour.
SILH)UETTES }F CtllLI}REN
I'REI'ARATION
Bef«»re lhc day for lhe lesson lhe lea«'her should
ask the pupils le watch vcry carefully the particular
gaine frein which he intends te select a pose. Somc
special position should be chosen for observation in
ihe ]esson, such as a boy with a hockey stick about te
lift the puck.
IATERIALS
Fo»Il TllE TI'A{'IIER :
A h«,ekev sti«.k hr«»ughl hv «}tt«, of the hors and a
large brush te be used with water for black-board
demonstration.
F«R TI[E PUPILS[
Drawing paper, brush, ink or black water-
colour, paint cloth, and water.
ilhouettes of children--4a) climbing
stairs, {b} eliding, [c} ekivI}ing
5IETHOD
Befre posing the mde], the teaeher shu]d
rapidly paint with water Çm the blaÇ.k-bard s.me
pose quite different frǻna the one chosen for the
]esson. 1le does this in order that he mav show the
elass how te handle the materials. Ho shuld then
ask one of the boys te put on his cap and mittens and
eome te the front of the room te take the attitude
chosen for the pose. In order that all may gel a
good view ,)f the model, he should he placed ,)n a
hih platform or a lai,le, preferab]y close to a well-
lighted corner at the front ,,f the room. If mav I,c
necessarv te pose two boys. one /¢,ward each side af
he front. Tho teacher should sec that each pupil
bas an unintçrrupted and intere.ting view.
As fhe bov keeps the position, fhe attention of
the class is called te the main direction lines of the
figure, the angle at which the body is bent, the post-
128" ART
tion of the feet lu rclalion te the head and of the head in relalion o the shoulders,
and te any olhcr points thai will help the pul»ils te get a clear meutal picture of the
b,x's poslure. The model nmy new test for a moment, while the other members of
lhe class close their eves le sec if they can imagine him as he was posed. The teaeher
lnaV aid them in this by proi»erly direeted qucsti,us. Then lhey open lheir eyes, and
the h«»v takes the posilion again, ihat thev may sirenhen or correct their mental
I,icturcs. lit new takes his seat. and ««n.h pll,il dccides what space the picture should
«,c«'ul,y on his I,aler and. with a brushful of ink, draws the main lines of direction,
the a«tiou lines of the figmre. The line te rcpresent the hack is drawn first, as if is
the ionffest line. The action lines of arlus and legs mav 1,o drawn next, and a light
line f-r the dir,.ction «,f the hockey stick. After again ciosing their eves te reeall
the appearance «f tho modei, the pupiis reopcn them te compare the action lines
thev bave drawn with their mental picturos of the I,ov's attitude, and correct them
if I,ossihio. Thov then shape out the head and shoulders and the remainder of the
figure upon those lines.
As the class works, tho teaeher should pass round noting mistakes that are
I,,.ing ruade and. when ho finals a fauit that is enoral in the drawings, all should
I,«. told te stop work and close their eves while he calis their attention te the point
in question. Each should then exandne his drawinff at arm's lenUh, and those
who bave ruade the mistake undr consideration should stand, in order that
the teaeher mav sec that each realizes his mistake.
Aftor suci«,ut rime (probal,ly rive minutes) bas been given the class, the
mo,lei is pos«.d aain f,,r a monwnt, while the pui,ils h,,ld their drawins at arm's
lenzth in front of them te compare them with the model. The teacher stands at
t/te ha,.k wherp he can sec tho drawins and the model. Aided by questions fronl
him. tiw pupils noe their mistakos and. if time permits afler the boy bas rosumed
his seaU. anothor siihouetto is ruade on the other side of the paper, in which each
I,ov tries te improve on his first drawing.
The boy or boys who posed for tho class make silhouettes frein memory frein
the attitude as thev have scen it in the gaine. Wherc marks are given, an allow-
ance shouid be ruade thenl for the disadvantage of net having studied frein the
modcl in class.
OBJECT DRAWING
The instructions that have already been gien in the Form II, Junior Grade
text, with regard to object drawing, apply equally to Form II, Senior Grade.
OBJECT DRAWING 129
Exercise should be given this elass both
in drawing fr«,m ntemory and frein the
m«,del, although increasing ClUl,]msis is
pla«.ed upon the latter fr«m Ferre 11,
Junior tirade, Ul,ward. Charcotl. ink,
and peneil mass are the most satisfac-
tory mediums te use for the purpose.
ll3aen such objeets as jars. jugs,
kettlcs, er saueepans are te I,e drawn,
baoks may be piled one upon another
upan the boards which are I.,laced
across the aisles, te bring tlw toi', of
tlle -bjcct placed upon the pile on a
level with the eyës of the p,|pils who
are te draw if. They will net be able
te see into it in that positioll, and its
top edge will appear straight, net
eurved, te them. When objeets have
been arranged in this way for the
whole elass, the lesson nmy proeeed
after the mauner suggested in Ferre
]I, Jtmior (;rade.
If a Fc»rm II. Senior (,'rade class
has developed a suffieientlv keen sense
«,f ferre te bring thc avcragc mass
drawings in ink of the class up te a
high standard, blot'king in with pencil
mav be taught, u.qn,,., objccts of very
simple ferre, as cream crocks, bawls,
musfard jars, etc. No aftempt should
be ruade te take pencil measurements
OBJECTS IN INK BIASS--BY FORM II PUPIL
130 A RT
(,r show accents. The attenti«m sh,uld he confined t- getting the proFortions and
:]ml»e correct. Thc p«.ncil shouhl be hcld lightly under the hahd far from the
l.dnt, t, cnsure a ligTat gray line, which may be strengthened gradually as the
correct shape is fomd. :No cra.ing should be permitted. Further instructions are
ciron in F«rm 11I. Junior llra&., and. if thc Form I I tcacher has any douht con-
«crning tho al»ilitv «,f his class to soc and express form in ma.s, it would be better to
]cave ail drawin7 in outlinc for the l"orm ]1I. Jm6or Grade, and higher classes.
OBJECT IN INK MASS--BY FORM I PUPIL
PICTUI¢E STUDY 131
I'IC1 [ LE STUDY
TtlE 8ISTINE MADONNA--RAP/IAEL
This pi«urc nnlst be trcatod in a nmlmer quitc diffcrcnt froln that used with
lhe II'oman ('hurning. Thc laller dealt with a 1,1vse of lire which tho pupils can
easily under.talld. 'hihlish COllj«*etUl-«. wouhl mat the beautiful le.sons in The
.'ist in e Madon
Form Il pupi]s are af an age when, still dependent on their molhers, they
begin to rea]ize .omethin,,z of lbe meaning of nmther love, and for this reason
The Si.çtine Madonna. the m,,.qt faine,Ils of ail I,'«,Thae]'s 3Iadonna.q and conAdered
one of the rreatest pailtinz. in the xxor]d, is a most desirah]o pieture fo hangOll
lhe wall of a Form Il cla.s-room. We will sul,po.e that a pieture large enough to
be seen fron any part of the school-rooln is iii front of the class.
TIIE A RTI.T
As in ihe picture ]e..qons oullined for Form I..Seni«w (racle, and Form ]I.
Junior (;rade. a little talk about the artist and St»llle idea t,f his personal appear-
anee will give to the pupil. an added inWrest in the pieture that thev are studying.
Raphael's portrait, l,ainted I,v himself, shows a beautiful yt,uth wflh cloar, frank
eves and a sinzularly sweet expres.i«,n. Iii» surnanm was Sanzio. ]h. x',as b«,rll
on (;ood Friday, in the vear 14,q3, and diod exaelh- thirty-seven vears later, strange
to say. also on ;o«,d Fridav. "
His father wa.q an artist and, no doubt, whon Raphael was a litlle boy. ho
played wilh I,rushes and peneils in.tead of lors: and if is lhouTf lhat hi. father
gave him his first l(.s.on.¢ in drawing. ]Io was left an orphan when he was still
a ehild and, at lhe age of lwelve, he went fo the studio of an artist in Perugia
called Peruno. There ho worked and studiod for eiTht vear.% winningtho
affection and admiration of his leaeher, whose sivle of painlin he imitated so
«'l«,se]v that their piehlre. cou]d hot alwavs bo to]d" aparf. Just before leax inz he
painted a «elehrated piefur whieh represents the nmrriage of lhe Virgin Marv.
As Peruno and hi. pupils worked tooEether thev must have spokon often of
lhe wonderful arf treasures of fhe citv of Florenee. among them lhe dme of the
cafhedra], the bronze ates ruade bv Ghiherti, and Giotto's beautiful tower. Four
yreat arfisfs were af work thore af that rime, and young Raphael must bave longed
fo go there fo work and learn. He rcturned to Urbino for a while, )ut there was
132 ART
littlo there te inspire him. lle may have had a feeling, too, that in Perugino's
style of painting he eould net fully express the beautiful thoughts that thronged
his mind. llq. soon went te Florence. and nndor the influences there his.manner
,,f painting af once be7an o change, lais work growing stronger. He painted new
with riclwr «olours and his figures became more natural.
[)nring Raphael's short lire. xhich was a verv happy env, he painted noarlv
three hundred pi«lures and m,de mer" rive hundr(«l drawinzs and studies. He
was admir«l and belmed by all, net onlv for his great girls, but because of his
kindly disposition.
TItE I'I('TURE
The pi«ture we are te study was painied net long belote the artist's death.
It is «hlled T],e ,','i.çtine Mad)nna I,eeause it was painted for the monks of St.
.";ixtus ai l'iarenza, a littlo eoml,any of pions men I,ound by vows te a lire of
unselfish labour and relious dovoIion, who took Sixtus for their patron saint.
.\«.r,din te tradition .1. ,'.;ixlus x«ls a I,ishop ,,f tho church at R,,nle in the third
rontury, who suffored d.alh at the Emperor's command rather than be disloval te
]li. faith. The monks at Piacenza named their monasterv after him. believing
lhat up in Paradise he would have a fatherlv interest in them and would pray
lhat lhe miFht ho kept faithful.
Ral,hacl pained this pichre for these monks te be used I»v them as a pro-
cession standard, but they placed it al,ove the altar in the ehapel of their monastery.
More than -vo hundred years lator it was sold te the ruler of ,axony for
nearlv flfirtv thousand dollars. Later if was seized hy Napoleon and carried te
l'arts, but was afterwards returned and is new in the ] res&.n Gallerv.
Tho pieture is intended as a ision of Divine love. The heaw curtains looped
at either side ,,.'ire the impression that thev have been drawn aside for a moment
lhat the world nlav soe the marvollous vision. The lovelv Mather with the
Iivine ('hi]d in lier arms moves Fnfly forward on t]e clouds. A faint breeze
I,lows l,ack the drapery that, passing around her head. helps te draw the baby
,.lose te ber hreast.
The pieture soenls te SllFOst that moflwr love is lae love most like (;od's love
and that, as lier strong arms support and uphold the Bahe. se are the '" everlasting
arnls" of {od I,eneath and around ]Ii. children.
AI the left side of the pieture is St. Sixtus, an old man with a beautiful face.
l[e is robed in gorgeous vestments, but hi attitude and expression indieate self-
PICTURE STUDY 133
forgetfulness and humility. IIe seems te be pointing te his people beneath and
asking a blessing on lhem. On the parapet belo hiln rests the tiara, the svmbol
of his papal rank. Raphael must have fclt that it wouhl spoil the picturè'if he
pla(,cd this heavy crown upon the head of lhe old saint; possihly he meant also te
exl,res. that carthlv rank and lnagnifieence sink helmath tho one great fact of the
eterna] ]ove of the Fdhor as exhibited iii the sending of 1Ii. onlv ,%m o ho a
little hmnan ehild, te grow up am,,n.oE men, te show thêm how te li\'e, and te end
His human life bv the cruel doath on the cross for the salvation of mankild.
(n the Virffin's right klwel. ,t. Barbara, a fair v«,unff girl. |[o1" «.lothin z
is simpler than the rieh drapeios of St. Sixtus and îalore in keeping with ber
irlish forln. IMind ber we t.an soo a zliml,se of the l-n,.lv eastlo in hich
tradition relis ns slw was inlprisoncd hv hot father that sire lnig]ît be kpt fl-om ail
knowledge of f'hri.¢tianitv. In si,ire of this precaution, it is said that she heard
of the new faith, healnê a Chl'i.tian and, railler thal deny ber faith, allowed ber
angry fa/lier te put ber te doath. he ]ooks down in reverent lin» as th«»uffh she
would ask us te join ber in thanking God for His geat ft.
Behind the nother and c]lild is a bright background of eountless angêls, and
on the parapet below two loveh- little eherubs ]ean. gazinff upward with adol-ing
eyes.
Besicles havin. exp]ained te them as nluch as thev can understand of the
meaning of the pieture, the pupils should bave their" attention ealled te the
beautiful balance that ttapllael ]las maintained iii it w]li]e stil] "keeping the to
sides quite unlike. Cover anv of the fizures and the pictnre at once lo,,k.¢ 1..
perfeet, tI, bas expres.ed his thought in-se beautiful a wav that no part eonld b
ehanged without rendel'ing the whole less satisfying.
The picture hangs new in a room bv itself in the Dre.Mon (;allory. and peoplo
frein ail over the world go te see if. Itoavy eurtains shut if off frein the main
gallery, and guards stand always at tho wo door.. Those who enter te look af it
ïeel e«-,mpolled te speak only in whispers. I. great beautv: the positi«)n in whieh
the artist bas plaeed tho main fi.(.sures, se that we .eem te" he lookin.oE up at thom:
the calm blessing in the Mothor's eyes, whieh seem te pieree bevond us te ail that
i. hidden in the fulure; and the solemn meaning in the eyes o'f the Divine ('hihl
fill us with awe and reverenee. We feel thal onlv one 3Iother. and tiret the
Virgin Mary, and onlv ono ('hild. and that the hrlst, could have boen I, ortraved
(, ç
thus. -
('IIAPTEI IX
PRIMARV AND SECONDARV COLOURS
TIIE ('L.S. has loarned through llae Exercises in handling water-colours given
in connoction with lcpres,«talion (,n page ils; that no .no of the three colours.
red. ye]]ow, and Mue, ean corne in contact with either of the others while moist
with,,ut formin another eo]«,ur. F,»r lhe sake of convenienee and beeau»e the
three eoh»urs, red. yelb, w. and blue. eannot be formed I,v anv eombination of
c,,Iours in l,aints, elmlk, or eryons, those mnv I,e ealled l, rimur 9 colour; and the
lhree e-Jours whieh result fr-m the I»lendin of these l»rinmries iii l,airs may be
calh.d seco»darÇ colours. The tin'ce see«,ndarv eolours are orange, green, aml
viole/.
IlUES [»F CoL,('R
In making a se(ondarv c,,lour, t(,o much or too lilfle of one of the prinmries
tiret go to nmke it may he taken. The colour f«»rmed in tiret case bas a leaning
lo one (,r the oflmr of the l,rinmries, and an intcrmediale hue is formed, as a
vellow hnc of green or a ]due hue of green, called resl,ectivoly yellow-green and
],lue-Trecn. Theso huog are ofton round in specimons from nalure, and the class
shou]d know how to make lhem whon flwv are required. The order to be followed
in a lcsson o tire nmking of the hues of orange is given below:
1. The l»lacing on cach desk of paper and water
?. The I, lacing of tho paint-box lld thc nmistening of t]lc cakes
3. The drawing in pencil oulline of three rectangles, each about one inch by
two inches
1. Tho i,ullin suffi(.ient wator in ont «,f tho depressi.ns of the lid fo nmke
just onouh wash fo cover the three panels
5. The workin7 «»f thc brush back and forlh from tlis po«,l o the ve]low cake,
lill a strong yellow wash is ruade
6. Tho addition, bv lle saine meflmd..f sufficiont red the vollow po«,l lo
nmke i a slrong oran/e in colour. An extra sheet of paper should be
kel,t f,»r testing ihe colour.
134
TIIE FLAT WA,qll 135
7. The painting of he middle panel with this orange wash. (The papor
should be hcld af the top corner with the h.ft hand and slihtly tilted
so that the wash will tend to run down. The brush should be filled
with the orange wash. ad lh«, e«»]«,ur al,l»licd a«.r.ss tho toi»
reclangle and (lragg.d light}y down Iii] lho h«,tt«»m is
8. The trasfcrrig of half of the -ra,e wash lhat is h.ft 1- anoth«.r dcl,r.s-
si«m i he lid (»f he l»«»x, wh«.r, suffit.lord v«.lh,w is mhh.d 1» if fo
]»r«»(lm-«. a y«'lh»w-oranffe, whi«-h is lh«'n «qqdi«.d 1«» thc rcctagh.
hfft «»f lhc oto, covercd with orange
which is apldied l«» lhe lhird recIagle.
The middh, pam.l is now orae, t«» 1ho. h.fl of it is y«'ll«*-,,ra7c, and fo the
right, red-orange.
It lllUSt be rellellber«,«] l]mI lhcl' :ire «1 gl'«'at lll:lllV ffrl«];lliOlS «»f htl.
vollow and orange and orage ami r«.d ; ami it is sulli(.i«l 1«» eXl«.«.l lh«. irai»il» i a
Form II (.lass te» nmke a hue lha is n«»Ii«cah]y yclh,w«.r aml (roc tiret is
redder than orange.
Green with yell,»w-ffr«.on and blue-q'een, and i.lot with red-violct aml blue-
violet, should be nmde i a similar way.
THE FLAT WASH
If is a comparatively easv matter to cover small surface.c..¢uch as lho.¢o u.¢od in
he ]ast ]es.on. with an evon wash of c-].ur: but oeeasi«,n fro, lUently (.ails fo»l"
covering of large surfaces. Espocially is this the case in l),.siTm whore lar.,_,e back-
ground. bave to l»e eoloured in lhe making «,f surface pattoras. Il is therefore
necessary fo bave some ]wovi,»us practi«e in the ]a.vinffof fiat washês, in ordor to
avoid Sl»oiling work lllat bas tak«., somc tiret, to l»rcparo.
TtIE "PPLYI\'G OF , FL-T XVASH
(lrder to be f«d]owed:
l. Di.tribuiem or arrangement of materia]. required
2. The moi.ening of lho paints that are to be u.ed
3. The drawing of a re«taglc in l»encil outlio o lhc C," bv 9" paper..¢o as Io
haro ifs longer dimensi«m verti(.al and a]h,w a mar.,_,in of ono i,wh at
the top and sides of Ihe paper and twc) inches af the hottom
136 ART
4. The preparation of a sufficient quantity of wash of the eolour required in
«,,e of the depressions in the lid of the box, aiter the method described
in the last lesson. (A teaspoonful of water should make plenty of Vash
lo eover the rectangle prepared. In order to prevent waste the elass
should learn to esfimate what quantity will be required f,,r a given
surface. It is beiter howeer to nmke too nmch than too little.)
5. The alq»lying of the wash.
Each pupil should work with a full brush, earrying the wash from left fo
right aer-ss the top of the re«-tangle. The |eft hand should hold the paper so
tilied all the rime that the eolour will have a tendenev fo run down. If the brush
is kept full of the wash, a pool will form ai the b-ttom of the }»rush stroke as if is
earried across the spaee. Eaeh fresh str.ke should be paiuted into this pool. thus
moing it along until the boit,,m of the rectangle is rea«hed, when the brush
shouhl be pressed against the eloth, that it mav be dried a,«l its point applied fo
fl,e l.,Ol of coh,ur ai the hotton» of ihe ectangle, to absorb it. ,reat eare should
be taken fo keep the paper tilted re,fil this exeess of wash bas been removed, lest if
mav rtln baek and form an ugl) line.
The sides of ihe panel should be kept .traight as the wash is brought clown.
Any working over the wash is aln,ost certain to spoil it, but one wash may be
floated over another if the first ha.¢ I»een allowed to drv.
If for anv reason it is necessarv t- toper a whole sheet of paper with a wash
«,f t.olour, ihe pal»er should first he ïastenM ai the four corners to a board, with
.rdiuarv sharp pins, and allowed to remaiu in tha4 position until dry, otherwise
it will curl up and in all probability be blemished.
THE DROPPED AND FLOATED WASH
Anothor naine bv whi«.h this wash is sonwfimes known, the blotted wash, is
rather perplexinff. Tho naine given it here and in lhe f'-urse of Studv suggests
how it is ruade. The rectangle or other shape to be coered is first brushed all
¢,xer lightly with elçar water, and on this moisi surface the e«,lours are dropped
«lear and bright, straight from the eake, and the paper is tilted in anv desired
dirç«.tion to allow the colours to meet so that no part of the rectangle is thout
(-O]OllF.
Tho brush should he fil}od with ono eo}our rst. as yellow, and irreflar spots
,f lhis should be drol»ped here aad there over tho surface of the rectangle, after
TINTS AND SHADES OF COLOUR
137
whieh the brush should be cleaned rapidly and filled with strong, bright red or
blue, which in turn is dropped into elear spaces here and tbere over the rectangle
in the saine manner as the yellow. The eolours are then allowed to blend in the
manner explained al»ove. If necessary, a damp brush may be used fo drag
colours to the edge of the rectangle.
If the wash bas been suceessfully applied, besides the three eolours, yellow, red,
and blue, which were dropped into it, orange, green, and violet, with the inter-
mediate hues naay be fomd, and I,ossi],l)- tones al.o of gray and browl.
The elass should be led to diseover what eomhination. bave ruade the different
colours that may now be round. It will ],e seen lhat where ]due, red, and 'ellow
have run together in a very wet condition, gray bas resulted, and where trong
]»lue bas eome in contact with strong orange, br, wn has been ruade.
If rime can be spared for the purpose, the dropped and floated wa.h naay be
taught in a sequenee of four lessons, as follows:
1. Yellow and red and the resulting hues of orange
2. Yellow and bine and the re.ulting hues of green
3. Red and blue and the resulting hues of violet
4. Yellow, red. and blue. as deseribed above.
TINTS AND SHADES OF COLOI_OE
A Form ]I, Senior [-;rade class is expected fo use two tones of one colour for
colouring the work done in Design. The two tones may be the standard ith a tint
or shade, two tints, or a tint and a .hade. The class should have learned in the
previous Grades to nmke tints and shades with crayons, and the teachêr will hae
no diflïcultv in getting them to realize that with water-colours a tint ca I,ê ruade
],v adding water fo the standard col,ur, and a shad bv adding a little black to
tle standard. The nmre water that i. addd fle ligter the tint will be, the
more black that is addêd the darker the shade will b.
Diffêren¢ ¢ones of ray are produced from black in the ane way that tin¢s are
obtained from a standard colorer.
A suflïcient quanti¢y of the required ¢one should be ruade up in one of
depressions in the ]id of the box. Directions fr thê application of this tonê haï»
been given already undr '" Tho Fiat Wash "
138 ART
DESIGN
The chief differences between the work in Design for a Form II, Junior
Grade and a Form ]], Senior [;rade, are that the pupils in the latter are expected
t,» measuro in half-inches as well as inches f«»r their constructive plan of squares.
Thev mav use a (-,,nslruc/ie plan of oblongs ruade ],y quartering the ends and
si«h.s ,f a sheet of pal,er alld joinillg the points of division bv horizontal and
Xel'ti('al lira.s. «r of dialnond. ruade bv t'Onlmcting the points of divisi«m with
oblique lines. ]t is also laken for granted that they will use water-colours rather
than crayons.
In addition to these changes, the Form 1I. Senior Grade pupil must consider
his designs from a llew point of view. The teacher who reads the text in Desiffn
f,,r he I, recedin.z [;rades will find that whereas the attention of the Form I.
lUnior (;rado l,upil was devoted to keeping the units of one size and shape and
r,.pcatin flwm af reqtlar intervals, the Form I. Scnior (;rade pupil went a step
ft,rthcr and learned to n,ake alternate arrangements of units, wherebv he could
s.e th, cff,ct up,n the appearance of the pattern hen the repetitions of
unit were («,nq,arativelv far apart and when thev were comparatielv close. In
Form II..lunior (;rade. the pupil bezan to consider he size of the unit in relatiou
lo he backr,«md. Ih- dicovered also that it is possible to repeat some units in
such a wav as te, make backround shape. that add zrealy o the beautv of the
whole pattern. Now that he bas reached Form I I. Senior (;rade. he should be
taught to gie carehll consideration, not onlv to lhe size of the unit tu relation
to the space alb,tted to it. but also to the hackround shape. ruade bv the touching.
at certain points, of units, especially those that are geometric in character.
Exercises such as the following one are calculated to teach the pupil to realize the
important-e of aking ino account the background as wêll as the unit repeated
upon it.
AN EXER'IE IN"
The directions for the makin7 of a gÇometrie pattern suitable for a tiled
ff-or or on ,,f inlaid woo,I mav he given as follows. CUl'ved lines should hot be
used :
l. Draw two lhree-inch squares a half-inch apart on the 6" bv 9" sheet of paper.
arranzing them so that the margins of paper ai the sides and top are
aHke.
2. Draw light pncil lines dividing each square into nine one-inch squares.
DESIGN 139
3. Draw an inch square on a piece of practice Pal)er and use tho diagonal. or
diametêrs te hêlp in planning a gêometric unit that will touch lhe sides
or corners of tle square.
4. Repeat the unit obtained il, this way in every square ,»f the two constructive
plans already prepared.
5. Clean out ail unnecessary lines with a sort eraser.
When thcse directions haxe Iêeu carriêd out hv lhe 1,ul,il.
surface pattêrns in outline that are êxactlv alikc. The wav in whi,.h thev are
finished will materially affect thêir appêarance.
TO FINP4II TIIE SURFAc'E PATTERN'S
1. Outliue the first three-in«h square and paint the units ]»lac.k, usin.'..¢ black
water-colour or the s('hool i,ck.
2. P.'tint /he backvound hapes black, leaving the ul,its white iii Il,c. scec,nd
lhrcc-iuch square.
3. Compare the two .quares and decide which wav of finishing has produced
the lnost satisfactory result. (See illustration.)
Other exercises lhat will help the pupil te realize the importance of ,ho back-
grOulld shapes are as follows:
1. Put a pale wa.h of seine eolour over each square. When the wash is dr)',
put a deeper /one of the saine eolour over /le units il, tho fil'st .quare
and over the baekgrouud shapes in the second square. (',uupare the
results.
2. Use one eolonr and black, or one colour and gray, or gray and black, in the
saine way. comparing as before.
3. Draw two three-inch squares on another sheet of paper. Draw the saine
unit as .for lhe first exerêises, but put it in alternato squares. Fini.h
as bcfore and («,mpare tle four differeut arral.._,Cln,.lltS of lhc pat,ci'n,
whieh are as folh»ws:
(a) Vnits plaeod in every square and ruade dark on li.,_d,t hackTound
(/,) Units plaeod in everv square and h.ft liTht ca dark ha(-krouud
(c) Units placed in alternate squares and nlad, dark on li,,_d,t },aek-
ground
(d) ITnits placed il, alternate squares and h.ft liht (,n dark l»a-k-
ground.
B
SURFACE PATTOENS
140
DESIGN 1tl
An exercise in designing a single geometric unit, two ruches square or larger,
might be given. Fr,-nn the results obtained, the class, under the directiou of the
teacher, sho||ld choose the most satisfact,ry examl,le. The teacher sho||hl then draw
a square on the black-board and, using the necessary constru«.tie lines--diag, mals
or diameters or possibly both as the case miffht I,e--show the class liera" to constrm't
the unit chosen. Ea«h r«,w might then be assiged one of tlle four wvs in which
the unit is tobe arranged. The best example «,f ea«'h of the f«»ul- dilt't«'ent wavs
should tlae| be put up for class critieism. Each pupil shot|ld decide which ho
prefers and gie reasons for lais prefere|lCe.
This exercise w-uld req|lire at least tw, half-hour periods. The s(.hooi ink
would I»e a satisfa(.torv medium for finishing the surface paHerns iii lhis (.asc.
VAI;.IAT10..8 OF ïlIE hA.ME UNIT OF DESIGN--BY FORXI II PUPILS
The steps to he taken in the foreg,ing exercise are:
1. Desiffnin of sinle ,-eometric units by the class
:?. f'ho,sing the best unit
3. l}«,monstratiou hv the teacher fo show tho hest nethod of drawin. this unit
4. Drawing and finishinffof the surface patlern hy the class in the four
different wavs {rt, b, c, d}. after each row bas been assined olle
5. f'hoosing the best example of each mothod
6. f'riticism by the class fo determine which res|dt of the four is toast
satisfactory.
VARIATIONs OF THE 8AME UNIT OF DESIGN--BY FORM II PUPILS
142 ART
i11 ail «,f 11,o l,ro(.eding exercises lhe judgment of lhe elass with regard fo
Balance is bcing cultivatcd.
] \'T]';RET] N G I'ROBL Eaff.
A l, rOl,|om tire! sohl««n ïails fo intorest th, small girl is the «lesigning of a
hair ril,l.m ,, harmonizo with one of hor favourite dresses. To do this vhe must
pr.cecd as fo]]ows:
0
O
O
RIBBON--BY FORM lI PUPIL
1. Mark off the width she prefers in hair
ribbons by drawin two ruled pcm.ii
lines from the toi» fo the bottom edge of
the paper, and the proper distance apart.
2. leeide whother she wishes a plain, a
figured, or a striped ribbon.
3. For tho fiured fil,bon she must next plaee
dors as explained in the Form II.
,lmfior Ih'ade text. Il mav be neces-
sarv o b,,in af the middle of the top
of tho ribl,on fo mark the dots. in ordcr
fo make file left and ri£ht sides of lhe
ril,bon alike.
4. Repoat th,, unit in pencil outline af each
dot.
5. Put a wash of the desired colour over the
whole snrface of the ribb«,n space.
6. W'hen this is dry, add a little more colour fo
the wash that is left over and paint the
units, using a brush that is not too wet.
7. Draw a narrow line of the saine or a little
stronger tone of the saine colour down
cach edge of the ribbon.
For a striped ribbon the saine order should
ho fo|[owed but, instead of placing dors, if
wou|d be necessarv fo decide where fo place
ea«'h stripe and what width lo make if. The
stripes shou|d be ruade with freehand brush
STRtPED RIBBON$- DE31GNED' BY
FORPI |1 PUPIL$
143
14 ART
strokes, and tle width of the background stripes should be careft, lly considered.
The ruler would I,e a hindrance railler than a help in drawiiJg the brush lines.
While lhe girls are desizning hair ribbons, the boys should design straight
neckties ftr ilwmsehcs after tl,e saine manner.
The designing of figur(.d muslins and checked gingams suitable for dresses
for the zirls. and prints or suitings suitahle for blolises f-r the boys. will be found
a fascinalin- ],r«,hh.m in tho Spring, W]iOll Ihe atteiltioi in the fmi»ils' ]l«,lliPS is
1,oin£directod l« the setlin in order of the summer wardrobe for the household.
Many pretty saml,les will no dotil,t 1,e 1,rought te school, and these will give helpful
SlFestiois; the teaehor, however, must constantlv koep in mind that, in the
making of these patterns, file pupils canner err on tle side of simplieity.
MARGI \'S
In Ferre II. nior ;radv. 111o pupils should begin te realize the importance
of -,_et,ci mar-ins. A nmrin mav lo-k too narrow for |he pap«.r or may appear
alo-vher lo widv. V]ioil an «,|,je't is net intended te be viewvd in a vertical
l,osili«,n, ail tbe marffins mav |,e «,f V«lual width, as in a handkerehief or rug. etc.
Whvn |he ol,joct is iuended t- hang or he h,.ld in a vertical or nearly vertieal
posilion, the bottera martin should |,e wider than tho others, as in the case of a
l,icture, a calendar, or a booklet. In ail problems where margins are necessarv,
lhe first stops sh-uld |,e t11o makin- of the margin, and t11o problom should net le
one on with until a satisfactory margn has been obtained. An exercise should be
iven oeeasionallv ca]lin- f-r tbe drawin on lhe ¢;" bv 9" papor of a marginal line
lhat wi]l inclose a central panel in tzood proportion te the surrounding margin.
The central panel must net-appear te overbalance the margn ner te be over-
wholm«.d bv it. Enouh oxamples te show the varietv of proportion. ruade bv the
«lass shou]d ho |,roufft forward for class criticism, and those exhibiting the" |)est
|,alance sh-u]d be cbosen bv eliminating those in which the margin seems too
narrow or too wide for the inclosed space.
I'RIBLFM. I\'VoLVING MAP, GI\'S
A r,g. a «oueh «',)ver. or other article of the kind mav be desiffned se as te
bave a plain border with a fiffured centre or a fi-ured border with a plain centre.
A border across each end is also a satisfactorv arrangement which mav be used bv
this clas, but if need net be considered here. as if has alreadv been (ealt with i
MAR(: INS 145
TABLES
BOOKLET CO ERS
F-m [ in ('onneetion
with tbe towel pm'oblem.
ther arra]lements that
would produee satisfac-
lorv rc.uits r«.quire a
consideratin of Balam.e
Il
and Rhytbn too suhtle
for a Form il c]ass.
The first step in
working oui the preh-
loto. after tbe retan7lo
for the ru7 or olher
article ha¢ heen dra.
is fhe dotermining of
lhe width of the sur-
rc, unding margin that
will be in good propor-
tion o lhe in«l«,sed
roetanglo.
The soeond stop is
the measuring and nmrk-
DESIGN FOR PURSE
ing into regular spacos of the nmm'gin or the central panol.
according to whichevor is t-e decorated.
Whon tire central panel is to be coverod with a surface
pattern, lbe constructive plan shoutd be ruade bv measuring
from tbe centre of the panel to the ides. in ordcr to baxe
«,pposite sidcs and ends of the snrface pattern correspond.
If the nmrgin cannot be eaAtv dixided inlo an exa«.t
lmmber of spic.es for the unils whi«.h are o f.m the bordor.
lhe unit mav be placed in each corner of the margin witb.
possibly, one or lwo repofifions at each sido of if. Theso
corner groups should Oen be connoctod by lines or bv a slrip
«,r hand. The pure in the illuslration shows a border of this
kind. The dosign mav lhen be finished in black and white
or in anv combinalion of eolours that has alreadv been
suggested.
146 ART
lllotters, cases for court-plaster, and table mats, as well as the above-mentioned
articles, should bc ruade with margins or borders that are uniform in width.
lh,oklets and calcndars, bolh of which look better for having the margin
noticcably widcr af the i,«,tt«,m than at the toi» or sides, have been referred te
I,ef«,rc. In tbe l,rcccding F,rms, different arrangements for the covers of booklets
have been given llmt coul,1 I,e carried out hy a F.rm 11 class. In the booklet
«.,,xers on I,«le I 15. the first stop. aft«.r a d«.cision as te the style, of decoration had
I,een arrixed at, was the drawing of a lizht marginal line that would give margins
of satisfactorv proportions when c«,mpared with the central panel. In the first
book coxer, the marginal line was erasod after it had given the placing and width
f«,r the tifle. In the second case if rcmaius, i,ut the central panel has been divided
into tw,, I,anels of nlmqual hei7ht, the smaller of which contains the title and the
larzer thc surface pattcrn, lu the third cover, the marginal line was erased after
i bad gien thc width for the title sl,ace aud lhe i, lacing and width for the two
I,orders.
UNITS OF DESIGN
The booklet covers illustrated ai,ove sugesf a wav in whi«h fires and letters
nmv I,e us«.d te» make unit« «»f desin. The units in these illustrations were ruade bv
,lrawiug lhê figures with i«,lh hands at lhe saine time, usinz two pencils or two
crayons. The lcft and right fizres were then connected bv one or more lines and
in oue case c«.riain 1,arts werc dark«.ned.
Ex«epf in rare cases, the units of desi-m used in this class for the naking of
bor,lers aud surface patterns sh«,uld be simple geometric f«,rms, or suitable leaves,
or fhe top or side views of flowers after these have been simplified as much as
possible.
('ALEND.tRS
The calcndar problcm could be approachod in the saine wav as the booklet
cover if calendar pads of anv desired size eould ho procured but, since that is net
the case. itis nccessarv te begin with the central panel, the width of which is
7overned bv the width of the calendar pad, and plan the margins afterwards. The
pad having bcen procured, a picture of the saine width but diffcrent height should
be eut frein thc best part of s«,ne suitablç landcape ruade previously bv the pupil.
Thc landscape and pad should then ho placed in position on a sheet of mounting
papor of s«,nw dull tone tbat will look well with the picture or. failing that, on a
sheet of drawing paper. The picture and pad whieh go te ferre the central panel
LETT E R 1N[ ;
147
sllould have sufficient space belween theln 1o show tha
thev form two el»arale paris «»f the ont, panel ; the space
sc]»arating them. h-wevor, should be nolic«.ahly narr-wer
than lhe margins whMa arc. marked «»tt' next and shouhl
I,e marie of such a width as 1o ho. in go«»«l pr«»l»«wtion Io
the c«.nIra] panel. ['nh.ssflac I.,tt.m nmrflin is ruade a
litt]e wider lhan the margins at the sid«.s and l.]». the
calendar l»ad and pic'lute will have lhe apl»carance of
slil,pilg de,wh «,n the m-untin l,al,er.
MAKING TIIL" t-'ALENI)'I:
1. Procure the «'alendar l,ad.
:L Cut the ],icturo «,f the .ame width and of suffi-
eient heiffh! to lo«,k w«.ll with file i,ad.
3. l'lace these iii l,osili,n i-,11 tllP Ill«,tllltillg Pal..r
al a ],r«T«.r distance al,art.
4. Mark off tentative nlarffins and. whon tl,, ],arts
are ail pr«Ter]y rlated, eut the mounting Palwr so as h» allow martins
of suiia],]o widlh.
5. (utline tho central panol wilh ponci]. o ensure-lho l»afin:z of the pieture
and pad in proper posili«,n.
6. Put paste under the edTes of the pieture and fix if in place.
ï. Put pase on flae under surface «»f the pad and fatou if in position under
the piclure.
S. Faslen a ¢ummed rin 7 on lho nnder sido ai tho lop 1o han he ea]«.ndar hy.
9. Put the mounted eah.ndar under hea 3- pressure unlil if is quite dry.
LETTERIXçl
The Form II. Senior Grade pupil is not required fo learn anvthinlz new in
letterin, hut hetter re.ults sh«,uhl be exi,er.ted here than were loood for in tho
Junior c]ass, lIo mav also make more use of the ruh, r and. alt]louffh pra«.tice
between the lines on foo]seap paper shou]d hot be gron up entire]v, he mav ru]e a
spaee of given dimensions on a sheet of drawing paper and trv t«,'nlake thè letter
in a word occupy this space. To do thi. he should first draw a li;zht vertical line
through the middle of the space fo be oecupied bv the word. If the word bas an
14s ART
IlllCVell nnmber of letIers, the middle leIter should be placed exactly on this line
«lnd ruade thc pro,per height. The leiters may then be placed in order frein if te
Ihe he/iming and le end of the word. If there is an even number of lefters
in the word, the two midd]e letters should be placed firsl, one on either side of the
central line. As l 1,Les less space thon anv other ]etter, an 1 in one ]mlf of the
word ,nd nol in t]e other would make it nccessary te place he cent, rai letter or
]ctters sli.,zhtly nearer the side in whi«h I oecurs.
The Easter cards hv F«»rm I I girls were ]etered in the wav indicated above.
The lettcrs were first ruade with vcry light penci] lines. The co]our was then put
in wit] a brus]l ocr he pencil lines.
EASTER
.
CHAPTER X
FORM lIl, .IUXI()R [;RADE
ILLUSTRATIVE ItRAWING
THE TEACHER of Form III, Junior (Ira,le, havinzless rime to spend on ]llustrative
Drawing than teachers in previous Forms have had, should eudeavour to make
frequent use of if in conuection with other subjects. Drawings ruade by the pupils
Io illustrate events and con-
ditions with which they have
had no personal experience
will be found lacking in the
V
vivid life and action which
eharaeterize the illustrations
of gaines and sports in whieh
thev themseh-es have aetually
taken part. This fact should
hot discourage the use of
Illustrative Drawing in con-
nection with other school sub-
jects however, becau.e even
the ver), imperfect representa-
tion of a situation w/Il serve
fo mako it clearer to the one
endeavouring to picture it.
For the six or more
periods during the year that
mav ho devoted to special le.c-
sons in Illu.trative Drawing,
su4eets should be ehosen that
will give ile pupil. au oppof
uuitv to exerei.e what they
A VINTER flAMEBY FORM III PUPILS
149
FOUR SEASONS--BY A BOY IN THE INSTITUTE FOR THE
DEAF AND DUMB, BELLEVILLE» OTAFdO
REPRESEXTATION 151
have already learned in lessons in Iepresentation. After aninml study, for exami,le.
such descriptive lines as:
Vp leaped of a suddcn the sun,
And against him the eattle stood black every one,
might be illustrated. Lamlscape drawing shouhl preeede these speeial lessons, as
the pictures of gaines and sports will re, luire suital,le lal,dseal, settil,gS.
REPIESENT.VI'ION
111 the preceding Forms, grasses, flowers, and similar sprays fr.m nature have
l,oen handled ehiefly in ink or eharcoal mass, or in c,,loured crayons. Si,ecim,.ns
of this kind may be expressed in Form III, .lunior l;rade, in ink ternes or in at.r-
colours.
I.OE TONES
In Form III. Junior Grade, the best method of l,r-ceduro in making a draw-
ing in ink tones would be to bave each pupil put sufficient ink into a small quantitv
of water to make a wash for the light tone required ; witb this he should then mak:,
a careïul silhouette of the specimen and, when this is dry, go ot'r the 1,arts tbat
are fo be ruade dark, with undiluted ink. (Black water-colours mav be used instead
of ink.} See illustration on page 152.
THE HANDLING OF WATER-COLOF-RS
If will be noted that two methods of handling wator-colours in Representation
are given in the Manual. Tbe artist, as a rule, nmkes use of both in almo.¢I eerv
sketch.
Where a large mass of colour of an almost even Inne occurs, if is a convenience
fo bave a pool of colour prepared in one of the depressions in the lid of the
paint-box. As this colour is 1,eing applied to Ihe imper, clear c«,lour from lhe .ako.
may bo added fo give anv variaIions hat occur in IIe hue. bore tire spe«im0.n
or model that i. to ho painted bas no large surfaces, Ihe col,,ur nmv be taken
directlv from the czke after lho mannor indicaod in IIc socon,l exerci:,, on
II 7, and also in the following lesson on Ihe nasIurtium.
152
»heels of drawing paper, lhree-e,,hmr l»aint-h,»x, clean
ater ]»ail.
ART
THE 1NIASTURTIUM IN WATER-COLOURS
IATERIXLS
For pa«h pupil, a spray of nasturtium with stem, leaves, and blossom, two
cotton ,'h»lh, hrush, and
t DA.DELIO.N', I- IS,'K 'I"ONES
PREI' *tR
Th paint-box i. place(] at the back of the desk a the pupil's right with the
opelmd lid towal'd him, and the paints are m,»istelted hefore the study of the
NASTURTIUM 1N WATER-['OLOURS
153
specimen begins. The nasturtium is then laid in a natural position on one sheet
of the drawing paper, which is placed on a book or slate at the left side of the
pupil and against the back of the desk, so as to slant slightly in order to give him
a good view of the flower in the position in which itis tobe painted.
Where itis hot possible to obtain sufficient specimens for each memlJer of the
class to bave one, tho flowers mav bc placed in bottles or in jars of wet sand on
boards placed across tho aisles from desk to desk. A dozen specilnens placod in
this wav are suflicient for about fifty pupils. Where each pupil bas a specimen
of his own the result are likelv to be" more satisfactory.
METHOD
When the specimens are all arranged, the attention of the pupils should be
ealled fo the shapes of flower, stem, aud leaves. They should notice the difference
in appearanee of edge and face views of the leaves. The joining of smaller stems
to the parent stenl should be observed earefully, as should also the general eharaeter
and direction of these stems. One leaf mav hide parts of two or more other
leaves; the pupils should note the general shape of sueh groups and the relative
position of leaves that show separately.
Having studied the shape and growth in this way, the elass should proeeed to
analyse the eolour. The hues of flower, stem, and leaves are f«»und in the eolour
eharts whieh the pupils have ruade previouslv. In the case of the na:turtium,
the flower showed hues ranging from yellow-range to red-orange; the marking.q
were brown in a shade of red-orange. The stems were tints of green and
blue-green and, in one side of some of thëm, a tint of grayed red appeared. In
the leaves, the hues ranged from yellow-green to blue-gTeen. The teacher should
fasten a sheet of drawing paper up at the front where all eah see it and on this
indieate the tiret steps. It is hot neeessarv fo finish this drawing but, as the le.*son
proeeeds and diffieulties aro diseovered, the ela.s mav be shown on the saine shoet
of paper how to ovorcome these difiïcultios.
First, the brush is filled with water, brushed once across the vellow cake,
lwistod to a point in tho lid of tho box, and a faint, narrow line is sweit in for the
direction of tho main stem. With tho saine very pale v(qlow, the angle af which
eaeh stem joins the parent stem is indicated with a Ii_h't line. These yolle, w lines
should be so pale that they will hot show in tho finihod drawin. The hrush is
now filled with veI]ow and red, lighlly twisted once in the lid so that lhe c,,lours
15 ART
will run up into the brush and blend, and the two upper petals are painted. If
the first touch of the brush te the paper shows too yellow a hue, more redis
immediatcly added te the brush or, if too red, more yellow is added, and the
Ul,per l,,'tal: arc c,,ml,leted. If the brush is too w(-t, it is allowed te touch the
cloth or a l,i,J¢-e of blotting-l,aper, ihat seine of the moisture may be absorbêd. Te
drv the hrnsh wonld I,e te begin ail over again with the saine difficulties and te
waste paint.
The h,wcr petals are next painted, leaving a narrow spaee between them and
the upl,er l,otal». The fri»7e, ycll,,w or r(d as the case mav be, is added beforê
the fl,wer l,etals are quite drv. For the brown markings the brush is filled with
stron7 yell,,w and re,1 and a little I,lue, twistcd in the lid te a good point, and
the lines are then I,ainted into the upper petal.q when they are almost dr)'. Thê
brnsh must 1,e hem xerticallv for thêse lines.
The hrush is new dried and cleaned and the top.q of the vellow and blue cakes
cleaned if necessarv. The nearest een lcaves are next painted. The brush is
fillJd with water. I,rushed a(.r,:s the I,lue and vellow cakes, twisted in the lid. and
the leaxes shaped rapidly on the paper ith,ut outlines. .More vellow or blue or
water is added te the I,rush, if neeessary, te produce lhe right hue. A tiny spot of
white paper mav 1,e left in the centre of anv leaf where it shows prominently.
The brush is dried, te wipe the veins frein the centre out. before the leaf has time
te dru-. Thê under sides of leaves are painted, after the upper edge is dry, with
l,aler colour made bv addin more water te the brush, as aise are the stems. Thê
main stem i painted last, in I,etween the .,tems that join it. While the een of
the stem is still wet. a little red is touched in where the stem shows pink. Where
one side is verv dark, a little blue is added.
The transparent appearance of the stems is obtained bv using more water than
colour in the 1,rush.
Aftr an exorcise like the second on page 117, the painting of anv flower in
this wav shonld net ho difficult.
FRUITS AND VEGET.BLES
Fruit sprays nmv ho handled in a similar manner. Further suggestions
»vardin7 the drawing of fruits and vegeIables are given in the Manual.
TREES
Instructions have beon given in Forms I and ]I with regard te teaching the
,lrawin.-, of various trees. Similar methods may be used with a Ferre III class.
TREE--SU,! ,! E
155
156 ART
The points which each pupil m(t observe in studying a tree are:
1. Tbe main direction of growth
2. The proportion of the lenh of the trunk to the whole height of the tree
3. The width of tbe trmlk as compared with the greatest width of the upper
part of tbe tree
4. T]le character of the branebing
5. Tbe gneral S]lilpO of lhe upper l, art of the tree.
l'oncil shouhl ],e u¢od frequently as the medium for the representation of trees
in Form III. and if will be ïound necessary fo give some practiee in trying to
deve]op the power to express fo]iage in simple masses. Illustrations are shown of
an apple tree in full ïoliage, rendered in pencil, and a brush and ink drawing oî
file saine tree in Winter.
TREES IN SILHOUETTE
Silhouette.. or ink paintings, of tree. are ruade in much the saine wav as the
7rasses on page 115 were painted. A light line for the direction is first swept in
with the tip of the brush barelv touching the paper. The trunk and anv branches
tiret .bow mav be shaped out next, and the foliage mav then be addel with the
bru.h touche. or strokes that will best represent if, overlapping so as fo suggest
ma.ses rather than separate leave..
Some teachers mav find that, in certain trees where the mass of foliage has a
striking md clearlv-defined shape, better results are obtained bv shaping out this
mass before the trunk and lower branches are painted.
When the silhouettes of several trees bave been ruade, thev may be fastened
t,,etber i,, booklt form and a suitable cover designed for them. (See illustrations
on pag 173.)
LANDSCAPES
Landscapes ruade in the previous Forms were intended chieflv for use in con-
nection with illustration. ('lasses in Form III should begin fo compose landscaps,
h.arning to relate sky. earth, and tree areas in a natural and af tbe saine rime
p]easillg wav.
A first lesson migbt consist of the division of a number of rectangles into well-
l,r-],orti,ned skv and earth spaces. These spaces should hot be equal. The line
POPI.AR
TREE IN SILFIOIJETTE
157
15s ART
dividing earth fr,m sky necd not be level; if may, for example, represent a hillside,
but it .h-u]d be cifler more or lcss than ha]f-wav down. The earth space ma 3, be
coxcr«.d with ail even tonc of gray ruade with pcncil strokes laid close togethcr.
Af[cr ho pupil.q bave ohscrved trees at a little distance from them and havc
n-«.d h,w nluch of the particular tree they are studying cornes against the sky,
lhey nmv place a singlc ree in a landscape so as to produce good spacing. The tree
.houh| n,, 1.. cxactly in thc middlc llOr so near olle side as to make that side appear
heavier than lhe other. There should a].*o be some space between the bottom of the
trunk and the lower marginal line. Part of the top of the tree, however, may be
eut off by the upl,er marginal line of the pieture.
In a third les.on, the elass might draw a landseape and in it balance a group
¢f two -r three trees in the foreground by a low-lying nmss of woods in the distance.
This sertes of lessons, which la planned in peneil, may be earried out in ink,
neutral values, water-eol«,urs, or eoloured crayons. Illustrations of landseapes in
these mediums will be found in different places throughout the Manual.
ANIMAL DR ,WING 1.59
The pupils deight in drawing domestic animale, particularlv their own pets.
One ,f the class mav be al)le fo bring a canary, a bantam rt,ostèr, a pigeon, or a
rabl»it fo serve as a nmdel. A first lesson from one of these should be devotçd fo
sketching if in charc«,al, crayon. «»r I,encil, in various p,,sitious, making a number of
rapid sketches ou the saine sheet of paper.
The movements of the model will suggest a varietv of poses whi,.h at first
seem difficult to draw, but there is lcss drawing than waching necessarv, and the
class sh«»uld not endeavour fo record nmre than a side x iew of the aaimal and
possibly a front and a baek view with sketches of the head and the feet in various
positions. Thev should observe thÇ model as if lingers a moment in action, rapidly
sketch a line or tw,, and add nmre lines fo the skÇtch as often as the animal
returns fo the original positi«»n. A number of unfinished sketches mav be marie in
this way, while seeking for the most typical appearance «,f the animal. These
recorded impressions will be found of assistance in future drawings of the animal
in connection with illustration.
LESSO'S 0" BIRDS
I .TERIALS
A canary, a pigeon, or a bantam rooster; some seed or crumbs to keep the
model from wandering from the teacher's desk; pencils and drawin paper.
160 ART
:bIETHOD
Tho (.lass may bogin by sludying how thc bird stands or perches, what angles
lhc logs make with tho long lin. of the back, how far back the legs are, where the
winz begin, h,w long lhc bill is, etc. The toa«her shonld gel the pupils fo -bserve
|hose points bcforc ay drawing i. attCUll»tcd.
IIaviu studied tbo l»rOl»orti«ms, lhey nlav bt,giu a rapid froearm skelt.h. If
|he bird ehagos ils positi,n, another sketch shouhl al once be beun on t11o saine
»ht,cl «»f l,aper wilhoul atlr, nlpti- fo aller lhc first drawing. When lhe model
l'eturn. lo lho firsf po,ition, more liues should ho addod fo that sketch. The class
slmuld mako-ther studies of file head in various positions, determining tho position
«f the c, vo hv extending the ]inc of the boak aeross the bead as a guide. These
ral»id sket(.hes should he in outline. The pupils should hot be allowed fo erase in
lossons o liais kind ; instoad of eorreeting mistakes they should begin a new sketeh
cm the saine sh«,ot of paper.
'nother wav of conductin- this lesson would be fo have the class study the
bird (.arofully. watt.hing il in ils diffor«,nt l,OSes wilhout altompting any sketches
uutil aller the modol bas been ronmved, when il mav he drawn entirely ïrom
menmrv. The bird mav lhon he brouffht hack and. whon the drawings bave been
comf, ared wilh il and corrected, a new drawinff mav he ruade.
If the latter wav of conducting the lesson be chosen, ink paintings in mass may
take lhe place of lho pencil sketches.
Whon liw, hirds or a6mals are hot «d)tainahle. mounted specimens mav take their
idiote. Tov modols mav aise, I,o uscd. The Toddv bear admits of manv chanffes of post-
lion and the drawing of il makes a good preparation for drawing from lire animals.
DRAWINI; FR(tM MANVFA¢'TURED ()BJECTS 161
DRAWING FRO.I THE FIGURE
The work in drawing frein tbc Figure in Ferre III,
Junior Grade, should bc very similar in method te that
described in Ferre ||, Senior {;rade, but greater accuracy in
observation and expression should bc rcquired.
The work should be tu mass and most frequently frein
memory immcdiatclv after careful class studv.
When the nmdcl is poscd, the attention of the class should
be ca|led te» the hcight of the figre in comparis«,n with the
width, the place where the greatest widtb is, the position of
the feet with regard te the head, and tbc |euzth of arms and
legs as compared with the who|e height. The head may be
used as a unit of measurement. It will be found that the
taller the child is the oftener the head measures into the
who|e height.
The chi|d should be posed in seine interesting position, it
may be te express au action such as sweeping dusting, pull-
ing, pushinz reaçhing, lïshing readinz etc.
When a child is posed te represent an action of this kind,
a line te show the gnera| direction the fizre takes mav be
put in firsL and the ]ï,ure shaped out on if.
The best medium te use in Form ]]], Junior Grade, in
drawingfrein the pose, is char«oa| or ink.
DRAWING FR05I 5IAN-UFACTURED OBJECTS
In the precediug Ferres, almost a|l of the object drawing
has been donc in mass. The importance of outline drawing,
however, should net be underestimated aud, in Ferre III,
cmphasis should I)e placed on it : I)ut, Ultil a class is able te
make sati.faetorv mass drawings, it is u.ele.s te undertake
«,utlines whi«h are merelv the l«,undaries of lllass; therefre,
before undertaking the drawing of «,bjeets in outline, the
power of the elass te express in mass should be tested.
In all «utline drawins, whether the outline is te be the
finished drawing or is merelv a stop in the proees of making
a deeorative composition, the boundaries should be lightly
bloeked in.
MASS DRAV'IN-GS I. I.'K
--BY FORI III PUPILS
OUTLINE DRAV'INGS--BY FORM III
PUPILS
ART
PECIL MEASUREME\'T
Pupils should be trained to judge the pro-
portions of ol,ject: and to test this judffment bv
1,encil measurement. If they judge without test-
ing. this judkwnt is likelv to degenerate into
mere guess work" if they measure without first
judging, the eve is hot being trained.
T. take a measurement on the pencil, the
lmpil should sit well baek in his seat with one eye
cl«,sed and. holding the peneil at arm's length in
sueh a position that it will incline neither toward
Jor from him. slowlv raise it until its t«,p appear:
to corne even with the top of the ohject heing
mea:ured. He mav then slide his thumb up or
d-wh the pencil until the thumb appears to eome
eren with the hottom of the ohject, while the top
of the pencil is in the first po:ition. Holding
this mea:urement and keeping the peneil still
l»arallel with the face, he mav swing it around so
as to hring the end with the left :ide of the object
and enahle him to tell how much the one dinaen-
:ion is greater than the other. It is hetter fo
mea.ure the smaller dinaension first and then
sec how manv times it is contained in the
larger.
DRAWING FR}M MAN UFACTUI,ED {}BJECTs 163
Peneil neasurements give the pr«q.ortions of ol,jects, hot the size the drawings
should be ruade. Pupils may I»e givcn practice in judging and measuring the
proportions of rectangles drawn on the I»lack-I»oard, also various d«»ors, windows,
and wall spaccs in the room, belote attcml»tillg to dctermine the more subtle
proportions of objects of three dimensi«ms.
l;LO«lx I NG IN
The first step in blocking in is lhe plaeing of light lines on lhe paper, fo
indicate the gl'eat,:st ]lcigllt and the greate»t idlh of the «,l,jo«.t «,r gr, m I) of
objects. The size and position of the drawin best suitod to lhe pal,er should be
decided tlp¢,n ],clore lhese lines are l,lac«'d, and pe.ne.il Inoastirelnents taken after-
wards lo test their aemmwy. Aller anv ne«essary.v,rr.ctions are ruade, the nmin
lines of the ol,jo(.t are swun in lightly with a fl'e,.arlll lllOVl.lll(qlt, lhe 1,encil boing
held loosely under lhe hand as far fr«,m the point a I,«,ssil,h.. These lines should
be placed in pairs with lhe attenlion fixed Ul,on the prç, per distance that sh,uld
separate them. For examph., when tle to I, line has ],t.en 1,htc««l. the I,,ttç, m line
should eome next al the praper distance fr«,m il; if he h.ft line bas heen plaeed.
the right shmfid follmv immediatolv. In a similar wav ail the paris af an ol,ject
should be I,la«ked in. the lines in everv case being so light as ¢o require no erasing,
althotlgh in feeling for tire corrv,'t shape a nuln-
ber of trial lines mav have I,oen nmde. The
quality of line whieh is us««l in the strenglb«.||-
ing of this oulline mav sug.est the materials
of which the object is ruade.
TIIE T,P, LE LIN'E
T) give an ohject the appearanee )f sfa-
bilitv in a drawing, il is neee.sarv te stTZe. a
level supporting surface. For this purpose,
when lhe ç, bject is heb,w the eve level, a lai)le
line whieh stands f«,r the back edTe of lhe
surface on whieh the ç, hject tests i. usually
added and .dould be light enough t- .uTgest
thal il is al some dislanee froln lhe objeet.
should hot have the appearanee of dividing in
the middle eilher the drawing or lhe rectangle
in whieh il is dram. The plaeing of the table
line is a malter of good composition.
DECORATIVE COMPOSITION--By FOR.AI III
PUPIL
164 ART
BLOCKED IN ACCE..'TED PE.N'CIL OUTLIXE
« The quality of the line used may suggost the material of whieh the objeet
is made '
DRILL IN DII.,WI\'G PEN('IL LINES
For poncil lino., the poncil should ho .harponed se a. te have a long slant of
wood: vorv little lead nced he exposed, and the point should be rounded, net
sharpenod. Te en.ure freearm movoment the poncil should be held under the
hand, as far as po.sihle frein the point, and a]wavs ai right angles te the line being
drawn. The movement shou]d be slow and cortrolled, and the left hand should
h-ld tire paper firmlv in position. Horizontal lines should be drawn frein left te
riTt, and vertical lines frein top te bottera. Occasional drils will enable the
pupils te gain more rapid control of the pencil.
TIIE FORESIIORTEN'ED ('IRCLE
Vp te tho prosont, attention has hoen direOed o the shapo and proportion of
ohjeOs. In Ferre III, the position in relation te the oye level must be earefully
considored thi. entail. the drawing of foreshortened surfaces.
THE FORESHORTENED CIRCLE 165
A large hoop of heavy wire or other firm
material is an excellent lnodel fo keep for teach-
ing the foreshortening of the eircle. The
teaeher should stand ou a chair or elevatioll
that will raise hiln well above" the pupil.*, who
should also stand while the teaeher raises the
hoop above their heads, keeping it perfeetly
level. Thev can now see up into the hoop and
should be led fo rea]ize that the back edge,
that is, the edge farthest from them, appears fo
be some di.tance I,elow the front edge. The
hoop is then slowlv lowered, each pupil sitting
clown when for him the back cdge i. hidden hy
the front edve and the circle al)pears as a
straight line.
Bv this method each pupil has an oppor-
tunity to see exactly what does take place in
the appearance of the circle when it is brought
from above the level of the eve fo the eye level.
To be certain that each realizes the appearance
below the eve level, it will be necessary fo take
groups of eight or ten pupils af a rime and
haxe them stand and wateh the hoop, as if i.
lowered from above the eye level till the back
edge disappears behind the front edge fo re-
appear above it.
LEVEL Or" I TI'IE. EyIr
...... ! I ......
I
l
I
I
I
I
THE FORESlIORTENED CIRCLE
The pupils should make diarams to record what they have discovered regard-
ing the appearance of the circle af the eye level, slightly above if, slightly below if,
farther above if, and farther below if. They should al.o practise drawing free-
hand ellipses of different proportions on paper and on the black-board, making a
definite effort each rime fo improxe the ellipse wherever the precedin one wa.
defective. A very short practice of thi kind nmv be taken with advantage at the
beginning of anv ]esson in which object. invoh'ing the fore.hortened eircle are fo
be drawn. In drawing the ellipse, care should be taken fo avoid p-inted ends.
The line for the horizontal ellipse sh-uld be hêgun af the lower end of the short
diameter or axis, and a eontinuous movement ruade toward the left and around
166 AIT
the ellipse, thus ensuring a curve at each end of the long diameter. In vertical
«'llil)ses tho line should begin with a dow,ward nmvement at the right end of tIae
short diameter.
TItE CYLNDER
TttE DR,VTING CF TttF
Tho ,lrawinzof tho cvlinder shou]d follow a studv of the foreshortening of the
circle. Each me.tuber of the class sho,ld roll a sheet of drawin paper to forma
evlinder six m«.hes tall. whi«h nmv be fastened with a r,bber hand slipped around
«.«.ntrc. or mav be merely ]wld in position. Thc 1,upil. holding this c.vlinder in a
v«,rii«.al ]«,sition. mav more if slow]y up or de»wh whi]v he w«tchcs the changes that
l,lace in tho al,pcaran«e «,f the eircu]ar «,]» and boom accordinff fo their
l,osilion in rolaion o tbo ove loel. In order o test the apparent direction taken
flw curo. ]t, m,v ho]d the ]»cm.il ]evH and para]lel wil] the face. a]]owing it fo
I,are]v lou,.h the neare.¢t ede of tho top or hotom, fo sec whether these edges
appear fo curve d,,wn or up. or remain ]evel. according fo the position of the
««']in&r in relalion o th«. ew. Ile will diseover that the farther the edge is above
THE CYLINDER 167
the eye, the greater is its downward eurve, and the farther below the eve it is, the
greater is its upward curve, tIe may also fix in his mind the fact that the
farther blow or above the eye the circular end of an object is, the less it is fore-
shortened, lhat is the m,»re nearly it appr,»aches the circle iu appearalce. Thc
sanie tests may be applied te the evliuder h,.hl horizoutallv.
Rapid drawings should he ruade hv lhe elass te represel,t 1ho appearallee of
the eylinder i,i different positions. ¢me le:son of this kin,l shouhl I»e sutti,.iel,t
and should be eonsidered prelimilmry te the careful drawing of more intereslil,g
ol,jeets.
A GLASS OR TUMBLER IN PEN('IL OUTLINE
MI:TII)I)
After the glas.es are plaeed satisfaetorily, the teaeher mav ask each pupil te
look at the glass he is te draw and con,pare its appearance with that of the
cvlindr which he has previ,»usly studied. Ile should I,e al»l,, te tell in what wavs
the glass resembles the cvlinder and in what wav. itis different. ]t will be noticed
that the top is wider than the base aud that the side.s, therefore, hae a slight tiare.
A faint vertical line mav new be drawn on the paper for the placing and
height of the glass. Li7ht horizontal lines mur next I«, drawn across flw top and
bottera of this li,e foi" the width of the top and I,a:e. The 1,tlpil sbouhl the, h,»hl
the paper front him in su,.h a position as te he al,h. te e,,ml,are th,. l,rnl,ortions llp
bas indieated with the ghtss itself. Peneil nwa:uremelt. nmv m,w I,e takeu t,,
verifv his jud.maent. Aïter any neeessarv eorr,«tion hure been ruade, he mav
proeeed te indieate the sh,,rt diameter. of the ellil,ses f«,r lhe top and 1,o|tom o'f
the glass, verifying with 1,eueil measurements as bef,»ré. «,r usilaZ the 1,encil as a
straight edze te determilte the amomlt of eurvature. Lizht lines for tbe sides
should next be drawn, and the drawing again eomparpl with the ohje¢.t.
Belote strenhening anv of the lines in the drawin.¢_,s, the l,Ul,il should I»e
led te notice |hat the line of the side appears te join tbe rira c,f the top of the
glass in sueh a wav as te ferre a sli.ht eurve rather than a .harp anze, and also
appears te go round into the base in a similar nmnner.
Eaeh pnpil should new go over his drawinz." ¢radually strenhenin near
edges and feeling for the quality of line that will best express the smooth texture
and transpareut I, rillianey of the gla.¢s.
When the drawing of the glass is eompleted, a light table line should be added.
PICTURE STUDY 169
he was at last discovered, he had ruade frein memory a drawing of the lion that was
sufficiently good fo induce the father there and then to determine to make a painter
of hinl.
As a child he was always sketehing, but he would l»robably have received very
little sehooling if he had hot IJecome so ill that he had to be sent away from the
crowded loeality lu which he lived fo the home of ail aunt in Brentford, where he
was sent to sehool.
In Brentford, the Thames passes through sunny meadows, and af that time
its banks were fairly free from buildings. Through the Thames valley the boy
wandered mueh of his rime, making sketeh after ske/ch. Indeed ail through his
life he loved to wander, earrying only a small bundle and his sketehing materials.
In this way he travelled at different rimes through England, Wales, France, Italy,
a,d Switzerland, eolleeting, il, the sketehes ruade on these trips, uotes to be ruade
u.*e of in future pictures.
Ite began stud.v in the olïlce of an architect, who, recognizing the boy's ability,
urged his father te make an artist of him. lle entered the ('lasses of the Royal
A(.ademy when he was fourteen and, at the age of fiïteeu sent a view of Lambeth
Palaee in water-colours a his first contribution te the Royal Academy Exhibition.
When he was twentv-seven he was ruade a memher of the Royal Academy.
From the celebrated Freneli landscape painter, Claude Lorrain, whom he
alwavs admired, he learned much. Ilis famous Liber Studiorum was suggested hy
a similar work of I'laude's, which, however, unlike the Liber Studiorum, was a
«'ollection of rough sketches of coml)leted pictures and was ruade for purposes of
identification; whereas Turner's work was composed of fiui.hed drawings of phases
of nature, which were arrauged according te a definite l,lau.
Frein lhe very first lhere can be traced in hi. pi(.tures the desire te paint
atmosphere and sunlight, and it is in Iris wonderful ammspheric effects and the
gorgeous hues of his skies that he'excels all other painters. At first he seemed
possessed with the desire te rival and outvie hi. lrede«'ess-r. and, in this spirit, it
bas been thought, ho bequeathêd te the National [allerv two of his owu picturs
painted in Claudê Lorrain's classic style, on condition hat they should be lumg
on either side of Claude's master-piece.
He had a habit of leaving thê finishing of his pietures, after they had been
sent te the gallery, te thê last minute before openiug dav: then he would touch
lhem up se as te leave them more hrilliant than any of the pictures hung near
them. He cou]d be generous, too, when he chose, for on one occasion he put a
170 ART
wa:h of lampblack over one of his most vivid pictures, because by contrast it took
ail the colour out of two of Lawrence's pictures which were hung near it. The
lampblack, being a water-colour, was easlly washed off afterwards. Another artist
unconsciou:ly paid a high tribute to Turner's power to paint sunlight and
atmo.phere, when he complained beeause his picture had bven htmg bv:ide one of
Turner's. saying that it miht a: well have been placed by an open window.
When Turner freed hims¢lf from the desire to outvie others, he ealne into his
best style, that in whieh Tlie Fi.ql«ting Téméraire was painted. It was always the
splendour and the enchantment of nature rather than her truths that he desired
o portray, and in the power to suze:i the mysteries of nature he has never been
equalled. At the last, his desire to paint pure sunlight developed into such a
pa::ion that his pictures bvcame lut.re experiments, snatches of glorious colour,
hut so vazue and formless that even Rn:kin, hs zreat champion, had them set aside
as tmfinished pi«tures.
Turner, the man, is I,s attractixe than Turner, the artist, tIe seems fo have
l,o«,n a stranze mixture of zood and had. of meanness and generosity. Throughout
hi: lire he was 1-nelv and misunderstood. At the last he became gloomy, morose',
and seeretive. We cannot tell how happy his life mizht have been if better home
influences had I»t,en zranted him. IIe died in 1S51, leavinz his pictures to the
nation and a bequest to poor artists which eCtabli:hed a fund yielding a number
of small annuities. Ilis xill was hot carried -ut in the spirit of his wi:hes, and
Ruskin makes the statement that "The Nation buried, with threefold honour,
Turner's bodv in St. Paul's, his pictures at Charing Coss, and his purDoses in
¢'hancery"
THE PICTUIE
Tho Fi.qbtin.q Ternerairo, hic.h Ruskin (.on:iders the last picture painted bv
Turner with his entire and perfect power, hangs now in the National Galler',
London. -
This paintinz represents the disabled man-of-war being towed to her last berth.
The picture has hven criticised from the standpoint of truth. If is claimed that
hv li_*htinz i: a].:olut,lv impo.sible and that the arti:t makes both sun and moon
ea:t thir reflet.tions whereor he ehooses, regardle.s of nature': laws; but. in spire
of tbe:v tv«hnieal fault., the pieture i. "a perfect :ymphony of colour and the
trrandest sun:et effe.t evr painted". Turner him:elf prized it the most highly
of ail his pietures and could never be persuaded fo sell it. The full title he gave it
PICTURE STUDY 171
vead The Fighting Téméraire, tugged fo ber last berth fo be broken up, 1838,
and added to the title were the lines:
The flag which braved the battle and the breeze.
No longer owns her.
The scene is full of a .utinient xhit-h apl,eal. to the beart of everv Briton.
From Turner's earlv I»oybood ho bad loved flic sea aud nlingled with sailors haunting
that mysterious fore.t of ma.ts in tbe Thame.. A. Robert ('bi,,.qlall purs it, in
his life of Turner: "IIis earli«-»t memorie.¢ w«,re of sea-fights. Th«, battlcs of
Nile and Trafalgar stirred the entllu.ia.,m of his earlv mauhood. What stories of
storm and battle he would hae beard from ohl uaval heroes! Aud now, at the
age of sixty-four, he paiuts tlie elegy of one of those old shil)s of the line, familiar
to his eve from I»ovbood"
11. was actuallv a witu«,:. of tbe seêue whi«b he has painted in thi: pieture.
A number of artists wêre g«,iug doxn tbe river wbon the old xe..,l weut hv on ber
av to Deptford. '" Tbat'. a fine sul»jeet, Turner". exclaimod a member of the
party, but Turner was too deeply moved bv the pathos of the pa.csin x i.ion to
think of it as a fille .ul»jct.
Eery graeeful line of tbe old war vessel reveals ber Freueh origin. Sbe was
taken by Xel.on in tbe Battle of the Nile. What battles .bo fougbt uuder tbe
Freneh flag before .he fell into bis hands we do hot know. '" T,:nl'rairo" meaus
'the one wbo dares ', and sbe earned her title of The "" Fighting "" T;méraire in tbe
battle of Trafal7ar, wben .he kept close to ber leader in the thicke.t of tbe fizht
and, by the splendid aid wbieh sbe gaxe Nelson, endeared ber naine to ail Engli.h
$eamen.
Now ber eareer is over. ber u.efulnes.c gone and. without mufit,.d drums or
»aeeant of mourning, she moves fo ber la.t herth. As we look, re l,,:e all th,»uht
of the artist and his art. We .cee tbe zh,»stly old Cbip towerinz ahove tbe l,,w,
vomnmnplace, little u., a.c in proud silence she goes to ber do,,m. But the blood-
red streams of sun.cet wave in ber honour, and tbe uiht wind and the waxes
chant her dirge. Under that vast arch of sky, we are con.«'ious of tbe litt|eness of
humanity, aud a feeling of desolation contus over us. Tb,. 1,ieture speaks of death
and the futilitv of man's work. To quote from P,u.kin: '" Vuder tbe blazing veil
of vaulted tire which liehts the vesCe! on her lait path, there is a bine. deep. de.colate
hollow of darkness, out of whieb vou can hear the voiee of the nizht wind and the
dull boom of the disturbed sea; because the cold deadly shadows of tbe twilight
] 72 ART
are gathering through every sunbeam, and moment by moment, as you look, you
will fan«y some lCW film and faintness of the night has risen over the vastness of
the d,Tarfing form "
By giving ,» ll, is sunset the red with which he associates the close of human
]ifo, Turm»r sooms o convey to us that fo him the old vessel had a personalitv
almost human. The wholo surface of ll,e slream g]ow. wilh ]iquid colour, but ou'r
eves are drawn fo lhe lwo vessels that bv contra.t emphasize each other's character.
The bu.t]in, business-]ike, ]itt]o.lug .eems fo puff her dark smoke with vulgar
i_moraneo into tho face of her majestie suporior. "The old order ehanzth, vield-
i,g place to new." The dav of the aneient batt]e-ship i., over. Did Turner also
wish o StlLes that tho ¢reater power and uti]itv of modern invention mav not
wholly eompeasate for the loss of the graee and digîfity whieh eharaeterized thè old ?
CHAPTER XI
COLOUR
VALUES
THE IETHOV of making the tints and shades of a colour with crayons and
charcoal has alreadv heen given in the Form II, ,lunior (_;rade text. A Form III,
Junior Grade class should learn that these light and dark tones of a eolour may he
arranged with the standard in regular steps so as to form a scalp of values.
The ralue of a eolour is ils distance from black or u'hite, o1" in other words,
the position it occupies in relation fo black and white. The nearer if is fo white,
the lighter or higher if is in value, the nearer it is to black, the darker or lower
if is in value. Each standard eolour has a definite place between these two and,
when water-colours are used, the colour mav be raised in value, that is. ruade
lighter or nearer white bv the addition of'water, and ruade darker or nearer
black bv the addition of a little black. A great many gradations of the colour
lighter than the standard mav be ruade before all colour disappears loavin
white, and a great many values darker than the standard mav be ruade hofore the
eolour is lost in black. The tones of gray that lie between white and black are
ealled neutral ralues, because there is no hue in them. Some text-books of Art
choose nine values and give them certain names, hecause of the positions that they
9ccupy in the scale. A Form III, Junior (;rade class is expe«.tod fo use onlv three
halanced tones of yray, but these may be any three tones provided thC are
halanced. If the pupils tan he .¢iven a mental picture of a scalo of rive halànced
values includinz white and black and tan grasp the appropriateness of the names
which have been given them. they will be able to go fo work intelligently at their
own scales of any three halanced values.
As the Neutral Value scale is easilv comprehended, the teaeher tan gie the
pupils an intellizent conception of this'scale bv havinz them imazine a heap of
pure white powder af one end of a desk or table in front of them, and a heap of
veh'etv black powder af the other end. He should have them imazine him takin
cqual measures of each of these powders and mixing them thorouzhly. Upon
heing questioned, the elass will tell him that the tone of the mixture will be neither
white nor black but gray, and a gray whieh tan be spoken of as neither light nor
173
174 ART
I)ALUF',3
'4HITF"
LIQPIT
dark, because it is exactly half-way between white
and black ; for thi. reason it has been called Middle.
The next step is fo hae the class imagine a small
quantity of this middle-gray mixed with an equal
quantity of the white powder, and describe its tone
in relation to middle. ]t is neither white nor middle-
gray but a different tone of gray exactly half-way
between the two, hieh is light .when eompared with
Middle and therefore mav he called Light, appro-
l,riately. In the saine way the class mav imagine a
portion of the middle-ray powder being thorough]y
mixed with an equal quantity of the blaek powder,
and the resulting tone would he neither middle nor
black but a gray for which Dark is a suitable naine,
because if is dark in compari.¢on with middle.
A vertieal ladder with rive runzs miht be drawn
on the b]ack-board and "' White" written on the top
rung and "' Blaek" on the bottom rung. Each of
the other three tones should be written in place, as
the naine which descrihes it is learned.
Af ter this development of the subject, each
member of the class should make a vertical row of
three sma]l squares. The square at the top should
be left in outline, so that the paper may represent
white. Tbe bottoln square shou]d be covered with a
tone as black as ehareoal will make it, while the
square between should he covered with atone of
charcoal to represent middle. Each pupil should be
urged to consider this tone carefully, fo get one
which is exactly balanced with white and black, that
i.% one which is neither light nor dark but exactlv
half-way between white and black.
Two or three exercises in balanced values should
be worked out in charcoal, before the class is required
fo make balanced tones with water-colours.
COMPLEMENTARY C(}L(}URS 175
THE GRAYING OF COLOURS
In Ferres ] and II, pupils are allowed te use bright colours in their designs,
but they are safeguarded frein producing violent discords by being limited te one
colour in each piece of work and required te use gray, white, or black with it.
In Ferre III, Junior (;rade, they should be taught te realize the necessity for
subordinating the colours uscd in desigms intended for house furnishings and
articles of wearing ai,parc.l, in order te produce greater harmonv.
Bright colours stimulate but, when the eve is kept constantlv stimulated, it
soon becomes wearied, sometimes even nnbearablv irritated. Softer col-urs and
combinations of ce]out vve a sensation of restfulness. When eolours are ruade
softer or duller in an 3- way. we speak of them as (raved Ce, leurs.
Colours mav be grayed bv the addition of a verv little black, but the resulting colour is net as pleasing te the eye as when the colour is grayed by the addition
of a little of its complementary.
£'OM PLE-'II ENTARY COLOURS
We tan make with red. yellow, and blue, ail the colour. that we require: wo
may therefore think of the three a forming something which is complete. If we
take one of these three colour.% the two others united will ferre ifs complement.
Thu¢ the complement of red is ffreen, whi«h i. pr«,duced bv the union «,f vellow
and blue. In the sme wav red and blue unite te ferre violet, which i. the
complement of yellow, and red and vellow unito te form orange, which is com-
plementary te Mue. The pairs of complementaries produced in this way nmy be
arranged es follows:
Red is c«,mplementary te green (yellow + Mue).
(reen (yellow + blue) ls comI,iementary o red
Yellow is complementary te violet (red + blue).
Violet (red + blue) is complementary te yollow.
Blue is complementary te orange (red + yellow).
Orange (red + yellow) is complementary te blue.
Te gray orang se as te make if a little less hright, we require te add te if a
very little blue. The more blue we add te the orange the duller if becomes, until
finally it is gray, and if still more is added, if be#ns te have a blue tinge. The
lî AIT
dullor therefore we wish te make a colour, the more of ifs complçmentary colour
wc must add te it; but we must be careful net te add sufficient of the complementary
colour le destroy the required colour.
We learn frein this that gray may he produced by the union of any pair of
complmentaries or, by what is practically the same thing, the union of the three
primary colours--red, yellow, and hlue.
TIIE IAKIEG OF BIIOWN
The pupils will probably discover for thenseh'es tha orange may be grayed
se as t- mako hrown; and as tho nmking of brown i. necessarv in painting many
spo«.imen. from na{ure, they should be taught that a touch of l;lue added te .trong
orange will produee brown and should aise be required te make tests te discover
in what way the hrowns produced frein yellow-orange, orange, and red-orange differ.
TI[E BALANCING OF TIII[EE VALUES
In working out this exercise the pupil should make a small quantity of any
strong, dark tone with his water-colours. If mav he a dark gray or a grayed
colour. He places this dark tone in the bottera rectangle of a row of three
rectangles, each about an inch square, which he has drawn on a sheet of drawing
l-.aper. ]lê then dilutes seine of the saine tone with water, se as te produce a much
ligher tone, which is placed in the top rectangle. Ilis problem new is te make a
t«1o which shall he exaetlv bêween these two in value. IIe should net be allowed
te guoss af le tone, but should be urvd te mako a definite effort te dilute a little
of the first t-ne with what he considers just enough of the second Ione, or of water,
te produee it. IIe should make one hru.h stroke on a trial sheet of paper, te te.t
flw value of this forte, tt should then compare if with the two fortes already
ruade, te decide whêther if is too light or too dark. After doing what is necessary
te make it corrcct in value, he should place if in the middle rectangle.
DESIGN
MEASUREMENTS
In many respect. he work in Design in Ferre III, Junior Grade, should differ
but slighily fr«»na hat in Ferre ]I. Senior Grade. Form III pupils may use inch
or half-inch measurements in making heir constructive plans for the repetition
DESIGN
of units, or smaller measurements if thc problem upon which they are working
seems te demand tlaem. As soon as puldls become familiar with the markings on
the ru]cr and can measure accurately, lheir constructive measurements should be
ruade with a view te proportion, se a. te bring about a good balancing of spaces.
When tlae measurements are te be lcft te the individual puldl , the ]osson shou]d
I,egin wilh a class discussion as te whether large divi.ions of space or small oncs
are desirable in the problem under consideration.
CONSTRUCTIOE PLANS
Squares, ohlon,-., and dianlonds have alreadv hoon used in making constructive
plans for surface patterns. Ferre III I»upil. mav use the saine constructive i,lans.
lad thev should learn al.o te I,ring about a differcnt relation of tho units in thoir
surface pattcrns, hv usinff a constructive plan in which the squares or ol»longs in
every other vertical row drop hall a space I»ol,,w tl:oo on oither side of them.
illustrations.) This type of constructive plan rrquiros a carefu] consideration of
the size of thc unit in relation t- l]e spa-e 1o I,o occuldod br it.
UNITS OF DESIGN
The units of desim used in thi. class, for tho most part shou]d he either
geometric or ferres dorired frein nature simi|ar te tho.o alroadv describod in the
text for Ferre II. ,ltmior and ,q,.nior frades. (;reater rofincment in the shape and
'reater accurev in the ropetition of the unit shou|d be expoctod frein Ferre llI
pupi]s. In this c]ass, e'cept in specia] cases whi«h mav denmnd a difforent treat-
ment, the unit should be designed first, and the constructive plan that wi]] best fit
if then chosen.
In Ferre I1, S,mior Grade, it was round that .'_*oomotrie unit. of a certain
eharaeter could be repeated in every square with good resu|ts, because of tho hack-
178 ART
ground shapes that were formed.
Units of a diffcrent' character lest
nm«h of their beauty unless they were
repeated in alternate squares, a method
of repetition which permits each unit
te he seen more or less separately. In
the constructive plans of diamonds.
drop squares, and drc, p oblongs, ood
background shapes are net se easi]v
produced. Unless a margin of spa(e is
allowed between the boundary of the
unit and the line bounding the space
in which if is to be p]aced, the units
will merge into one another and the
separate units will be lest. The next
step, therefore, when one of these (vn-
structive plans has becn chosen, is te
draw a ]ight marginal line inside of
each diamond, square, or oblong, au
the case mav ho, thus formin.ff an
i,m.r shal)O whivh will deiermine the size that the unit is te be drawn. The pupil
nll,t bear in mil,d, whcn he is drawing this marginal line that, after the con-
tr,(.tive line. are erased, flw space between the units will be twice fhe width of the
mar,._,iu all,,wed around each mit in the constructive plan.
The coustructive pla» mav he marie with ruled lines, but the inner marnal
line shouhl 1,e n»'«h, freehand and verv faint.
;ood results mav he obtained when the above constructive plans are employed
«,ith«,r with units derived frolll flower forms or with units that are geometrie in
charactcr, l»rovid«,d that tare is taken to keep the margins in all the spaces unifornl
and in go.d pr-portion to the size of the unit.
Arranzemeuts (a) and (b). given iii Form II. Senior C.rade text. fo develop the
jud.,__qnent of the Irai»il with regard fo a proper balance between pattern and bat.k-
zrmmd, could he adapted to surface patterns repeated in the above ways and use
in this elass for the saine purpose. (See page 139.)
-YLt, ow IoNDLL¥ .'.
179
10 ART
TILE PATTEIIN$
The teacher who follows the sul,ject of lesign through ail the Forms cannot
fail to notice the incrcasing attention that is paid to the unit in itsclf and in its
relation to the background. The tile pattcrn affords ail opportunity to concentratc
the attention of the cla.. on thc unit itself and leads u I, to thc fuller COllSideration
of single units giron in Form III, Senior Grade. The tile pattern would make
an idcal 1,roblcm. if it could be workcd out in clay and the bc.t tiles glazed and
fired te take their place iii actual service as tea-pot tands. The lnaking Of singlc
nnits -f this t.vpe need net be disearded, however, if under present conditions the
use of cla in thi. wav is imp«,.:ible, as there are mallv useful articles ter which a
pattern of this kind is eminenfly suitahle. Two of these are gien among the
problems in Applied Desigqa for this lrade.
Itis expedient le confine tlie attenti«,n te the square tile and te use a
.,._.oom,trie pattern haxin the four sido. alike. Tho pupiN xerv pr-bahly have
ruade, in the l,reviou. F-i'in.. go«,nloIric uniI.¢ llat w,u]d he .uital,le for the
le, ri,ose. The dianleter. and diaff,nal. should be drawaa li.,..ditly and u.ed as
c«,nstruetive lines upon whieh te lmild file desi.,_,-n. There shonld he an arrange-
nwnt of shapes that will permit three different tone. to be u.ed, without allowin
two .hape.¢ of the sanie t«,e te corne t«,gether in such a wav that one is merged into
another and loses ifs ider,¢.itv.
,luared piper i. a ffeat convenienee in ],]annin- the ile pattern, which
hould he ruade at loast throe inches square. The simp]er the paItern, the better
it i« like]v te he. if cire bas heen taken te brins- about we]l-related spaees, se that
the eve will it«,t find it difficulI t- di«ern differences in size and will net feel these
diff-.reneo disprcpc, rt i«,natoly ._-reat.
MAP, GIXS
The fil'st file patterns ruade should be finished
school iuk or black water-colour lnay be used in
diffcrcnt drawings of the pattern should }»e ruade,
la sh.w three different arl'al(.nicnts of the rairas.
Ail COl'resl)onding 1)arts in the l)attcrn in êach
square shouh] I,e kept of flic SfllllO tone.
illustrations.) The l,upil shouhl choose the alto
which he consi(Iors toast satisfactory. A class
criticism of rcsults, with reasons gixen for COln-
mendation or disal,proval, is a]ways honoficial.
To bave the class mako as ma.v variations
possiblc of a design drawn on the black-board
the teacher is a good excrvise. The variationq
nmv I»e due fo different prol«)rfions of the parts.
the douhlin 7 of certain linos, th(. puttingof (.ertain
sha],es on top that have heen hidden in part
other shapes, or anv oth.r modifications that do
hot alter the original plan.
IARGINS
These have a]ready been dealt with in the
preceding Form, and the pupils in t]lis I"ol'lll
should haxe a good deal -f practice iii Inakin.
nl;lr_.¢illS iii tlleir w,u'k in Illustration and
l "l wese nf al Jan.
As ail exercise iii IIosill, the marginal lino
mav I»e douhled sa as to form a strap-shaped spa«.e
between flic central palle] ail(1 the nlargin. T,» }»o
sati.¢faet«»r3-, this space s]lould ])e narrowor than
the margin and in g«»,-«| lWOportion la il and tho
central panel. This type of decoration mav he
used with propriety in dosigning ho-k a,d pro-
gramme covors. ]t is seen froquont]y also on sofa
eushions, table covers, bath rugs. aml other arti('les
of the kind.
11
iii gray, white, and black. The
linishii,g the l»altcn,s. Three
182 ART
As a similar problem is te be found in the designing of mouldings, window
and door easings, door panellings, and wall spaces, those seen in the school-room
may be diseussed frein the staudpoint of proportion.
,STIlIPES
The pupils should have had seine experiênce already in the making of stripes.
which is a l»roblem in space relations net unlike the designing of a moulding. In
a striped lai»rie we bave, however, the added interest of regular repetition. Se far
very litllc has I»een said al,out Rhythm although, in the borders and surfa¢
l,atterns that have ],een ruade, the regular repetition of the unit has produeed one
kind «,f Rhythm. We sha]l find this recurrenee af regular intervals in a repeating
l,attern of stripes, together, in seine cases, with a m,,re subtle kind of Rhythm
whieh wc shall observe later. In a surface pattern of stripes we ma 3- have:
1. A single stri],e repeated af regular intervals.
In makin,j it we bave te think of the width of the stripe in relation te the
width of the spat.Ç b(.twcen the stripes. If the stripes are plaeed too dose te each
other, the resalt mav he monotonous or may produce an unpleasant dazzling effeet
,,, the eve. If th,,v are l,la«ed too far apart, a laek of balance is evident. The
-intzle stripe does ,ot as a rule make attractive spaee divisions.
2. A group of two or more stripes of the saine width.
In this case, w«. bave to think of the width of the stripe in relation to the
width of the sl,ace Sel,arating the stripes in the group, and also the width of these
,everally a»d togetht.r in relation to thê spaee separating the groups.
3
STIIPES 18:1
3. A group of four or more stripes of the saine width, having the spaces
between the stripes of different widths.
In this case, We must think of the width of the stripe in relation to the space
next in width, and that space in relation to he next in order of width, and the
width of this last space and also the width of the whole group in relation to the
width of the space separating the grou W. In thê relation of tlwse spaces to eaeh
otheï, wê may bave a reular gradatiou of im.reasing widths that ill gie auother
and a subtler kind of Rhythm than that produced by the reeurreut.e of the group.<.
4
5. A .,..,roup of stripes in whieh one (or possibly two of the stripes) i. nmde up
of sollle qnall unit of design repeated iu a vertical ror.
In makin. a design of stripes suitable for a dress mu:lin or a eambrie shirtin,..,.
the elass should be limited fo a ehoiee of from two fo four stripes in a group mld
urged fo keep the group simple.
BoItDEPS
Under tle head of mar.uins, a strap border i.q suT.uested that mighf be brokcn
up with good effect into very simple units, with si»a-es between the units just
wide enough to permit em.h to be seen separately with»ut breaking lhe apparent
eontinuitv of the border. Other arraugement. of borders havê been given in the
preeeding Forms.
WALL-p ,PER PATTERXs
Some problems in Design are of materia! infere.t o the pupil thou.,_.,h not
suitable for s«.hoo! work. inasmm.h as the irai»il calmot «.o his doilm uq.d- for tho
18:t ART
1,urpose for which it is intended and so caunot judge whether his efforts have been
truly satisfactory or hot. Whether means can or tan hot be found to obviate this
d itticult), ci t'lass discussion of such problems lnay prove hot ot,ly interesting but of
I,ractical value. Mattcrs pertait:ing to 1,ouse furnishings and clothing nmy corne
up for discu.si.n in lhis way. The graying of coh,urs, which is taken up in this
Form. aff«,rd. an ol,l,orhmity for imprc.sing the prol,ricty of keeping ail back-
grom,ds soft in colour. The avcr,qgê pul,il tu Form l l I. Junior [rade, has had
suflicicnt eM,eri(.nce with wall-lmpers lo et,,I,le, him to diseus. this sul,ject intclli-
,¢ently. ]I will n,»t I.. diffi«ult Io get him fo realize lhat lhe wall-paper used on a
dark r«.,m shouhl I,e nmeh li;rhler in fane thau one intended for a very light room.
whcre a c,,l,,ur should be choscn for the walls that will soften the glare of light.
Two |crues ,,f a gra.ved eolour, as .u.,_,ested for use in lesin tu this elas., is one of
the ni-st n/:re,.atble eolour sehemes llmt eould be ehoseu f,»r a wall-paper. The
l.l,«.s us«,,l shouhl h,- ralhcr dose to eaeh -ther in alue. so that the pattern will hot
]e |«»» Il'lllill,llt.
lu some .«-l,,,,,ls a dolls' h«mse is kcpt. aud lho pupils in the different Forms
t,,ake ll,e wall-pap«.rs and other furnishings for the different rooms. A small.
,.mply l,:nki,-«ase will do equally well. Turned on ifs .ide with the front open,
it exl,OS«.s hr«.e alls attd the eeilin.,_, to view. It nmy have a partition dividing if
b,t,, two r,«»n,», which nmv he furt,ished as a living-room and a dining-room one
3car. and as two quite different roc»ms another .»ar. The designin of surface
l,atlel'nS and h,,rders for wall-papers and the diridinz of walls into well related
-Imees, I»ecome very l,ractieal i, roblmn. und«.r these conditions.
APPLIED DESIGN
Eaeh le.son in Dc.sigm should be planned with the intention of making if lead
up to and pepare the pupil for the working out of some problem iu Applied
1 esi.,_,n. .\ sertes of lessons should eulminate in the application of the best desigms
le» SOlne arlicl«, for which tlwv are appropriate. It is just possible that conditions
mi:_,ht cxist hat would makc it expedient to have the.¢e articles construeted at
l«mm. Wherever it te af all praeticable thev should be ruade in elass and, in any
,.ase, all the planning should bê done there.
CALENDAIS
('are, fui in.truetion.¢ bave been iven alreadv for the makin of calendars, in
F,,rm 1 I. ,%-,nior Grade text. .k rectangle of the saine width as the calendar pad
APPLIED DESI(N 185
and in pleasing proportion toit with regard
to height could be eut from the painting
of a spray of fiowers or fruit and used
instead of a landscape. ]t should be out-
lmed with some dark colour that appcars
in the picture. This class shouhl take
especial care Io bave, from top fo I)olt,m of
the calendar, no two spaccs alikc. The
space I»etween lhe picture and the pad
should be the smallcsl. The reas,,n for
this bas already been given. There should
I»e a pleasing ffradation in size fn,m the
smallcst fo the larest spaco, althouzh the
spaces are not arranged in order according
fo size.
ROOKLFT COVERS
1916
The booklet eover is a problem iu
Applied Desi-n suitahlc for anv Form.
The instructions alreadv given should be
sufficient if the making of a book cover ha
been decided on for this class.
A single square unit, like those used
for the tile patterns, may be placed undcr
the middle of the fille, as lhe unit ruade from the two sevens is placed on the
booklet eover in the Form II. Senior (h:ade illustrations. ]t mav or mav hot look
better without the boundingline of the square; that i,oint must Iw settlcd by the
individual desi-,'ner. ]t should occupy a space much narrower than lhat occupied
bv the title, and shou]d hot be placed close enou.,_,h fo it fo be confused with the
]ettering nor far enough away to form a separate point of interest. Properlv
placed, if will attract attention fo the title and appear lo lcnd it S,al,port. althoug,
there may be quite a space betweeu it and the title.
186 ART
OPTIONAL PROBLEMS IN APPLIED DESIGN
TABLE MAT
A square mat of any desired "size may be eut from felt or th)ek eloth and used
t,» pr«,tet-t the surface of a polished table. The material hould be of a rather light
lOllt" of se»me grayed colour that will harmolfize with the furnishings .f the room
fi,r which it is intended. The colour chosen f«»r the desi also should be in
]larm(mv wilh the o/her colours usod in the room.
Thc lile ]mtlerlls tha/ have ]»ceci ruade bv the class will make appropriate
SilT. uniis for /ho docora/ion of [lac table allais. IIi case the mats are fo be quite
hlrV., f, mr l'«']»eliti«ms of lhe unit mav he p]aced so as fo form a square in the
middle. ]llStead of hein placed iii the centre, the unils nmy be nmde snmller in
si/e and used in a border. Whichcver form of decoration is decided upon, an ouler
margin in g«,[,d propol'tiol to the imler spaces should be left without deoeration.
Thc cul edves wi]l require n. finishing uldess the cloth used is likely to frav, in
hi«.h cac lhe edges should be button-holed or finished with a rather close blaket-
,it«h.
The l,altern shouhl I,e traced on tle cloth with carhon paper, after the paper
,m uhich it is drawn has been l,innod securelv in ldace on the cloth. After tho
]»attorn is tra«'«.d «,n the cloth, the design mav I,e painled with water-colours. Tho
ri/ht qUallIiI 3- «,f ('«»]ollr f,,r the l,Urp.se shold Iw l,lixed in tho lid of the box. It
will need fo I,e somewhat darker in tone than Ihc cloth, rather thick, and quite
.trolg. as the (.olour «,f the eloth will gray if sucienIlv. Off eolours flfinned with
lllrl,«'ntilm and worked ito the cloth with a I,rush t]at has been saturated with
«.«d.ur and lhe l,ressed out so as to be nearlv drv. will make the desis more
durable.
PEN-WIPERS
A three-to-four-inch square of felt «l" lvather, ratiner liht in tone so that colour
will show on it. hut «,f a grayed colour so that it will hOt soon
I,ocome soiled, will make an atlraetie cover for a pen-wiper.
The undr leaves may be ruade of chamois or of some suitable
eloth. A single unit like he file patterns alreadv described
will be a suital)le decoration. A still more attractive cover
tan be ruade with a square of mill-board or stiff cardboard
which has been covered with ra.v linen or any smooth-finished
APPLIED DESI(:IN 187
cotton or Iii)en cloth of a satisfactorv colour. The linen is cut about an inch or
an ineh and a half larger eaeh way than the square of mill-board, se as te allow
laps af least one-half il)eh wide ail around. ïhe laps «tre well ereascd, se that
the place fol" the mill-board is elearlv marked before it is pasted in position. When
this is done, the eorners of the laps are eut aeross one eighth of illl ineh b.ey«,nd the
et»mers of the mill-board. The laps are then pasted in position, and the undr
side of the cmer is lined with a square eut fronl a surface pallol'n marie S,,llte rime
previously. The unit is then traced and painted in the middle of he toi» of the
cover. The leaves of ehalnnis ,r cloth are cut , fit. and ail the parts are fastel»ed
logether wilh a rom,d, brass paper fastenor whieh may have th, 1«,1 cov,.red with
he linen and eoloured te match the design. The surface pattern o1 the li,in.g
Pal»er should harmonize with the design ,n the eover.
The illustrati,,n on page ls6 shows that the design mav be se ldalmed that the
paper fastener ferres part of it.
\
For a 3½" l,cn-wiper the following things should be in readiness before the
period in which if is te be ruade:
A 3½" square of mill-board
A 4½" square of cover cloth
A 3" square of paper covered with a suitable surface pattern, for the lining
A 3½" square of carbon paper for tracing
A single geometric unit of the saine type as the tile patterns, frein "»" te ") "
square
A paper fastener
Two or more 3" squares of chamois or cloth for the leaves of the pen- ipcr
A pair of s«-is.ors
188
ART
AI,out a teasl)oonful of paste
There should also I,e two thicknessês of newspaper on the desk fo protêct if,
and a data I, and also a dry cloth for wil,ing l,as{e fronl the fingers.
]IFTIIOD
l. ['rease t|lO square of «.hih fo fit the mill-l«ard and eut the corners a:
dirc«.tcd abc)ve.
".'. Put a smo«th laver of paste on one side of thc mill-board and press if into
p«»sition wilh the paste si«h. next thc cloth.
.3. l'ut paste cm opposite laps in turn and smooth them well up on the mill-
holrd on the wr,ll side of the covcr, tu(.king the c«rners in securclv.
1. Put a Sln,,,,th laver of paste on the wrong side of the lining l,aper and
l,aste it in l,,,sition on thê under side of the cover so as fo hide the laps.
.5. Tra(.e file 1,atterri on t,,p (,f the eover, leavin the lnargins even ail arotmd.
t;. ('oh,ur tho I,attcrn. usin the paint rather thiek so that it will not sl,read
in the «loth.
7. Fasten tire .over and leaves together l,v I,uttinff sciss«,r. or a knife point
throng their centres ami t]l(ql ],u.hing the ])al,er fastener through and
I,ressit,g it (l,,wn firmlv in place.
,q. The l«.n-wil,.r sh«mhl ho put under pressure either bef«we or immediatclv
aftcr |ho leaes are fastcned in l,]aee, and allowed to drv there.
M,untin I,al,er. c,r exen drawing paper that has had a wash of a zrayed
«.«,lour al,l,]i«.d to it mav be used in.ead of the cloth for covering the mill-hoard
square for the pen-wiper.
LETTER1XC,
Vp fo the present lime the pupil's attention has heen direcfed mainlv fo keep-
ing h.tters vertical. ,f the sam height, in an even line. and grouped so that the
words are separated by a definite space and ean be read af a glanee.
Althou;zh n«thing bas ],een said ah.ut lte cross lines or bars that corne some-
where I,.ween fle top and hoth,m of many |etters as. for example, A. E. R. F.
hey nmst he plaeed in an «rderly way. This may be easilv managed if the spaee
whi«h i. . be o«('ul,ied by lhe h.tters is divided iuh) thirds h-rizontally.
LETTERING 189
When a single word is te occupy a given space, this space nlust Ire dividcd
into as nmnv vertical divi:ion. as tin.re arc lcttcrs in the word. The last quarter "
of thc width of each division shouhl I,e allowed for thc space btween letter.. Thc
last lettcr sh-uld corne o the end «»[" the givcn space. I f a rough cstinlate of the width
Hmt mav bc all,wed f-r he leers be ruade, a spa(-e equal to the narrow dix ision
that is te» eome bewc,.n letters nmv be added to the end of the spa«'e Hmt i.¢ to be
,,ccupied I»v the wh,de lettering, before the divisions are mark«.d «,ff. This addcd
spaee is rubb(.d out with the other construction lines when the lcttcring i. e«,mplee,
h.aving the last lcter evcn wih the end of he original space. If Here is more
thon -ne word iii a line, the width of a letter should be allowed for the space
bctwcen words.
NOTF'S
IETTERING BEFORE AN'D AFTER CO.NSTRCTION IINES ItAVE BEEN EF*ASED
All-wan(.e must 1« ruade a]so for lcttcrs that arc hot of the sanw width as the
«hcrs. I rcquircs ,«dv half of he width allowed for the sandard letter, and
M and W are likely to look eompressed unless they are mode a quarter of a spaee
wider thon the other letters.
Lettering mav be made of any proporti«,ns that will best fit a spaee. Although
the height is mode a little -,'reater than the width usually, the space fo he «,eeupied
mav neeessitate the nmking of one dimen.i«,n much greator thon the other and,
providod uniïormity is maintained and ilic spaee a,,.,reeably filled, the letters mav
bc mode eomparatively tall and eompressed, or low and extended. If will be round
19o ART
also that an adjustment of the spaces between ]etters is frequently desirable. When
lettors with open sides corne together, af in the case of ES or TT, they mav be
l.laced closer together than the other letters in a word, while, to give the effe,t of
even spacing, those with closed vertical sides, as II IM, nmst be placed farther apart.
.";u(.h combinations as WA and LT permit the slipping of the projecting part of
one letter into the space belonging lo the other. It is casier fo get good spacing
in somo words bv first experimenting on a piece of practice paper fo get the best
rolation of each letter to it. neighbours and to lhe whole space, and then draw-
in.g this arrangement of the letters with light pencil lines in the required space
without any preliminary dividing of it with the aid of the ruler.
HILT WA
GLAD
The letterinz, to be in harmonv on some pieces of work, must be liEht and
delicate, while a heavy, dark-lookinvletter mav be more in koeping with the re,t
of the desi-n on another piece of work. The weight of stroke that wiI1 best suit
the purpose should be decided and tested on practi¢ paper, before the letters are
put in with the brush line of ink or colour over the light pencil lines. All pencil
«-nstruction lines must he so faint that thev will hot show through even a rather
liht-c,l-ured wash, af anv eraing of lines mav rouhen the paper and cause the
ed.',zes of the Iotters to hIur when the ¢Iour is applied. When the letterin is
quite dry, ail the construction lines that appear between the lettors should be
('I-IAPTER XII
FORM III, SEXIOR GRADE
l LLU,";TRATIVE DI,Aii' "IN'',
Trie TFACHER of Ferre 11I, Sonior ;rade, sh.uld read the instructions Oll lllus-
tratie ])rawing given in Ferre III, Junior (;rade and, if he finds that the majoritv
of his pnpils illustrate gaines and sports well, he may test thcir abilitv te plat:e
flowers in a landscape.
The folloing quotations give ample opportunity for correlatinu lessons on
flower painting with Illustrative l»rawing:
And seoming 1o move with my shadow s trac%
.loyful dandolions keep paee.
Tulips. like te .qho],a's quoon.
.qtrut and pose on flcMs «,f groom
While slately marches of h-i. troa,l,
In winding line te thc river's ho,l.
A little 1,it of bIowing,
A ]ittlo bit of snow,
A littlo |»it of growing,
And eroeuses will show.
These selectiolL are t,. he rearded as suzestixe. Manv ¢.laso. will profer
select for themselves passa._,zes of poery or prose that are equally suitablÇ f-r
illustration.
]]lustrafive Drawing, in addition to givin PUl»ils an opportunity for self-
expression, reveals te their eacher whcre thev are weak in drawing and necd
furthor drill and instruction.
The accompanying drawings give an idea of one method of arran._-emont f,«-
illustrations of this kind.
191
197,
I
«' Evcn thc vcry impcrfcct rcpresenta¢ion of a siCuation will scem ¢o makc it
clcarcr to ihe one endeavouring to picturc it."
193
191 ART
IETIIOD
Afler the eaeher bas shown on the black-board margins that are appropriate
flo space o he docorated, eaeh pupil should draw on the sheet of drawing paper
ro'tangular in«.losuro that will leave a suitable margin. This inclosure should
lhen Ire diided into two rectangles of the saine width but of unequal height. A
:pa(.e narrowor than the width of the margin should separate tbe two rectangles.
The U],l,cr rectan.,._¢]e is inteded to in«.]ose the drawing; the ]ower roetange gives
the s,acc to Ire o,'cupiod hv t]e words that the drawing il]u:trates. No drawing
.<hould be ruade until these rectangles and the nlargins sul)divide the area of the
],aper se, as to I»ring cO,out agreeable space relations. The lines fo be illustrated
n,ar I»e lo,,g enouh fo require the larger rectangle or sufficiently short to require
much smalh.r rectangle than the drawing but, in any ca:e, the one space should
,«,t se.en] alt,,other to ovcrbalance the off]er.
T}]e u},],er rectan.,..,}@ should now be plam]ed to show a simple land:cape in
[«.n«.il o}}t}ie. Th@ flowvrs should next be drawn i outline, quite large in th@
J'-r@ro}md and growin sm:fl}@r as thev recede into the picture, until they final]v
di:a]-,poar. C'af@ sho}}}d }»e taken fo foreshorten the flower.¢ as they recede.
W]:en t}]«. u}»per rectangle is fii:hed in peucil out}ine, the lettering rnay be
}daed to fit the lowor rectangle. If frequent erasures hare been necessary, the
]ads('al, e and }etters :hould be°redrawn or traced upon a fresh sheet of drawing
],aper.
bon tho whole :}]e@t i: readv in pencil outline, the colour :hould be put on
fiat wa:he:. «'are ],eig taken that each space is dry before a wash is applied to a
.},a«.e tiret touches it.
When t}] paper is quite dt.v, the outlines should be gone over with India ink.
},}a«-k water-co}our, pencil, or anv »rr dark colour that harmonize: with the colours
used.
]t wil} be round that the simp}er the drawing are kept, the greater will be the
suocess oMained. Manv beautifu} examplês of this type of illustration are to be
found i magazines.
DP, ILL IX" Dn_WI.X'G BRUSH LINES
To make brush lines such as were required in the abore lesson on Illustrative
Drawinz. a class should bave frequent practice in freearm line drawing. For this
purpo:e, the brush :hould be held between the thumb and forefinger, with the
Iniddlo ]ïngor resting against tho side of the handle lower clown than the fore-
WILL«tW CATKINS 1N COLOUR
19.5
finger, se as te keep the brush steady in an
absolutely vertical position; the little finger
may rest lightly on the paper, but the wrist
and arm should be quite free frein the desk.
For a light line the point of the brush barely
cornes in contact with the paper, and the width
of the line is governed bv the way in which the
point of the brush just touches the paper or is
pushed down against it. The hand is moved
slowly and steadily across the paper frein left
te right, or frein top te bottera, or in whatever
direction the lines are te be drawn.
movement being frein the shoulder.
drills is verv noticeable.
The hand should be kept perfe«tly steady, ail
The control of the medium gained bv these
WILLOW CATKINS, OR " PUS.Y WILLOWS ", IN WçTER-COLOURS
PREP
A collection of well-budded willow sprays should be ruade tbe dav hefore they
are needed for the lesson and placed in water over nigbt. I:rom thi« matorial the
teacher may choose several of the best single twigs, each hearing from six to ton
catkins, and arrange them in jars of wet sand so placed that each i,upil bas a good
view of one specimen.
METHOl)
After moistening the cakos in tboir paint-boxe, tbe pupils should I,o led
examine the twigs, se as te be able te deseribe the ,'harat.ter, zrawtb, and eolaur
in detail. P, eZilmin with the stem, the pupils sbould observe ils line of direction,
and number of joints, aise whether it is thiek or rhin, hard or sort, rough and dull
or smooth and shiny; its green or brox colour should aise be noted. Xext,
catkins hould be studied with re.,zard te their shape, furry appearance, and plav
of colour. The angle at whieh lhey join the store and the shape and colour of th'e
scale that remains at the base af seine of them should also have their .hare
attention.
The teaeher mav We the elass a ._reat deal of help bv. drawing on the black-
board a large oblon proportionate in shape te the paper used bv the ela.s. The
suitabilitv of the dimensions of the paper te those of the twiz mav be discussed,
196 ART
thus giving an opportunity for a lcsson in composition, especially
if a re(.tangle bc drawn on thc paper te incbse the spray pleasingly
anrl allow for margins which may be eut afterwards te suitable
widths.
Bcforc bcginning le paint, thc class should bc lcd te notice
that while seine of the catkins are behind the twig and only partly
seen. olhers arc in front hiding ihc slem. Those in front of the
stem sh,,uld I,e painted firsl.
Faint. sketehy pencil lincs givi.g lhe direclion lhe twig is te
lake on the l,al,er, wilh lhe positi.n and size of the front calkins
faintiv indicated, is a help in the waWr-c,,lonr rendering of
s.l,jeet. The I,eculiar siiverv shen is ohtained by leavin the
white paper for the hiJ lighl and r-undin and shading wilh Mue-
|
OE gray. t,, which lou('hes of pale pink. yellow, or green may be
added if these e-l-nrs are seen in the eaikins heing painted. If too
. mu«h («,lour is allowed te, drv cm lhe light side. the silky look will
I,e |est Aficr lhe calkins in fr,,ni are finished, the paris of those
I,ehind lhe store th»t are n-t hiddon should be painted. Laslly,
lhe siem wilh ils differenees in direction and irre,,sulariiies of oui-
line mav t,e pui in wilh wei strokes ,,f the proper «,,leur and. while
1ho siem i. stili wei, dark I,roum mav he dropped into its shaded
paris. Rich red-brown should I,e used ,m the s«-ales al the base of
the caikins, bavin.,z a small space <,f white paper on eaeh for the
shinin.,z spoi.
If a part of the I,a(.k.cround apl,ears vacant, the name of the
plani «,r the inilials ,,f lhe pupil mav be se l,laced as te give balance
le the commit»sillon.
The willow twi mav l»e painted on folded paper le ferre, wiih
1,i«tures of such speeimens as hor.e-chesinut 1,uds. rreen lilac buds,
hir,.h caikins, and hlossominff lwirs of red naaple, one of lhe illus-
trations in a folder or booklet eniilled " Spring Buds ".
THE DRAWIN'G OF FRUIT
' The ill.stralion -iven 1,elow shows a .mall branch of fruit wiih
wr»w c^rr:txs ils baves rendered in ink values. The saine spray miht have
(In pencil) been painted in colours in a manner similar te lhat used for
THE DRAWING (tF FRUIT 197
nasturtium on page 152. When the drawing is te be expressed in ink values, a
silhouette of the whole spray may be ruade in a wash of ink sutticiently diluted with
water te give the lighter tone. When this is dr)', the l,arts that are te be dark
are gone over again with the undiluted ink.
In making a sketch of this kind, it will I,e found hat seine diltïculty is
experienced in getting fruit and lcaf shal,oS correctly fm'eshort«mcd, l'racti«-e in
drawing ihese shapes alone, in diff«.rent ],osiiions in pcn(.il oulline, will he]l,
overcome this difticulty and will k.ad np te and l,rel,are the wav for the more
difficult fruit and fl«,wer compositions lhat are te, I,e donÜ in For IV.
(;ot,(l Sl,Ccimens of anv (--nmmn ('anadian fruit, 1,reïerably large like the
al,I,]« , 1,ear, or i,«a(.h, nmy ho ehosen for lhis purpose.
TIIE DrkVING OF FI:I'IT
If if is no possible te, provide ea(.h pul)il wilh a good spe«.imen, a suttïcient
num|,er s]mu]d ]»c placed on boards aeross lira aisles 1o ensurc a good view of one
le each me.nabot of the class. Before beginninff to draw. each pupil sh«,uld tudv
the specimen he i to draw. noIing ils Prol-..,rtions and lhe variations in ils
frein cnrve 1«» s/raig'ht line. With thc pencil hehl lighIly under lhe hand. he should
then b]o«.k in the ac/ual shapo and size (if tlae pal)er will permit) of t]e fruit,
with faint, skotchv lines n«ar lhe centre of Ihe paper. ]h. shonhl n«xi hold
pap«,r fr«»ln him in su(.h a position a te allow him te compare his drawinffwith
the model as te proporti«»n. COlatour. dirccti,,n of flac stem. and tle l,lacing of
the ],]ossom end in r«.lati,n 1o tho stem. Anv nocessarv corrcction nmv then l,e
ruade with lines still k«,l,t faint and sketchv. ][e nmv new go over hi drawing,
198 ART
constantly-comparing it with
the model, and gradually
strengthen his outline, until
he has ruade it as perfect as he
(.an. Little, if any, erasing
should be neeessary.
The nmdels should now
be turned so as to present a
different view, and sketches
should be ruade of the speci-
mens in lhis position. The
l,upils should endeavour, in
th,. placi],g of each l,««v sketeh, to make as 1,leasi],g an arrangement as possible Oll
he ],apr. If lhev work in this way. feeling for the shape, the teaeher will dis-
,.,,vvr I,efore ],mg that thev are begimaing a]most uneonseiouslv fo express texture
ami place accents.
.A sheet of drawings of fruit like tire illustration on lhis page mav be
f,,ll,,w.d hv a similar sho,.t. ixil scierai iews of a sinle leaf.
A twig wilh the fruit and a few leaves on if may be aItempted next. This
lwiff should he ehosen for ils beauIv «md siml,lieity, and anv superfluous leaves mav
1,,. rel,loved.
Fruit s[,rays mav be pilmed t» sheets of cardlmard that bave been covered with
vheesec]oth and Ihetl ],]aced in a ]vaning position against jars filled with wet sand
|bat re.t o» |he board. acros.
fl,e aisles.
;reat tare should be
lakeli ],v each l,upil fo arrange
,he drawing on ]ris sheet of
i,apor so as Io make a pleasin
,',,l,,l,,,siti.l,. The who]e ske/ch
sh.]d he liht]y hh..kod iu
I,efore a,,v part is finished.
If for al,v roas, m il is d-
sirah]o l. mako the sketchinff
-f a fruit spray a sti]] more
,lefil,ito l,r-blm in compoi-
ACCENTED OUTLINE 199
tion, finders may be used to discover the best
inclosing space and arrangement before the
sketch is ruade; or the sketch may first 1,c,
nmde with light lines and the finders nmv
then be nmved about on it to determine the
in«losing space and arrangement that will
result in the best composition.
TIIE ACCENTED OUTLINE
If the outline drawing is to represent
the natural al,pearauce as closev as the
medium will permit, the accented outline is
used because it suggests texture and light
and shade, and also emphasizes those parts
of the contour to which, for s,,me reason.
the person drawing if wishes to attra«t
attention.
TI[E U.ACCENTED OUTLINE
If it is desirable to simldify the draw-
ing in order to use it for decorative purposes.
the outline is ruade firm and of even width
and strength throughout.
TREES AND LANDS('APES
The teacher of Fornl III, Senior Gra,h-.
nlav make a rapid review of the series of
less,,ns in tree aud landscape drawilz given
in Form III. Junior Grade. before under-
taking mors advanced work. It is ahnost
impossible to err on the side of sim-
plicity, and nothin.z more elaborate than the
illustrations in the Manual should be
attempted.
DRAVïf.GS FROM FRI"IT--By F(IM in PI-Pll..q
200
FoR TIIE TEACIIER :
ART
LANDSCAPE IN INK OR NEUTRAL VALUES
I ATERIALS
Large brush, ink or black water-elour, and drawing paper.
FoR TIIE PUPILS:
lrawing l,al,er. N,». 7 brush, ink or I,lack water-colour, water, and clean rag
f,»r l,ointing and drying the brushes.
MEtIOD
The teaeher nmv show Oll the black-board different arrangements of sky, land,
and woods, dividing the rectangle by simple lines into unequal areas according to
FIt'IT COMPO.ITION IN ACCENTED PENCIL OUTLINE--SEE PAGE 199
LANDSCAPE IN NEUTRAL VALUES 201
the laws of good composition, using a background of hill against a sky, a middle
distance of woods, and a meadow or field in the foreground, lle may also, with
brush and ink washes prepared before the class, show the result desired, doing a
simple landscape in the following manner:
A rectangle of good proportions is drawn on the paper and lho arrang«,me,t of
areas lightly indicated to suggest a hilly slope, an irregular mass of dislant trees,
and between the observer and the woods a meadow or field. Tl,en with 1,1enty of
DECORATIVE COMPOSITION OF FRUIT IN UNACCENTED INK Ot"TLINE
water the paper is evenly wet within the inclosure, and a brush full of the palest
wash is laid quickly across the top of the sky on the wet surface till it meets the
meadow below the hill and woods, either more or less than half-wav down the
picture. Without cleaning the brush, a brush full of a darker gray s used fo
paint the hill and fields; while the sky is still wet, a brush full of darker gray than
that used for the fields is drawn across for the mass of wood.% the different
heights of the trees being pushed up into tlle still wet wash of the skv according
to their different heights. The shapes of the tree. sh«,uhl soften and spread
ART
-,-" slightly without hard edges. The more rapidly the washes are
¢ . ruade, the softer a,d more blurry the effect. All retouching
' should be avoided. The class then proceeds in the saine nianner,
,z . ]earning hy experience the exact .'llllOUllt of wetness required te
de washes SlllOO{]l])', i18 SOllle papers require lllol'e watcr than
others.
Se,me very fille effects are obtained by painting pure black
f/' 011 the wet skv surface te l,lake very dark masses of trees, as
- the spreading of the ink or water-eolour black produces seine
,..¢ ,' "e.-) verv natural effects of the branching against the sky.
[ SUNSET LANDSCAPES
(,e of the privileges of the teacher is to open the eves of
his pupils to the beauties of nature which are ïree to be enjoyed
I,v ail. Ahnost daily to the one who wat«hes, the dark nmsses
of comnlo,q»hwe tree. and houses are glorified by the sunset
agai,st which th«.v are silhouetted.
The cou,,try boy ,»r girl nlay paint a lands«ape fr,»m direct
study, but il, the case of the citv chihl this is net alwavs pos-
sible. Ahaost every pul,il ` however, 1,as passed throu,,dl the
.- - country seine time and bas then cons«iouslv or llncol,s(.iollslv
stm'ed up "" pi«lurvs on m,'morv's wall " In endeavouring te
reca]l and express these pictures, what is distinct in file mind
f ) is sharpened, and what was but vauely remembered takes
c]earer shape everv rime it is seen afterwards.
Prier te a lesson su«h as that illustrated hv the pa.e of
sunset land.capes, the class should have studied tree.% se as -te be
familiar with their shapes as seen against the sky.
Oc«asionallv trees are seen against a hillside: in that posi-
tion their zreatest beautv is ob.«ured. Yet the he.ginner, net
realizing their height, nehrlv alwavs depicts them a. showing
"'", aainst the earth, and se suceeed. in making his ]andscape
'I'REES
appear te be a field sparse]v set out with cabba(,es
Te make a beautiful .unset landscape Che must rea]ize that trees look their
l.est when silhouctted against the skv and thaf this is the way we most often see
them: che must ,nlso remember that they should be grouped se as te fornl a good
and af file sanw time a nafural composition.
DRAWING FROM THE FI(URE 2o3
Whe these things have been considered by pupil and teacher and
materials for the lesson are ready, each pupil may float an orange wash all over
his paper, striving fo corne close fo the eolour of the sunset sky as he remembers it.
Into the upper part of this wash, while itis still wet, he may, if he wi.hes, iouch
deepe.r lines of orange and red, al]owing these fo melt into each oihcr to .how
sky as it looks just as the sun has disappeared.
The next step is to dry the ]»rush, dip it imo the s(.ho.l ink with which
rest of the picture is tobe painted, a'nd sweep an ink lira. m'ross the pave,
indicate the horizon or the long, s]ightly .lo])ing oufline of a bill. The ink
painted quickly and lgltly over tle orange wash fr-m ihis line to lhe bottom
the paper. If a road is desired, it may be wiped out with the dried |»rush or
small piece of blotting paper whi]e the ink is stil] wet. The -rai,ge wash
tle blue-b]aek of the school ink gives some vcrv heautiful (-dour effct.s.
trees, rising from the earth and showing against the sky, are painicd in when skv
and ground are nearly dry. For these landscapes the ink .houhl never bc diluted.
Two landscapes mav be paintcd in the saine lesson, so as o allow the first o,e
he drv enough for the painting of the trees by the iime t]e sec.nd is half finished.
hen perfectly dry, the landscapes may be trimmed and mount.d.
The page of sunset lands.capes hy Forni Il! luipils are /Ist as llwv
finished and were hot trinimed or mounted before heiilg rel, roduced. Iii the case
of these landscapes a rectangle was first drawn on t]le paper, and the orange uash
was kept within its limits.
DRAWING FROM THE FIGLOEE
0ne or two lessons n drawing from the pose in mass will test the power of a
Form III. onior Grade class to see the figure as a whole. Insead of drawing
RAPID DRAWING IN INK MASS--BY FORM III PUPII, S
20'
ART
almost altogether from memory after class study, as in Form III, Junior Grade,
the Senior class may work from the model, that is, a pupil may be posed in somc
interesting p.sition while the class rapidly makes a mass drawmg of him. Ile
should hot be allowed to pose longer than three minutes unless he is in an easv
I«sition sut.h as sitting, and should be cautioned hot to keep the pose a moment
aftcr he feels the least discomfort, l'upils should takc turns in posing, and the
tom-her should hot make the mistake of asking one pupil to pose oftener than thc
olhers.
I t, der these conditions pupils must neeessarily work very rapidly; but when
thev ean make rapid ink paintinz or nmss dl'awin,,_,s of a figq]re so as to represent
the action and gt.nel'al proportions wcll. it is desiral,le to pose the model in a
eomfrtable sit{in,,_, positi,m that mav I«. kcpt long enough to all,,w the mcmbers
of the elas:- {o «..mpare their drawings frcquently with thc model and test their
aecuracv by pon«il llleaSlll'elllOlltS.
QI'I('K PENClL SKET('IIES
A ten-minute exercise that may be taken advantageously between two heavv
school subjects, is the rapid sketching of pupils, each po.ed for two minutes, while
the class qui.kly bh«.ks in on i,aper, with charcoaI or pencii, the ieading lines of
TIIE I'LACING OF SPOTS 2o5
the model and the general shape in outline. These should not be fini.¢hed draw-
ings, but should consist of the actual steps to be taken in drawing from the pose,
and should be so lightly done that, if desired, each drawing could be brought to
completion without era.ures. ireater freedom of movement is obtained if the
pencil is held loosely under the hand.
TIIE PLA(ING OF SPOTS
Whon a elass has I,.en taught fo block in a m««lel in outline, lhe 1)r«,ld«.m may
he varied in an intere.ting wav bv eh«;o.ing a girl with dark ]mir and dr«..s and
white I,inafore, or a boy with dark hair, dark trou.ers, white cap, and white sweater
to l,ose, while the elass places the dark sp,t.% using either pencil or ink. The
ART
model should I,e pla«ed in a comfortable position where ail of the members of the
dass will get an interesting iew.
As with ail other drawings, care should be taken te plan for a sketch of good
size wcll plaeed «m the paper. The pencil should be used te test proportion and
direeti,«,. If the sketch i. te be in ink, the pupils may begin af thê top and put
i,, the first dark spot. probahly llae hair, eomparing their representation with the
nmdel te sec if itis «,f the right shape and extendin in the right direction. The
se,.«,,Jd spot. whi«h may be the part of |he dress that shows above the pinafore,
hesides I,ein,z «,f the proper shal,e must I,e at lhe proper distance frein tho first
spot and rclated te if in size and direction. When all the spots have been carefully
l,laced in this way, an ink line mav be added te define the light parts of the figure.
If the sketch is te be in pencil, the pupils should first sec that they can lay an
em,. dark tone I,v strokes laid close tozether, t;ood peneil handling demands
lhat the dÇpfl of tone required shall be obtained with one laver of strokes. In
-ullininz lhe white el,aces, an attempt should be ruade te express texture bv the
qua]it.v «,f line used. -
There are manv uniforms and character poses which lend themselves te this
treatnwnt.
Thesc drawings frein children may be eomposed in reetangular inclosures, in
whieh case seine suggestion of background should be added.
HEADS AND FACES
[:p fo lhis Fornl sketching from tho figure has been in mass, and the pupil has
I,Çen kept fr«,m drawing tho features b-v having his attention called to things of
m,,re imporIance fo hiln at the rime. Itis advisable now to study very carefully
flw shape and proportions of the head and fa¢ in a front view and, in the side
view of fle face, the direction line also. The line of the hair helps fo define the
face and should be bl«,eked in with eare. If a class is tauzht fo sketch the face in
thi. way, a good fomdation is laid for earrvinz sket«hes fo a more finished point
in Form IV. whee the pupils mav be tauglt fo place the feaIures.
FEET AND HIXDS
At least one ]esson should be devoted fo the drawin of feel and hands in
different positions. No attempt should ho ruade fo put in anv delails, but the
f«»rcshnrtening seen in a front, back, or partly-turnedmway view )f the foot, shou]d
FEET AND tlAND, 207
BLOCKING IN THE FEET
be as carefullv studied as it is in the drawing of manufactured ,,I,jects, a«l l-«mcil
measurements and tests should be take to aid the eye
A home or seat lesso on blocking in a pair of storm rabl,crs i xarious
positions would be a valuable exercise.
BLOCKING IN THE HAND
In drawing the hand the pupil should first place a direction lile vii, the
axis of the hand. tlpon whi«h the shape of the hand as a whole sh,»lhl ho idoeked
in earefullv. It would be unwise to trv to carry the drawing filrther in this
Form. as the direction in whieh the hand e.xtends or the anze af which it joins
wrist, its gmeral shapÇ, a,ld its size in proportion fo the who|e fivre, are the
things of first importance, a,d no atiempt shou]d be ruade here fo draw the fingers.
DRAWING FROM MANUFACTURED OBJECTS
The teaeher of a Form ]Ii, ,qenior Grade «lass should review with Iris cla.s
the instructions given in the text on Obje«t Drawing in Form III. Junior Grade,
before attempting fo tea«h Ihe drawing of objeets whi«h pr«,.ent .,__,,roaer diffi«ulties.
08 ART
A RO.E OR GINGER JAR IN OUTLINE
In the drawing of a rose
jar or similar object, if will be
noted that lhe neck is cylin-
drical even lhough if bas very
litlle height. If it be open, a
prol,lem arises that has net yet
I,een considered, namely, the
representation of the thiekness
of the rira and the appearance
of the inner surface at the
back. Three circu]ar edges
must be represented as ellipses
or parts of ellipses. As the
l«,p is foreshorlened, the
appearance of the rira shows
lhe saine foreshorlening and
appears narrower at the front
and back than at the sides.
The rira must be represented
by two ellipses: lho sl,ace h«.lween thèse ellipses appears widest af the ends and a
litllç wider belween lh«. lw,, front edges than between the two baek edges. The
low«.r cdgc of lhe inside of tlle ncek ferres another ellipse of which only the back
part is seen.
The sh««lldors of the ol»jç«.t mav show quite ahove the neek or disappear behind
il, accordillg te lhe l»osilion of the jar ira relation te the eve but, as long as the
jar is bel«.w tllç level of the eye, lhe shoulder line will show bevond the end of
ellipse where llle side of lhe jar appears te join the neck. In drawing the jar, the
shouhl«,r line nnlst f«»rm the upper part of the outline that is te represent the body
«»f file jar. It will aise be noted lhat the sides of the jar hide more than half of
the ellipse ai the hase.
When those foatures ira the appearanee of the jar bave been sfudied and a lizht
outline has hcen dran and carefully tested for accuracy, the drawing may be
finished in any desired medium.
DRAWING FR[M MANUFACTURE| [BJECTS 2,)9
IIANDLES AND SPOUTS
An ohject having a handlo, lip, or spout
should be blocked in lightly as though it were
without any of these, and this faint outline ruade
as perfect as possible before the spout or handle
is added.
The correct placing of the lip or spout in
relation l«, the handle in such objccts as jugs,
tea-pots, etc.. mav he tested iii the foll,,wing
nlallller :
With a verv Ii.ht line locate frein top le
bottera lle centre of the space which the handle
covers on the hodv of the objeci. If lhis line
does net reach the top of the ohject, produce it
until it does. S«,w decide on the point that
represents the centre of the top of the hodv of
the object, and draw a lig, ht line throuh this
contre point frein tho top of the line alreadv
placed in the other ride of the ellipse. This will
Iocate the centre «f the lip or. if produced, will
corne directlv over the centre of the spout, as the
case mav he.
OEhe spaee eovered hv lhe spout where if
join. the ohject is usuallv cireu]ar and. as it.
position changes fr«,m directlv in front te tho
side. this space is foreshortened and part of the
line which hounds if is hidden. When the spout
is turnod, the part of this circle that is seen
becomes a part of a more and more fore-
shortened cirele as if approaehes the ride, where
if becomes in appearance a straight line.
THE GROUPING OF OBJECTS
Objeets that are to f«,rm a group should be harmoniously re]ated in size,
shape, and cha'actêr; although variety is necessary, the objeets in a group should
21o ART
LOCATI.NG TIIE LIP ON A CRE'M JVG
{;RO['P1N( OF OBJECTS 211
be placed af a short distance frmn thc othêrs, but must have the appearance
belonging fo the group.
When a satisfactory group has been arranged, the size and place itis fo occupy
on the paper should be lightly indicated with perte'il, and the c.rrectnc.¢s of the
proportions testcd with pencil measurements. Tho place in this .¢pace fo be
occupied by each objcct should thên bc indicatcd and cach objcct lighlly blockcd in.
A SIIIPLE GROUP
Comparison with tho «,hjoct.¢ and pençil moasuromonts shouid f,)lh»w ea(.h step in
the drawinff until ail tho objo«ts are «.orroctly placed. Whea anv ne«essary correc-
tions have been ruade, the outline should be finished in tbe manner sugg.ted in
previous lessons. Greater enq,hasis shonld ho placed on the nearer obj-ct in a
group.
When coloured crayons are used. the tir.ci blockin._- in and all pre|iminary step.
are ruade with charcoal. The frontispiece in this Manual is a group rendered in
«.eloured crayons.
~1 ART
PICTUI',E STUDY
THE ARTIST'S MOTIIER
TIIE ARTIsr
lamc.q A],bo M«-Xci]] Whis]er (1,q3t-193) was born af Lowcl], Massa(.hu»efts.
lb, had an ,.ar]y Ol)l.)rtunity of secing the world, for when he was nine years o]d
tho familv W«.ltt o lire in Russia. wlwre his father had bcen «alled to build a great
raihvav fr tlw Enl,crol.. Al'ter his father's death the nother relurned lo America
wiih her hors and. when he was sixteen years of ae, James enlered the West Point
Military Acadvmv. While he was there he nade up his mind lo become an artist.
Ih. ]eft Amcrica fo, sudy in Paris whcn he was twenfv and never refurned fo his
natiw ]and. M,,st of his life was spent in Paris and London, and in the latter
(.itv his flrst earnest work was done.
][o was verv witty, very gifted, and veD" errati«, lle nade many enenies,
],e«ausc so f(.w were able fo understand the meaning of his art and beeause he did
hot hesitao 1«, express what he thught openly and bhmtly, a method of expression
wh«,lh" -pposod fo his art, in xhich he bas lriod to su,g,gest feelings and impressions
el'v dcli(.alt.ly, ]eaving fheir actual interpretation te, the individual observer. He
he]iev«.d that pictures should i,o pr«.s«.nted fo /he eve as nmsie is to fhe ear, and he
],orrow«.d ¢l'lllS frona music fo provide filles f-r nany of his pielures. He studied
the suhjoct he was representing until ]le klleW exa«tlv where everv line should go,
then in the finishÇd pi«ture he left «,uf as much as possible, prdu«ing in the words
of Van Dyke "/he naaxinuma of effe«t with the minimum of display ".
I[ had the «oura«e of his «onvi«lins and. instead of being influenced by his
criti«s, went on stinudating the imagination of/lae public by lhe subtle sug.uestive,
noss of his painlins and et«hings. Manv of/he pi«tures which he considered his
i,«.st can i,e approciatÇd onlv i,v an artist and will never be understood by the
genora] public, which he nevertho]ess su««eeded in eonvin«ing of his genius. A
l, ictur» su(.h as the portrait of his nmther, nmst alwavs be ppular, be«ause of the
lcnder revereneÇ f,r lhÇ subje«t lhat the artit bas expessed, perhaps un«onsciouslv.
ThÇre are numerou aneedofes fold about istler whi«h a Forna III Senir
«.lass would ho nm«h interesfed in and whieh wuld give them some idea of his
unique persnality. Tea«her and pupil should eontribute a much reliable infor-
malic, n as thov can gather «oneerning the artist and the pi«ture under consideration.
PI(_'TUIE STUDY 213
THE PI('TUI1E
Whistler himself speaks of this picture as an " Arrangement in Gray and
Black", adding: "' To nie it is inleresting as a 1,icture of iliv nlothêr; |,lit w]lat
CalL or ought the public to tare about thê idcntity of the portrait"
in the original picture, now in the LllXClll],Ollrg [;allcry. l'arts, the curtain is
dark green and thc wall gruy, with the nlargins of tlle pictures showing softlv
whitê against it. Thc drefs is a hlstrou. black, and rime |vlld(.r pink tinge of face
and hallds is ail tlle niol'c dclicaIo for the settill.,..¢ affordcd ],v the fihiiv white lace of
cap and halldkcrchief.
The answers that are iven fo queftion. like lhe f,,ll,,wil,g will demonstrate
how nlueh the pupils bave been able fo glean frolli the |fit-turc and will aNo awaken
in tll(.ln a desire to examine it again and again in the new light that |las hcen
thrown upon il.
Whv does the artist call thê picture an « Arrangenlênt" ? Is |le right iii think-
ing that thc publie wou]d not earê al,out the identity of the p,,rtrait? |las |le
rcvealed in thc portrait anv of Iris OWll feclin for his nmthcr? lfid he love lier?
lfid he re:pect and eftecnl her? Ih,w |las he nlade ils h.,.] that file was quiet,
refined, and di/nified ? What qualities show in her face ? ('an you see tendern«.ss,
strength, patience, endurance, power, faith, rcv«w«qlce? llad ber son ail of these
characteriftics ? Would she be ]ike]v fo pals cart.lcsflv over nlisdoeds, making weak
excuses for thcm? Would S]le he inllmtient or sorrowful over faults in hcr fon ?
Notice how the artist haf nlade the very room itself, with its straight line.%
its square eornors, and itf simple furnishinTs, expres.¢ the rectitude and simplieity
that charaeterize the woman. Does the room, a.¢ ho has arranged it, Sllyoft anv-
thing elle regarding his mother? If if quiet and peaeeful? Does if gixe anv
ilnpression that shê was laeking in reserve or quite otherwisê ?
Would the daintv hut rieh emhroiderv on the eurtain, together with the
delicate lace ah,,ut her head and hand.¢ inlply that .he earcd little for the |wautiful
or that she appre(.iated if? Mi,ht the pictures on the walls syml,olize monmrief?
If fo. what would the CUl-tain typify, and would the enlbroidery on if have anv
meaning ?
Xotice the beautiful balance of the picture and the long, curving line of the
fi,,,au'e that tends to modifv and hring into harmonv thc ftrongly ('ontrasting vertical
and horizontal line.¢ of the room.
ART
'l'he light spots iii the picture are so placed that the eye cornes baek again and
again to the face and is held there, as the mind strives to read the thoughts that are
I,e},i,,d it.
Whether deliberatc]v or unintentionally, if matters hot, Whisiler bas succeeded
il m«lkingthis portrait typic] of t|e patient, capah]c, faithful, God-fearing
m.ther, who bas passed the meridian of life and whose work on earth is almost
d,me. 1.1. lho eves of everv man who looks lon. af thê picture a dinmes. must
,-,.,.. out of which will dawn thê featurcs of his own mothêr.
CtlAPTER XIII
COL( tU I
IT IS SUPPOSED that the Form III, S.nior lrade pupil will have passed through
the precediug Forms and will therefore be familiar wifl the ctgI«,ur exereises that
have beeu taught in eae|l. "Flic work il, lh.l»res'ntaliOll ap_,l lk.siffn shouhl hae
further impressed file knowled« gain««l in these exercices, and it «,uTht hot to
neeessarv t( do nlue]l roviewing. The knowledffe that has le'en gained, howeer.
should be arranged in an «,rderlv wav. With that elld in iew. lhe neutral valu,.
seale shouhl he eompleted, and lhe six slandord e, doa, rs with file iuternn.diale hu,«
shouhl !,. l,laced in relation to each other so as fo exhihit a radual change in ht,o
and value.
THE NEUTRAL V çLUE SCAI,E
The method suggested for giving Form III..Julli,,r ,;rade ],Ulfils a mental
pieturc of thc throe balaneed tones bctwecn hilo ami black. «allcd rêspoetivel.v
Light. Middlo. and Dark. bccausc of their positiou in tho seah., will ho foul,d
oqually hcllfful in F,»rm III. Senior [;rade. The tcaehor should I,cTin with
lwo imaginary heaps of l,,,wdor and. aftor thc impression .f Mi&Ho. Liffht. and
I|ark iii turn. as cxpl«tincd in tho Fm'm 11I..luni»r [;rado to\t ha. I.e,.u etahlihed
in tho minds of tho ]alpils. lac slv,u]d proeood fo bave th.m ilnaffilm a small
quantily of thc Liht powdor thoroughly mixcd wilh lhc saine qUalllity of file
white powder so as fo produ«'o a new t«,ue. The elas shouhl ho h.d to
ncw fa,m. exa«flv bolween Light and whito, darkor flmn whilo and lihh.r flmn
Light. is hi7h in the sealo whcn e,mparcd with Li._-hl. and thoreforo Ilizh Li._-ht
is an appropriate naine fo give if.
Time sllould be taken here to impress up«,n the class tiret th;s value mu.t hot
I,e eomlecled with the hid ]ight upon the surface «,f an o|,joet whieh differ. in
value ac«ording lo lho texture of the surface. The li..._dalest sp«,t on an «,l,jo«t with
an unlmlished surface is nu|eh darkor than the liffhte.¢t spot on ono with a gh,ssy
surface. An ol,joct with a polished surface should he shbwn tho elass and iho
hiT liht poinled out. that tlcv umv realize that it is lihter in appoarance ihan
white papor and muçt iu no wav be confounded with lho value llih Light. hi(-h
is darker flmn whilo. We spcak of tbe high ti.,_,ht ou au «,l,joel : thc dofinito articlo
is hot used bcfore Iligh Lizht. the vah,e.
215
216 ART
-)
"D
TI ! I- / lE I.TI,AL
VALI'F SCALE
The class should next imagine a small quantity of the powder
called Light tboroughly mixed with an equal quantity of powder
Middle in valUe The resultiug tone will be lighter than Middle
and darker than Light and, as it is low in the scale when compared
with Light. it may b,. ea]led Low Light. In the saine manner the
t,.aehr may bave the elass imagine the blendin.,_., of equal parts of
.Iiddh» aud ]tark te ferre Ilih ltark and equal parts of Dark and
hlm-k te f,,rm L«,w ltark. As eaeh tone is deseribed its naine
shouhl ho. written in place on the rung of a vertical ladder drawn
on tho hlm.k-hoard, as sugested in the Ferre III. Junior {lrade
text.
An introduction of this kind shou]d net take more than about
t«.n minutes. T]w ime remaining for drawinff shou]d |,e spent bv
lho ],upi]s in makinz a scale of hree ba]anced neutral values
h«qween while and black, as folh,ws:
1. The rapid freehand drawing of a ertical row of rive equal
reetanz]es an ineh or more in size
2. The eovering of the bottera rectangle with intense black
?,. The addin,,., «,f suflïeient waer te the black in the brush te
produce a sma]] quantity «,f wash. whieh shou]d be
tested and found te, be exa«.t]y ha]f-wav between white
and black in value, before it is p]aced in the middle
square and marked Middle
4. The di]uting of this Middle tone with enough water te
produce atone exaet]v half-way between it and white.
whieh shou]d be p]aeed in the second rectangle in the
row and marked Light
5. The addin of sufficient black te the midd]e tone te produce
atone half-wav between it and black, wbieh shou]d be
p]aced in tbe fourth square and marked Dark.
The top square in the row is te be ]eft in oufline.
During another drawing period hese seales should be put up
at the front wbere ail can sec them. and the elass shou]d choo.e
those whieh exhibit the mosI near]v perfect balaneing When
exercises are returned te the pupils, each should write, beside every
NEUTRAL VALUE .'iCALE 21
one of his values that is imperfect, a note telling what is necessary fo make il
correct in value. A class exercise might then be given, haing in view the
making of one large neutral value chart for the whole class, for reference aud
comparison.
For this purpose the class might be divided into seven groups and each group
given one of the values fo make. Each pupil should draw a rectangle 3" by
and should lnake enough wash of the required value fo (.over this rectangle with a
moolh, even tone. The class should be counselled to r(.lneml»er in prepariug the
values that washes are lightër when dry lhau when they are first applied.
A strip of white cardboard 4" wide bv 2;" 1,,ng will be required for the
mounting of the values. A vertical row ,,f niue 2]" squares ½" al»art mav be drawu
on this so as to allow 1 " margins at top and sid(.s aud 1-'._," at the
The top square should be lefl in outline aud the bottom .-quare painted black.
The class should now choose from the panels that hae been covered wilh a
wash of Middle value, lhe one that is nm.¢t perfectly balanced be'een whie and
black. A two and one-quarter-inch square should be eut f,'om it ald pasted oer
the lniddle square on the strip of cardboard. In he saine wav the most nearh"
perfect Light and Dark should be chosen and pasted in plac(.. The renmining
ltigh Light, Low Light. High Dark. and L,,w lark should I,e selected in turn in
the saine wav bv the class and pasted in position. The careful choosing of balauced
values in this wav will do more to devel,,l» a nice judgnent than the lnaking of
manv individual scales.
BALAXCED TONES IN GRAYFD ('OLOUR
The balancing of three tones of grayed colour has been explained in the Form
III. Junior t;rade text. Thê class will proceed in a similar wav to (.t rive t,nes:
first a strong dark tone. then a light tone. then one fo balauce between these two.
then a fourth between the first and the middle tone and. finally, a fifth exactlv
between thê middle and the darkest tonê.
THE COLOUR CIRCLE
A diagram for showing the relation in hue and value that colours af full
strength bear to each other may be made as follows:
.' 1 ART
MATER IA LS
Ea(.h lmpil should haxe a 9" hy 17" sheet of dra-ving paper.
a ruh.r, and a pair of compasses or a cireh, nmrker.
NOTF.--A circle marker or eompass of cardhoar,1, like the one
illuslratv, I. is more easily handled I»y llle I,oginner tllan a regular pair
-f ('-ml,aSses. Ïo nake il, a strip of rhin ealdhoard, one inch wide
:md fie and three-quarter inches l-»g, has a line uled doxxna the centre.
Ih.;zilnfig .ne-«lUale of an inc-h from tlle end, the inehes, subdixided
i»t. half- and quato-inellçs, are marked on this line. ]I-les are pierced
:t lllese p-ints xxith a sharp pin ad, to describe a cirele, a pin is put
through .no of thesv h-l«.s an,1 heh] in p.sition as a pivoL while the
qmll» l,-int of tbe l,encil, placed through another hole at lhe right
di«tance fr-m thc fist, is moed around tllis pivot fo describe the cicle.
STFP.q TO P,E yl-II LOWFD
1. Tho «lra in,,z of a c, rtical line rive inches in lenh from
llw middh, ,,1" thc t«,p of tho paper down tc»ward the
(.Oll[l'
2. TIw de»(.rihin .f a ¢ir(]e with a lhreo-in,-h radius from
a ,.nln. ai lhe I«,itom .f ihe lihe
3. "file »(,lIil 7 Illl[ I'll lhe cir(umf«,rem.o of six points, lhe
i(llh «,f lhe radius al,art. I.,imfing af the point
where lho , c, rii( al line eros,.s ihe eircumference
4. The hi«,(iion ,,f ihe priion of qw ein umferen«e between
ea«h lwo adjae(,nt p,,int, so aq io divide the -ireum-
ferenee «,f lhe «in le int,, txxehe equal paris
5. The drawin« of six dianwtor¢ 1,v j.ining opposite points
6. The (h«(.rihing of a eirele wiih a half-in« h radius af eaeh
[«dnf in lhe eircumferenee and also ai the centre of
the lare «'irele
7. The eleaning out of eaeh of he thirteen small Hrcles
wiih a soli eraser.
When lhis chart has l»een prepared previously, it mav be
c.l,mred easilv in a hall'-honr peri,,d if lhe f0,11owin 1,hm be
followed :
C, OLOUR C,ECL"
COLOUR C1RCLE 219
COLOI'RIG TIIE CII çRT
The pupils' paints should he in g.od con,lili,.n, quite clean, and well moistened
before the lesson bogins.
To colour tho chart the brush is first fillcd wiih )ello. and the seven Ul)l)cr
eireles, that is. lho one for yell«,w and threo ou each side «,f it. are covered with
vellow af full strength. N'o m,,rc ycllow will he rcquired. The hrush is now eleaned
thoroughly, then tilh.d with rcd. and the cire.les f.r rod. r.d-i,k.t, and violet are
eovered wilh red ai full strongth. This c,l,»ul" isaeakclmd sligtly wilh water, and
the eirele for hluc-vi,,let is eoercd with it. Tho allO slihtly w«'akelwd e-h)ur
floated over the v«.llow il the cirelo whieh is to he r«d--range. The c,,hur iii the
I,rush is weakened still in,fo and fl«,ated oer the vellow in the eircle which i te, he
orango, and weakened still further to (.over tho vellow for thc yello--rau7e (ir(.k..
No more red will be rcquired. Aftcr ihe l.,rush has I,e«« thoroughly ('leansed. it is
filled with blue at fuli strength, which is floatcd oer lhe one elUl,ty eireh, l'olllailil
and alto oer the red iu the eircles f-r I,lue- le,let and le,lot. The I,luo in the hrush
is then weakeued slightly with water and floah«l «,er lhe red in the «.ircle for
violet. Lest scmm of the red fr«,m this cire.le lniTht hac tingod tlw I,lu(. in
I,sh, it is washcd out, and thc ]»l'tsh refiliod with hlue. n«,t quite al fuil strenlh.
and this is floated over the v«.llow in lhe circle for hlue-rc«q. The ],luo in
brush is again weakened an,l floated ,»er th,. v,.llow to form the green cil'cle, then
wcakened still more fo float over the vellow for lhe )«.llow-Tre«.n cireh..
The gray for the cotre cil't-le lllflv ],ç ma,lc I,v luixil fl er litth. ,,f oach
of the three primaries with water or hv miing t, e,,nq,k.lU,.utary («,l,ur¢. 'are
must be taken fo koop the bl'uh fuil. vo lhat lh«,,,,hur wili fl,,w frc,.lv from it.
The second eolour in each case houid he fl,,ah.d oer lh«. uudcr co]«ur iu ¢ueh a
wav as hot fo disturh lhe latter.
Paint (.i,ths must be u»ed for cleansing the hru»hes. o that the ah.r mav he
kept clean until ail the eirch, s arc. finished.
When the paints are kept clean, this methd wiil he fonnd satisfactory, the
oniv eo]our with which the pul,ils find anv diflicul(v heing the violet.
If lhis ehart has heen reasonahlv well donc. it will show a graduai chanve of
hue from velh»w through orange, red, violet, hlue. and green, back to yeliow. The
ehart shonld ho kept f,r referenee, and eaeh pupii çhould use hi o to heip him
to determine flw hue of any flower or ,fler objeet that he is requirod 1o l,aint.
The change i value from yeilw fo vioh.t houhl al,-, l,e nol(,«l. It wili
ART
.een that vellow is the lightest colour in the circle and may be said to stand on the
I[igh Light rung of the ladder of values that was prepared when the pupils wêre
making a neutral value scale. Yellow-orange and yêllow-green should be on the
,xt rung. as thêv are Light in value. Orange and green are Low Light; rêd-
orange and blue-green are- Middle-. RJd and Mue are I[igh Dark; red-violet and
blue«'iolt are lark. VioM is the darkest of the colours and stands alone o,, the
Low Iark rung of the b, dder.
VALUE .¢'ALES IX ¢'OLOI-R
Anv co]our niav be scaled ff, ch llih Liht to I,,,w Dark by the addition of
wah.r for the values lighter than the standard and by the addition of black to the
-tandard for i]e values that are darker.
From Form l. Sênior Grade. up. the pupil has been having practice in making
the tints and shades of colours as required in his work in Represêntation and
Iesiffn: and there should be little difficulty now in makinff seales to show many
differellt lues -f a «,,lour. The sea]in of one or more c.lours in this wav would
make an interesting and valuable seat exereise for individua] pupils.
('OM I'I.EME XT .II, Y çOLOUR.R
A glanee at the col,,ur eirele will show that eolours that are coml»lementary to
eaeh other are at opposite ¢.n«ls of the diamoters. The gray cire-le at the middle
,,f each diametêr rêeord. thê ïact that eom],]«.nlentary colours will nêutralize each
other.
DESIGN
The work in Desim for Form III, Senior Grade, should be a further develop-
ment of the work taken in the previous h'ade. In the Course as planned for eaeh
Form, it is taken for granted that the puldl will have studied the prineil,les whieh
ihe problems given in th.e previous Forms are intended to illustrate., although the
«.lasses are not expeeted to work out all the problems suggested for eaeh Form. An
¢,Pl»ortunity for ehoiee has been given.
The importance of aeeuraev in everything eonneeted with Design should be
kept constantlv in nfind and, from Form III npward, the greate.t preeision of
whieh the individual is capable should be required of him. Any pupil who finds it
impossible fo do the work well should be constrained fo u.e the simplest possible
elements that will be in conformitv with the problem undêr considêration.
UNITS ,tF IESI,IN 221
MEASUREMENTS
The measurcmcnts te be used shou]d be decidcd by the
individua| pupi| after ihe class has discussed the question in
ïc]ation te the w«,rk te bc donc, un]ess the teacher judges if
more expedient te bave the who]e c]ass use the same measurc-
ments in the païticu]ar casc in point.
CONSTRUCTIVE PI.ANS
The F«»rm Il |. ,enior ;rade pupil is n«»t requirod te use
any ncw c«mstructive plans but, after his experienee in thc
.[uuior Grade, he should be able te achieve better results with
the saine constructive plans that he used there.
UNITS OF DESIGN
The chief devclopment in tbis Form should corne through
the designing of the single unit. The pupil i.¢ expeeted te tako
seine natural ferre, such as a flower or an)" part of it. or sonm
geometrie shape aud. using it as a motive or model, se simplif.v
and refine it or if uecessarv reeonstruct it wbile still keepinz
te the general plan of its formation, that it will be eomplete in
itself and can be used alone or repeated in a border or all-over
pattern with equally ood effect.
Te he complete in itself, the unit must net look a. thoug
it were heavier on one side than tbe other or needed support of
anv kind: if must bave stabilitv: in fine, if mu.t he halanced.
The unit of desi,-m mav he balanced re,-ularly or irreglarly,
but the latter kind of balance should net be required of the
pupil. He mav make the two sides alike, thu.¢ producing
bilateral sTnmetrv or mav increase ?he symmetry by makinz the top and boitera halves a]so a]ike. The unit mav he
ha]anced on ifs vertical axis or on both vertical and horizontal
axes. When the four sides sre alike, the effec? produced will
probahly he ?bat of a unit repested redar]y around a centre,
in which case ?ho resul?in desin is nsuallv called a rosette.
Balance neeessi?ates more ?han the matching of one side with
another. If thc unit is too high in proportion te ifs width.
UNITS FROM FLOWER
FORM S--DESIGNED BY
FORI III PUPILS
+ A RT
il will l,,.k as hongh if ,ec«h,d SUpl»ort ; it is exidont that the width must ho
l,r«,l»orti-nale t. lhe heiht, fo produce balance.
Tin* side iews of s.me tl«,wers are bilatera]]y synmetrical and of such a shape
lhat lilh, more lhan ('areful drawing is neecssary o make hem agrecable units of
de,si/n. Amon lhesc fl«»wcrs the I»h:eding-heart and he fuchsia nmy I,o espe«ially
menli-n,«l. Thc l«,p icws «,f nmny ohers nced very litIlc m,,difieation o beeome
symmc[ricMly }mlam.«.d. In ahnosI all mdural fro'ms s-me lillo modifying is
m'ceSs«lrv i «,rdcr [o I»ring hc shal»e inIo lmrnmnv wih he chara«/cr «,f the surface
,,r arli(.lc Ul«,n hich he design is Io be use& Thc implifying of the form by
,,.j,'ctin;z M1 (h.tils «md retainiug mdv the eharaeteristie shape (,f the ]arger nmses
nmv I,«. ail that is necessarv, q'he flower mav mcreh" sn,/,/est a shape which is
wid,.m.d in «,m. l,lace ami slmrt«'ned <,r lengthened iu another and then halaneed
smm«,lric«llv. S,,m(,timos an altractive part which is quite suhordinate in the
tl,,w«.r, is onlarff«.d aml emphasized in lhe unit. The designer gets the idoa fr«,m
lin. fl«»wer hM. as l«,nff as he d«ws hot iolate lhe laws of ffrowlh, he is free o make
anv modifi(.ali,,ns lhat will nmko it more appropriate for his purpose.
Tlm stem end cal a I»ilateral unit slmnld be drawn verv earefully, with a viow
fo brinffin if int,, lmrnmnv with the spaee if is to occupy or with the contour of
UNI.TS OF DESIGN 223
that part of the decoration which is ncarcst it.
For exalnple, a diamond-.hal,ed coustructixe l,lan
wmfld sugzest a pointed ending to the stenl, while
a pendant unit placed under the titlc of a book
would rcqnire a broad, fiat stem-emling, even
though thc unit
lcttering. A p, inl lurncd l(,ward lhe tilh' ould
ie us an nnt«mtfm'la],lo f«.din that the title
was in danger «,f heing Sl,lil in tw. hv the dec-ra-
lire unit. whereas one of file leTililnate fllllcIi(,llS
of this unit is to appear t,) support fle litle.
(;COlnetric shapes are easih" arran7ed so as fo
l,roduce symmetrically balanced uniis. Two
squares or hvo tl'ianglcs with equal sides l,laccd
hase l(, base will/ire a shal,C lhat mav b«. m-dified
al-n/ lines lhat radiate fr,,m a centre, so as t,,
l,roduce an aiiraetive bilaeral unit. In a similar
wav four squares placed o/elhcr mav he lhe
foundation plan rm. anv nmnh,.r «,f rosetles.
This definite desi/nin/ of svnnmtricalh"
halaneed unils shouhl n,d he a dicult malter r.r
a Form III, S,,nior ;rade pul,il. ],ecause most of
the desi/ns that he lins ruade in lhe i,rei,,us
Forms have le.en ],alanct.d sxmmwtricalh" xx ith,mt
his bein awal'e .f il. 1[,, will l,r, dud,15 realiTe
now that much of theil" atlraetixcness was due to
lhis faet.
SQVARED DFglCX.q
NaturM f-rms nmv 1,o simplified and nmde
snitalde for use in Desien l,v ha ill their cont,,urs
expressed in slraiht lines instead of <-un'es. A
eareful peneil drawin¢ of the natural form is nmde
on squared paper. The oulline is lhen redrawn
alon the vertical and lmrizontal liues that are
ALL-OVFR PATTERNS--DFSIGNED BY
noaresf tho contour of the «,riTinal drawin, rc, n 11t rrrlLS
2:2 t ART
SQUAKED DESIGNS
IH,lique lines that are parallel with thê diagonals
of the .quares are permissil)le for j-ilfing the
vêrtical and horizontal lines. For a hi-svmnmtrical
unit the first half would be ruade, as stated al»ove,
fr-lu the original drawing; thê second hall w«mld
he the first half reverse& Thê design is net good
unh.ss it is silnpler in outlilm than the natural
forlu frein which it originatêd. A squared design
that exhihits a nulul)er of fussy little corners has
defeated its own objêct in hcing.
THE MODIFICATION OF UNITS
When an agreeable unit has been designed,
the pupil .qmuld make modifieati«.ns of it to suit
two or nore of the different constructive plans
that he is permitted to use in Form III. tic
should then choose for repetition the unit whieh
in his opinion will produee the most effective and
harm.nious pattern. Sueh simplo forms of his-
torie ornament as the trefoil, quatrefoil, and
fleur-de-lis might be adapted to the square, the
ohlong, the triangle, and even Ihe eircle, as a
preparation for the modification of the less easily
handled unit, designed by the pupil himself. The
doubling «,f the unit should I)e permitted, when bv this means a new unit is formed
that occupies lle given space acceptaMy.
WALL-PAPER PATTERNS
Movement is de.irable in a 1,order or ail-over pattern hut. when if is achieved
thr,ngh the ]eaning of lhe unit toward it. neighbour, the movement is apt te
al,Pear hurried and lacking in repose. There must be dignity as well as more-
ment in any pattern which is te be kept constantly in view like that on a wall-
paper. In such cases the movement should be accomplished through the placing
o halaneed unit in rhvthmic relation te ea«h other. A unit that is longer
vertically than horizontally is more dignified than one in which the proportions are
UNIT.S OF DESIGN 225
reversed. Constructive plans in which diamonds, drop sqares, or drop oblongs
are used, tend fo bring about a rhythmie, lingering, upward movement of the
units that is very satisfying fo the eye. The colouring for the wall-paper ,hould
be two or three closely related tones of a more or less graved colour, a«cording to
whether the paper is planned for a ver 3- light or a rather ark room. ('onsult the
PLANT FORMS THAT LE.N-D TttEfSELVES TO IODIFICATION
ART
l"orm 111, Junior Irade text for «,thcr points concerning wall-papers and for
«ircun,stances under which the designing of a pattern for one becomes a good school
1,r,,!,leln.
TIIE ADAPTATION OF TIIE TREFOIL TO THE SQUARE OBLONG, CIRCLE AND TRIANGLE
I'LAIDS
In the l,aking of slril,ed patterns, the pupils m Form II1. Junior Grade, had to
t.onsidcr si,ai'es of d«.finite width but indefinite length. When a plaid is tobe designed,
the spa(-«.s must hae definite h«glh as well as definite width, but thev must be
studied in 1-«.laliol o ea«h other with a view fo go«,d proportion in the saine way
tiret |he stril,eS and |heir int«.rening spaces were studied in fle preceding Form.
Examl,]e.¢ of larans and l,laid gin._,zhams will help the pupils fo realize that large
.l,aces and /zrul,S of .maller spaces are ruade 1,v the crossing of the vertical and
horiz«,nal stril,eS lhat go fo form the plaid. A good 1,alance of large and snlall
.l,ace.q is fo 1,e striven for. If the large spaces seem fo stand out so prolninently
that it is diflic«fit fo look af flw small Sl, aces, if shows that there is too great a
difference in the size. If the smaller spaces are so nearlv of the saine size as the
larger Sl,aees that the plaid loks as thou/zh if might I,e a poorly drawn (.heck (a
sort of 1,laid in which tire spaees are all of the saine size), the contrast that is
net«.ssary to l,r«,du«'e a satisfactory 1,alance is lacking. The large spaces should be
noti«eal,ly lar.,_,er than the small sl,aees, but the differenee should not be suflïciently
great fo prenent a feclinIz of relationship bctween them.
The class shouhl draw tw«, or more thl:ee- or four-inch squares and break up
the spaec in one of the squares 1»" drawing rcgular grc, ups of stripes that cross each
other, so as fo lnake a central square surroundcd by a uniform border of stripes.
In the second square, the irrcIzular 1,roaking up of the spacc that is frcquenlly seen
in ginghams should 1,e attcmpted. The class should be limited fo from thrce fo
twclve stripes in the desifig of a plaid.
Two or three tones of gray or of a grayed colour with the addition of one or
more stripc.¢ of whiIe or black, rnight be used in the colouring of these plaids. If
.-kPI'LI ED DESIGN 227
the tone used is pale, the colour will require less graying than when it is stronger.
The plaid should be planned first with ver)" light peneil lines te indieate the width
of the different stripes and spaees. In the eolouring of the plaid one tone should
be allowed te dr)" before another is applied oer it or se that it touches it. Where
the stripes cross, darker spaees result, whieh add te the attraetiveness of the plaid.
In ail representations of woven materials the »rush should be used rather dry se as
te express the texture of the eloth.
APPLIED DESIGN
Among the articles that mav be ruade and decorated hy a Ferre III..";chier
(;rade class ae calendars, place cards, menu cards, tallv card., hl,,tters, and mat« h-
scrateher.. 3Iany different t.pes of dccoration could 1.: used that would I,e in
yood faste on these and. for a special purpose sueh as the makin:_, of ('hristmas
tzifts, the class might ],e permitted t,) u.e anv manner af decoration that ha: been
taught in the preceding Ferres. As a rule, however, the units of desi.,zn that are
te be applied 1,v a Ferre Il l. Senior ;rade elass should ],e symmetrical, whether
thev are te appear as separate unit or are te, 1,c repeated in a border «r ail-over
pattern.
Certain l,rin«iples with retard te the fitness of the deeoration te lhe purpose
of thê article deeorated, must alwav. be borne in mind. For examl»lo , the deeoration
should in no wav interfere with tho use of the article. If should net Ira pi«torial.
alt-houh deeorafive e-mpositions that eonsist of the breakin up of an inelosêd
spaee (usually reetanflar in shape bv natural or other ferres se arranTed that
thev produee a harmonious pattern, are permis.ible when thev are expressed in fiat
tones of eolour.
228 ART
The decoration should cmphasize, or should appear te be governed by, the
structural clemeuts of the article. Thus, an appropriate border will appear te
strenfftbcn the edges of a book, card, tray, plate, rug, etc., and is always in good
laste, whcthcr if is at the extreme edge of the surface dccorated or nmrks the inner
boundarv «f a finely pr,lmrtioned plain nmrgin. The c«»rners of anv rectilinear
surface mav be supp«rtcd in a similar wav by a unit lhat conforms in shal)e te the
««wncr. 'File ends of a l«wel, a rug, or a curtain nmy be emphasizcd bv a border.
sç«netimcs in thc case «f curtains or «.thcr hangings, the border is placêd at the
le,fiera onlv or is dccl)cr thcre than at the sidcs and top.
OPTIONAL PROP, LEMS IN APPLIED DESIGN
M ,Tf'I[-S('RATCtl ERS
The making «f a mal(.h-scralcher is an al,iropriate pr«blem in ApIdied Iesign
fr F«rm II1, S,.nior [;l'ade I,upils. as the t3l,e of unit that the class has been
d«.sinin/ is w,.ll suited for ifs ornainentati«m. If there is to be a choice in the
manner -f dec«,ration, if will i,e necessarv t,» decide what shape this is to take,
I,efore the dimensions <,f the article are decided upon. Eversthin that goes fo the
nlakil,ff u 1, «f the maI(.h-scralcher sh«mld be related fo lhÇ rectaugular piece of
sand-],aper, as it is the essential portion of the article. If the ornamentation is
l, he in Ihe form of an in«l«sin7 border, the mill-hoard or heavv cardboard f«unda-
tion <f Ihe mal«h-scralcher will need 1o be broader than if the ornamentation is fo
7« af «me «r i,oth ends «,ulv. In either case. 3" bv 5" is a serviceable size for the
sand-l,al,er. The l«m_-er dimension «f both mill-b«,ard and sand-paper should he
],laced verli«allv. A satisfact«rv size f«r Ihe mill-b«ard when an inel«sing beurrier
is tobe used is 6" bv .½". but 4½" bv 9}" will be in better pr«portion when the
dec«,ration is t,» he ]-,laced af lho ends. The mill-b«ard mav ],e eovered witb rhin
c,tt«n «r lilen <.l-lb of some ]igbt. ,_-rayod tome tiret will barm«nize with
('«d«Ul'S of Ihe ro«m for which Iho match=scratcber is intended. Tbo ligbt hrowns.
usuallv ca]]ed tan and fawn. and the s«fft gray-greens are generally harmonious.
The direcIi«ms given tbe F«rm III. Juni«r C,rade class f«r the making of the pen=
wiper cover sh«m]d be f«dlowed in makingthe mount f«r tho match-seratcher.
Tbo desi-n sbou]d he prepared «n a sheet of paper of the saine size s the mill-
board and traced cm tbê m«unt after if bas been constrncted. The foll«wing steps
h«nld ],e takcn in preparing the design for the 4½" by 9½" matcb-seratcher :
MATCH-SCRATCI! ERS 229
I
1. lh'aw a rectangle 4½" wide x 9½" high.
"2. Draw the vertical diameter of the rectangle.
:L Mark the " side nmrgins that the vidth of the sand-paper allows.
4. Allow the saine or a slightl S d(.eper margin at the top and a margin of at
lcast 1¼" at the bottom.
5. Sul,poing. .. that 2¼" of the height he taken for lo 1) ad bottom margins.
these, with lhe 5" that must be all,,wed f«r the saud-l»aper, will lcae
2¼" of thê hcight for thé. decorati, m. If the d«'«walion is to be at
top only, a rectan¢,-ular space 2" high and of ihe saine width as the
sand-paper should I»e occupied bv the unit. loavinga ¼" space between
lhis rectangle and the panel for the sand-paper, which should also he
dran. If the unir is fo be placed I,mh ahove and below the sand-paper
l,anel, a rectangle -" high and 3" wide should be drawn ¼" al,ove thi.
panel, and anofher of the saine size should be drawn a" bolow if. It
4
will be seen that lhe width of the sand-paper panel govern. he width
of fhe decorative unifs.
6. Affer the plan bas been prepared as ahove, a suitable ],ilaferal unit that
will occupy fhe space planned for if should he desiaed and drawn in
230 ART
this space. The design is new ready te be traced on the cloth-covered
mount.
For constructing the mount the following things should be in readiness:
A 4" x 9" piece (,f mill-board
A 5" x l*'" piece of cover cloth
A gummod ('h,th StlS],elISiOII ring (or other suitable device for hangng the
mat«h-s«rat«hvr )
« " pieco of drawing pal,er covcrcd with a suitablv-tinted wash or
A 4]" x .*«
all-ovcr l»attcrn, fl,r lininzlhc bm-k
A 3" x 5" l,icee «,f sand-l,al,er
A 4 zu" x *£". l,e(.«" of «.ari»on palwr for tracing.
('««sull th(. lcsson on the I,cn-wipor in lhis Manual. Ferre III. Junior Grade, for
furth«.r m,(.«ssilies ami for dire«.lions for pasting. The gummed ring should be
l'.st.m.d in tlw middh, of lhe top ('dge of the I»ack of the mill-board just before the
linin7 Palwr is pastcd in l,laco.
Wlwn tire momfl bas been eonstrueted, lho ouflines of the deeorative units
and «,f th«. pam.l for lhe sand-l,aper sh.uld i,e traecd. The sand-paper should then
I,,, ],astcd firmlv in ldaee, and lhe mount put under presspre for a dav or two or
unfil it is «pille drv. Tho unit nmy lhen I»e colourod and the sand-paper panel
outlim,d. ('arc should I,e tak(.n le, keop th«. sl,a,.e 1,elween the sand-paper and the
«,rmm«qtal units net h.ss than om.-quarl«.r of an ineh in widlh. Il will be
r[,m«ml,ered that in lhe designing of lhecah,ndar in Ferre l l. Senior Grade. if
wa exl,lain['d that th«' spa(.e »eparating lwo paris of the central panel should be
i«trl'oWq" [hall allV Of []lê llmrgins outside tire ]»fille].
BLoTTERS
The con.tru(.tion of a blotter (.over wouhl make a problena similar to the
nmtch-s(.ral«her l»ut casier, as there wouhl be nothing te con.ider af ter it was
,-,m.tru('led bec'end lhe rélation of the decoration to lhe dimensions of the blotter.
An inelo.in border, eilher at the outer edge of the blotter or af the inner edge of a
7ood margin, wouhl be a suitable decoration. A triangular or L-shaped unit designed
t,» fit lhe outer (.orner.¢ of the (over or the corners of an innor panel would make a
satisfa«torv ornamentation, as would al.¢o a central decorative unit that was in
.,._,c)od proportion o the cover. Thê sheets of blotfing-paper should be fasfenêd in
],lace at one or both ends bv a brnss-headed paper fastener, which might be p]aced
so as o form a part of the decoration.
LETTERIXG 231
The lettering for Form lI1, Senior Grade, should be based on the saine general
plan of arrangemel,t as that for Forln III. Junior Iirade, but whereas iii the latter
I;rade the general appearance of the lettering was nlade light ,,r dark to suit tho
imrpose for which it was intended bv nl,.allS of file weight of brush stroke used. in
the S,.nior (lrade. the pupil is expocted fo b|o,.k the h.|ters il, with d.uhle lil,es and
draw them carefully in light pel,cil outline, before applying the ink or colour with
which they are to be finished.
The steps to he takçn in plannin lettering in liais way, after the light con-
struetion lines have been drawn and the spaee for the width of ea.h letter marked
off, wouhl be:
1. The drawing of light, skoleton |etter. in singleline to fit the spaces
2. The doubling the outer line of each letter within the limits alreadv oecnpied
hy it, making the lines far enough al»art to give the dosired widh
3. The getting of the necessarv width for a cross line in anv letter hv drawing
a line on eaeh side of the cross line of the skeloton letter
4. The erasin. nf ail construction lines within the letters and |he correcting
of the outlines, so that all the strokes nsed in the fini:hed letters will be
of the saine thickness
ART
5. The finishi.z of the letters in the desired colour
;. After lhe h.tt.l'ilg is dry, the erasing of all the outer construction lines.
S-metimes the lettering is idamled so that the spaee occupied bv it is inclosed
bv a,i outor line. When an arrant.mcnt of this sort is desired, an ilmer rectangle
I',,r thP lcttcring llillst ],t. dl'ilwii within thc i,l«-iosure, so as fo be at the saine s]ight
,list;t;ce from it «,l all sides. The imwr rectangle should then be divided i.to
sl,«lCO: f«.r tho lette.fs and, when file leth.rinffi: filished and all (.Oll:tl'uclioli lines
]ax. }»OOl .ras«.d, th«. h,ttel'i, will al.pear with a narrow lllargin of space between
il ami t}m SIIçl'OIIIll}illg line.
M»N«»(;I:AM.':. I»I..qI(;NED B' FOFM 111 PI'PIE'q, AND PF, INTED FROM BI,OCKS CAF, VFD BY THFI
CIIAPTER XIV
IV, .IUXI{I', {;R.\IE
II.LUSTRATIVE IP, AWIN(
TEA[-'IIEIt.q of Form IV are urged to mako a, mu,.h use as po.q.qil,le of lllustrative
Drawing in correlation with other school subject..
In F«»rm III, Senior {_;rade, special attention was gixen to the illustratic, n of
lines of 1)oetry that describe the apl»earance of fl-wtq's in a landscape. A 1,roblvm
of this sort would be equally attractive to a class in Form IV, Junior {;rade.
Wordsworth's D,,ffodil. in t]m Fourlh B,,,»k heing 1,artieularl)" suitahh, for illus-
tratiot, a few line fr-m it might reeeive treatmnt similar fo that suggested for
fui,ils in F,»rm 111. Snior {;rade. The stel»s that nmv I«. taken it treating it «,r a
similar subjeet more pietorially are giv«.n il thé, suceeediltg l,ag-s.
The illustrations are l»y sehol ehildren. The str«.et sc«.n were drawn
chareoal bv pul, ils of this {;rade entirolv fr-m lllt.lll(}l'ç and without anv provi,»us
preparation other than observation, on the wav to and fr-m scho,,l for a fêw dav
hefore the lesson, of tlle appearance of «hildren on tire str«.et. Thc 1,.tt,.ring wa
(lono ral»id]y in the saine le,son, without rime f,»r careful ldannin.
The sunset landscapes bv Form ]V gir] l,artake of the mturo r,f lllustrative
I}rawingI,e«'aue of tho descriptive qu.ation lettered },eneath eau'b. When
landscapos wero ruade, appropriae line were suggested I,v tlle (.htss and. from
list given, each girl selected and marie ue of the one which she do.m,d h»t suited
fo ber landscape.
The following selections are suif able for eorrelati«,n with lés«m» «,t land»,al,e
composition and lend themselves fo illustration in watér-c«,lours:
I ]ike the poo]s so tranquil
That in the meadows lie;
They mirror stately tree trunks
And blue September sky.
The river flows me]odious by
Whilst painted on its surfaee lie
The sunset's splendours.
234 ART
Out of the many problems in Illustrative Drawing
suitable for this (;rade, the teacher must choose those
best suited te the ability of the class, for the ïew
]eSOllS for which t]wre is time. The choiee of medium
should depcnd on what lhe tea(-her feels is expedient
f,,r the impils. (;re.af stn, ss shonld be laid on good
drawin._ and. whatever the medimn u:ed. lhe illustra-
tions sh«,uld ho jud.,_.,«.d largely frein the standpoints of
folIn and ,,.zood
.ll at once I saw a erowd,
A best «,f golden daff««liIs
Bosi,l tho Lake. beneath lhe trees,
Flulteril,g and dancing in the breeze.
The f.llowingstops gvc tho ordcr te he followed
in iI]ustralin in wator-c«,lours the above lines frein
Wordsworth's Daffodil«. Tho wctting of the pal)er
pr«,vidvd for. but manv tochers wiIl profer te use drv
l,],cr, in which case tho tenth step would be ]eft out.
Wh,.n tlw w.t mcth,,d i Omld«,yed. drawing hoards.
h«.a v lni]l-hoards, or ]are s]atos are necessarv.
1. M,,istvn t]w «.ll,,w. rod. and hlue cakes, cleaning
tlwm off if neeessarv.
e. ('onidor tho suhjvct with regard fo the objeets
m,eessarv in the pieture to nmke it interpret
tho I.=.t's description.
3. Deermine the eolours that will be required;
whi«-h must ho light and whieh dark.
4. ('onsider the effeet distance wi]l bave upon the
appearanee of the different thin.s in the
pieture with regard to size, shape, and
distinetness.
5. Drnw a reetan.lo of pleasing proportions that
will leave a good mar.uin on the pnper, and
lightly indieate the line of the horizon
neil,
STEL ,ROSS l"l'lE SKY ..T TEW
1LLUSTRATIVE DRAW]NG 235
6. Keeping in mind the thought of good spacing, lightly indicate the outline
of that portion of the lake that is te corne into the picture.
7. Lightly indicate the height and space te be occupied by cach tree or group
of trees.
S. Lightly block in where boundaries -f ma.ses of fl,wer. are te corne, remem-
bering the great fol'eshol'tellillg ill the distance.
9. Prcpare three small pools of strong colour, one yelh»w, one I»lue, one green,
se as te be abh. te gct colour quickly. Wheu v,»u paiut, work frein both
pool and cake.
10. Lav thc pal!er fiat on the slate or board and, with a lar.e I,rusll or a small
piece of old, clean cotton, put a wash of watcr lightly ald rapidly
over thc wrong side of thc pal)er. Turn tle paper over and wet the right
side in the saine mammr, or dip the pal)er in water, wetiin,,z if
thoroughly. If anv air blisters alTear, lift the («.rner neare:t the
],lister, put water underneath il, and snmoth tle paper out lizhtl.v frein
tlc centre. Ilaving rcnmved the blisters, the paper is net te be lifted
azain until the picture is finished and the paper dry.
1 l. Rapidly put a wash of pale bhm Oll the skv.
12. Add more blue and a littlo vellow and put a wash of blue tinged wlth m'een
over thc lakc.
13. Paient the daffodils in the foreground ¢hlossom.¢ only).
14. Tutu the slate top edge down and put a wa.h of pale ycllow with deel,er
vellow touches te run from the blossoms already painted oer thc fl,,wer
spaces near the ïoreground. Add more water te the ),ll,»w, aud gray
slightly for the more distant patches.
15. Turn the slate top edge up again, fill the brush with pale I,lue-gray, and
put a line along the horizon ; add a little green te the bru:h and, begin-
ning in the lower edge of this line, put a ash of gray-grcen over the
yrass spaces, deepening the green and making it nmre intense as it cornes
toward the foreground.
16. Paint the reps of trees in the for%¢n'ound a bluer green than the grass.
Make the distant tree reps a grayer green.
17. Bofore the grass wash is quite dry, paint the daffodil leaves and stems that
would show in the for%round.
18. Fill the brush with grayed violet and paint the tree trunks and anv limbs
that would show, making those in the di.¢tance grayer and less distinct.
236 ART
1!. llold lhe drawings off, te see if any parts are too strong or need strenhen-
iag, and wipe the eolour off wilh a damp |»rush or add stronger touches,
w]lichever is lmeessary.
o. Strmlthcn the |a(.k edges of the lake with horizontal touches or lines of
Mue.
;!1. 'h(.n lhe pi«tm'e is dr)', correct the marginal lines raid strengthen them
wilh a ]»«.lwil ]inc or a line of dark coh,ur.
":?. If ally ]»art of lllt* l,iclttre is lllol't, unsatisfact««.y than the lest, use finders te
gel tht » bt*sl (.«ml»osilion" xhit-h lmly thel ]»e cul: out ald suitab]y
nlOtlll|vd.
Il in no! la be supposed that the results frein a lesson of this sort will be
suffl«'ientlv ood te make lhe ïraminz of the drawing desirable. The poet's vision.
]mwever, wil be clester te the |ml»il who has undertaken te ],ieture it, and he will
],«, nl,»r, kvvn]v a]ive ever after'ard Io the al»]»carance of mas.es of flowers, sueh as
dandt.l[on., I»ishol»'S wt.e«l, wild aster, yarrow, talsy, and wihl mustard, whieh are
se freqllent]y seen in ('anadian meada's and on ('anadian hill:ides, lle will also
observe nl,,r¢. ('arefully alld inIe]]ivnt]y in the future, ldcturés of simi]ar subjects
painted by good artists, alld wi]! tind in them a source of deel»er énjoymellt.
RE I'h']':SENTATI(IN
Althoug l]e power te êx],ross in charte, al, 1,ru.h and ink, and water-co]ours
is verv desira|de, md a choice of mediums ive. the teacher opportunitv te varv
the l«.ssons in Art and keep the interest high in his class," it must net |»e l'orotten
tiret the pcncil is the m,st important medium |»ecause of its general usefulness.
Th«. nc(.essitv for good drawingmust net be lest sight of, no nmtter what medium
i.,: used; no beautv of colourin or of balanced values cas atone for untruthful
sha]»os and ],rol»ortions , ïaulty joints and lines of growth, or a ne]ect of fore-
shortening. ]t is in ord«,r that these thins mav |le emphasized that the ('ourse
f«»r thi. Ferre «ails f»r a «arefld studv of details of strncture and texture in
ldants, which are be.t expressed in 1,eneil out|inc, and that it plans for the making
of compositions which nmst first be drawn carefullv in pencil outline.
FLOWERS IN PEICIL
For the study of such details as joints and bract.¢, on|v. that portion of the plant
whi(.h i. I«,ing given esl,e(.ial attention should be finished, although the wh,le of
CAREFUL ST[DIES OF THE BLOSSOf OF THE IRIS THE IRIS, IN ACCENTED PE'CIL OÇTLLNE
237
:38 ART
the specimen may i)e lightly indicated in the first placing of the sketch. A drawing
which would make every joint and lcaf equally distinct and complete in every detail
would be lacking in artistic quality, although it lnight be valuable ïrom the stand-
l,,,int cf Nature Study. It is wisc, thcrefore, before undcrtaking a specimen ith
ail its I, arts. fo study individual lcavcs and flowers and other details, drawing thcm
very carefully; f-r although one must leave out nmch in order fo make his drawing
interesting, he must know where everv line that is left out should be, in order that
those that are drawn shall be in exactlv the right position.
The spocimen should i,e choson as far as possible for ifs beauty, especially of
form. the best vicw should be determined upon, and anv leaves or other parts that
('an be taken awav without detracting fr,-,m its appearance should be removed.
Each pupil must also decide which part of his specimen he finds most attractive, as
lhis is the pari which shoahl rcceive the greatest emphasis in his drawing.
The drawing should be ruade as near life size as the paper will permit. A
light line giving the direction
SIVEET .YRI.N'GA, 12ff PEXCIL VLUES
of the main stem is first
swept in, in such a way as fo
ensure good placing, and the
light direction lines for other
stems or leaves are then added.
After compari.on i» ruade with
the nmdel, flower and leaf
masses are hlockcd in and.
when anv necessarv correc-
tions have been ruade, the
separate parts are blocked in.
Where stems are visible, the;"
are sketchcd in with two light
lines . the proper di.tnce
apart. ]k'o marrer how fine
the stems are. these two lines
are required fo show them
properly.
If care has been taker fo
compare with the model and
correct ail mistakes, the light
FL)WERS IN I'ENCIL 239
sketeh is new ready te be fiilished in unaecênted outline, in aeeented outline, or in
l,encil values.
Tbe unaccented outline gives a docoratite qualiy te the drawing avd is used
when the flower is arranged in a panel and inte.ded as a design for inlaid wood
or leaded glass, or for s.me similar pur[,ose, where the l,attern «,f thp drawing is
the feature 1o be enq, llasized, l"or thi: l,nrposp, ch.,ails are omillt.d, llle line is
ruade as silnl,lc 1,ut as strollg as i«»ssil,]e, and ail I,arts arc given e,lua] eight.
Te, render lbe drawin,r., in accentcd outline, lhe l,Ul,il should SttldV lb,. «I,.«.ilnen
te see what edges stand out sharldy, what edffes are indistinct or l,,t Ol,tir.ly, and
where the dee],est shadows are. ll«. shonld then o over the tirst li.._'ht .kel«'h.
gradually strengtheninff a line here, loax'in, if indistinct or ],l'okon flwro, puttin
strong, dark touches in the shadow near tho spots wherê the hih liThts S]lOW, so as
to enphasizê the centre of interest that lle has ehosen, s.adilv tr)ilU.., to lnake the
drawin express thê qualifies lais studv of the sl»ecimen has Sll«,n him that it
possesse..
When the drawin._,z is to be r«qldcr««l in ralues, the aluo -f each l,art is doeided
upon. and firm. even peneil strokos are laid side l,v side to pl-odu«, that t,,ne. Theso
strokes may follow the g«eral contour of the surface thov ro[,ros,_*lat, thov mav take
a slanting direction, or may l,e drawn aeross the surface, but thev should l,e
praetically parallel and rather short. The rein of a loaf i, rovidos a lile xh,.r,, a
CHARTS OF FLOVER FOR.I.q--PREPARED BY FOI2M IV PIPIL.q, TO BE I ,qFD
BY THE.M AS REFERE.N'CE IATERIAL FOR DESIGN"
?40 ART
set of strokes mav be broken advantageously. Sharp edges and deep shadows will
require strong touches, fo give sharpness or depth of tone.
It is a difficult thing fo make a surface light or dark and keep an even tone
with a single laver of pencil strokes. A class should have practice in handling a
single leaf, repdering it in different tones in order to acquire some skill in pencil
handling, before attempting to render a more complex specimen in pencil values.
DECORATIVE COMPOSITION
DECORATIVE COMPOSITIONS
BY FORN IV IOY$
C, ood composition is necessarv h» make any drawing pleasing, no marrer what
mÇdim or meflmd of e'I, ression is used; it bas fo do with the choice of the model
or specimen, ifs arrangement l)rel,aratory fo drawing, and the size and placing of
he drawing upon the plpcr. When we sl)eak of a decorative composition. SOlnO-
{hing more than this is fo be understood ; we mean a drawing in which the details
bave as far as possible been eliminated, and the flower or other motive used has been
considered from the standpoint of a number of shapes that are fo break up a
given space in such a way as to produce a beautiful pattern. These decorative com-
,«,sitions form a step bctween pictorial rcpresentation in which we endeavour fo
DECORATIVE COMP()SITION 241
make as faithful a portrait as possible of the individual specimcn that we are
studying, and pure design in whieh the natural ferre suggests shapes that must be
modified and ruade te conform te certain rules before they may be used legitinmtel..
In making a decorative composition we may hae one or more sl»ecimens
before us te help in making the composition, or we may work frein a number of
drawings that have been ruade at some previous rime. The arran,.-ement will
depend on the space te be filled and the way in which each shape drawn mav be
ruade te conform best te the others and bring about the harmony or mutual attrac-
tiveness of the whole. The shapes may be reduced te the most sinple ferre pos-
sible, but the truth of the type must be maintained.
The use for which the composition is intendod and the material. in which if
would be worked out should be considered. Seine materials present greater
ART
limilalions than others- If the drawing is intended for a poster, it should be
slriking, and the tinal outline may be quite heavy. If it is for a magazine
illustration, a more deli«ate outline is dêsirable in finishing if, and lhis outline luay
be interrupled or hroken in places and may be ruade even to suggest distance.
(Sec illustration for .lune in Form 11 !.) If, however, the composition he intended
for a s(ailw(1-glass window or an inlaid wood panel, or other similar ohject, each
shal,,, nlusl ho. l.laun «'d as a separalo pio(.e that ean he fitted in. When we make
,,tir drawing, xxt' must ]pill" these things in mind and, while endeavouring fo produee
I,t.auty. strive t,, av-id makiug a pattern that «annot be used for the purpose for
whit.h il is iutmlded. Tho accompanyin decorative compositions of tulips ean
u«.d f,,r inlaid w.od or for stained glass.
s has already heen stated, the drawing for the decorative comsition is first
ruade" in I,meil «,ullinc. Two «,r three tracins mav he ruade bv eadi pupil from
his pmwil outline, le» he finish«.d in some of lhe different ways suggested below; or
a «Irai-' , one of the difforent wavs mav be allowed so as to bave in the one dass.
I'-r ,mwarison. cxamplos ,f ail of the different methods.
Whon tll» onlliue drawin is as satisfactory as the pupil can make it, he must
de.ido lwther il is l, he finishcd in (a} black and white. (b} tones of grav.
(,.} ffav with bla.k. (d} one c.,dont and black. «,r (e} fortes «»f ayed colour. In
nnv of h«.se except (ci ho mav leave certain parts white; these wlliD parts will
lefl unt-uchod exe«Tt for lhe final outline.
A sucient quantity of each of the tones requir is ruade up hy itself in a
depression in the lid of the paint-lx or in some small.
separate dish. and these fortes are tested on another
sheet of drawing paper fo sec if they are harmoniously
relatcd. A fiat wash of lhe lightest tone to used is
then applied to the shapes tllat are fo be covered with
if and. when the adjacent paris are dry. the next wash
is applied fo the shapes for whieh il is intended.
all the shapes have been covered with the fortes desired
and aro quite dry. a firm outline of black is put around
oach shape and also around the whole panel.
illustrations. )
Drawings from flowers, landsoepes, or objecs such
as utensils, etc., or from the fire, may be used in the
making of decorative compositions.
TREES AND LANDS('AI'ES 243
TREES AND LANDSCAPES
The pu[dis in this ;rade should I»e al»le to express trees in any of the rpquirod
mediums fairlv well when they have already eoxered the work of the previous Form.
If thev are found to I»e defieient, this work should be roviewed.
Iî order fo emphasize go,d drawing, the greater lluml»er of drawin;ss of trees
and landseapes in this l;rade should I)e ruade in ppneil outline or in two or more
pencil values. Those iii peneil outline may ho fini:hed afterwards, as deeorative
compositions, in neutral tones or in tones of graypd eol«»ur. Those in peneil values
mav be made more attractive bv havill,ff a wash of some soft, palo tint put oxer the
whole drawin7. Another attractive wav of finishin7 a peneil sketch is to app]y
rhin washes of colour over different parts «,f the sketeh, fo su,-est the local eolour
of some of the thinzs represented. A few touches of eoloured crayon na,qv he u,ed
in this way fo give interest to an otherwise eommonplaee drawinz.
LA."DSCAPES I." IEUTRAL VALUES
The lesson on " An Avemie of Trees" which is placed after the " llrawing of
Manufacturod Ohject.q", because it culminates a serres of lessons on foreshortening
and (onvergence, should be of assistance in the composing of interesting landscapes.
QUICK PEI'CIL SKETCHES
DRAWING FROM THE FIGURE
In Form IV. Junior Gradc, a numher of quic k pcncil sketchcs nmv bc ruade
iwo or more lessons, from different mcmbers of the class posed in succession,
for two or thrce minutes, in various natural attiudcs. A series of lcssons in
figurv («mwo:ition .4muld follow, in which cach pupil mav make use of an outillée
DRAW1NG FROI THE FIGURE
245
already ruade lff him, or a new pose ma)- be brought to a more finished point.
either case the figure must be of good size and well placed within a rectangle. A
background should be addcd, related to the fire in such a way as to form a
natural setting for it. A studv of pictures, bv good ar|ists, iii which the fire in
given prominence, such as TDe S'ower hv Mi]lot, wi]i he]p the pupiis in tire p]acing
of the fi,,.qlre. The fi,..mro compositions may be fini:hed in anv of the wavs suggested
under " I)ecorative Composition " iii the text for this Form.
I
QI'ICK PENCiL SKETCHES
246 ART
ttEADS AND FACES
The drawing of heads and faces need hot be carried further in this Grade
than it was in Form I I I. Senior Grade, although greater accuracy in proportion and
shape should be required. Il" a class shows special aptitude in sketching from thc
figure and has lçaned rG block in the hcad and face with succe.s, there is no rçason
whv the tcacher should not consult the text for Form IV, Scnior Grade, for
instructions on the placing of the features, in order rG show the class how to place
these in a erv simple wav in their nmst finished sketches from the figure.
FEET AND IIANDS
In the drawing of feet and hands, the work for Form III, Senior Grade,
should be eoltinued, thê teacher eonsulting thê text for Form IV, Senior Grade, if
tinlê and thê abilitv of the elass rendêr it desirable rG havê thê drawings brought rG
a more finishêd point. .%.e Form III, .qenior Grade illustrations.)
OP, J ECT DRAWIG
THE PIt'TURE PLANE
]t is alwavs a rather diffieult matter to gçt pupi]s rG understand the represent-
in of things vhich actually hae three dimensions, on a fiat sheet of paper which
admits of «,nlv lwo. In nmkin;z a picture of anything, we draw on a surface (the
l.aper} which i intended to be iewçd in a vertical position. h this surface we
rçpre:ent surfaces that are vertical and parallel rG .the eve and others that extend
trom us h,»rizontally. Naturally a vertical surface which is parallel rG the eve gives
u, little trouble, as its appearance, except in the matter of size, corresponds with
the facts «.oncerninz if. ]t look. as it actually is. Those surfaces which extend
from us, however, appear narrower than thev are, and the back edzes are apparently
shorter than the edzes nearer u:. SG that the whole shape is quite different in
appearan«.e from what we know bv experience is its actual shape. The viewing of a
bouse throuuh a window hçlps us to realize the difference hetween fact and appear-
ance. If if were convenient rG allow lmpils who find it difficult rG sec foreshortened
,urfaces as thev appear, rG trace with a piece of soap on fle window an object
outside the winh»w af a little distance from if. this difficulty would be overcome.
The window is in fact what artists call the l;icure plane, and in all our
wprsentation «.f thins we nmst imagine a vertical sheet of g]ass in front of us
,:d draw çxrvthinz a: it appeal'S on this imainary sheet of gls. All meaure-
OBJECT
ments with the penèil fo test apparent
direction of edges and proportionate
dimensions must be taken with the
pencil held at arm's lenh and rotated
on this imaginary glass against which if
is held fiat.
The accompanying illustrations
show the use that mav be ruade of a
simple cardboard model, fo help the
class te realize what is mçant by tho
pieture plane. The m.del i." ruade fr. r
a 6" by lS" pieee of eardboard by drawing
a rectangle Ollê ineh in frein the edge
-f the cardboard, all around. This
rectangle is eut on three stries and seored
with a knife on the fourth side, se that
it tan be ruade to represent a do.r or a
shelf a«'eording fo the way in whieh it
is place& Eaeh pupil should po.¢sess
one of hi.¢ own for referenee. The fore-
shorIening and convergence of the door
DRAWING 247
P1CTURE PLANE
or shelf of cardboard, as it is turned toward or from him, lnav I,e measnred
aceurately by the pupil on the frame which remain. vertical anal parallel with
his face.
DRAWIXG FROM M-«Xt'FACTURED OB.IECTS
In drawing frein manufaeiured objeets in F,,rm III. cvlindrical and homis-
pherical objeets were studied, and speeial attention was zive£ te the foreshortenod
appearanee of ihe eirele in it different relntions te the observes eve. Rcctanular
objeeis were left te be studied in Ferre IV, },eeause of the aded difl]eulv of
eonverzenee.
In the flrst study of the cylinder, individua] m.dels were neeessarv, in order
that the pnpil miht realize for himself ?ho varions appoarauees of lo eircle a
differen levels and dMances. In he drawing however, of cvlindrieal «bjecis, onlv
enough mode]s were required fo give each pupil a good viëw of one, ],ecause fl
cylinder, when vertical, may be viewed from any direction on lhe saine level withou
apparent change. With a reetan]ar objoct the slighiesi varialion iii file direOion
248 ART
from which if is viewed alters ifs appearance, therefore individual models are
absolutelv necessry to successful class teaching, unfil the principles involved are
umlerstood.
FORESHORTE-N'ING AND CONVEIIGEN'çE
Directions are given hclow for the making of a rectangular model that ll
erve the pur]«,se of the cube. It tan be easily ruade in a minute or two bv each
I,upil and mav he kept in his portfolio for reference. The following sequence of
hss,,ns on fm'eshortening and co]nergenee as seen in reetanflar objects will be
found llvlpful.
The making of a eubieal model and the observation of its appearance af different
level:, with the front face parallel fo the eye.
l'se a 12" hv 9" sheet of drawing paper, l[eavier paper is even better.
1. M,.asure 2" up from the bottom edge of the paper at both ends.
% F.ld and crcase well and separate the 2]" x 12" strip.
:L Lap " of che end over the other and pin together so as fo forma cylinder.
4. Flattcn and crease so as fo bring che crease near the lap.
5..M,ve the che (.r«*ase over so t!mt if conws exactly on top of the other and
flatt¢« and crease again.
6. Adjust the f,,ur ereases so as
7. l'lm'e a second pin pxacflv in
lhe model, al},nving if
fraction of the height of
g.. CI.se che ove and raise and
to form the eubical model.
the middle of the top edge of the front face of
to projeet Mu,ve the top edge some definite
the model, as ¼ or of the height.
lower the model, holding it 1,v the lower back
edze with lhe lefl hand and keeping if perfeetly le, ri exaetly in front
of 1ho ove. As it is raised and lowered, observe the changes in the
al,parct width .f the spaee from the front fo the baek edge at the top.
9. Draw a pencil linÇ a]ong the inner corners at the back o emphasize them
and raise and lower the model as before, noting where the lines of the
back eorners appear fo ouch the top edge of the front surface, thus
showing the convergence of the sides.
FORESHORTENING AND CONVERGENCE 249
II
Drawing of the cubical nmdel with one of its faces parallel to the eye.
« - l'upils in alternate rows sit to the left or
[ right of the desk, so as to leave a clear space in
front of each pupil. Each places hi. model on
the desk of the pupil in front, slipping a ruler
or strip of cardhoard under the front edge of the
model so as io overcome the slant of tbe desk and
[ lnake /],e nmdel 1)erfect]y level. The frol,t
should he va(.ated or arrangements provided for
the plaeing in proper p.sition of the mode]s nmde
bv those sittin in the front seats. ('are must
be taken to adjust the models so that tbe corners
- are perfectly true.
l. Draw the front face of the model a good size, say from ihree fo four inches.
2. Note the position of the back edge of the fore.¢hortened top in relation io
head of the pin and draw a light boriz,ntaI line, ]Ollger tban lmCessary,
to indicate this back edge.
3. Measure, at arm's leuh on the penci], the height of ihe front face of
cube and compare ihc apparent width of the forcsh-rtened te,i» with tbis.
4. Correct, if necessary, the position of the horizontal edge ah'eadv indicated.
5. Close one eve and observe carefn]]v where thc darkened vertical lines of ihe
back corners seem fo tou«h the top edge of the fl'[»nt and draw vertical
lines from the upper horizontal line fo ihese point.c.
6. Complete the drawing by joining ihe upper corners fa'oto front fo back at
each side.
III
Study of tle appearance of a book he]d horizontallv in front of ihe pupil with
ifs back toward him.
1. ttold the book on the ]eft hand and raise if ti]l onlv the back i. ,een. Now
rai,e the top eover of ?he book to a vertical position and observe that
ifs shape is oblong and that the upper and lower edges are the saine
length and ihe sides are parallel.
25O
ART
2. Let the cover drop baek fo its former position where it can not be seen, and
then lower the book a littlc so that a glimmer of the top is seeu. The
whole top is now visible, although it looks very much narrower than we
kuow if to be. Slowly lower the book and observe the apparent width
incrcase, l',aise it and observe it lessen.
3. Bring the book close fo the body and on a level with lhe chin and note thc
degree of foreshorteniug. Mm'e if slowly away, keepiug it at the sanm
h_'vel, and note the seeminz decrease in widlh.
4. llae the impil. express in lheir own words what they have di.¢covered
cmieernin. tl,e two conditions that affect the appeara,ce of a horizontal
su rface.
5. Now hold the bo,»k in both hands as
in the illustration, and raise and
lower if as 1,clore. closing one eye
fo observe the changes. ]t will
be noted that the far edge of the
top. which we km,w to be of the
saine length as the near one, bv
no means appears so, as if does
hot nearlv rea«h the limits of the
two vertical fingers which the
ends of the front edge are now ,-mchin. It will be observed also that
two of the sides, which we klmw tobe parallel, appear to slant toward
mm auother. We are assisted in seeing this.bv comparinz the apparent
slant of the receding edge with the vertical lines ruade bv the fingers,
and also bv observing the angle nmde bv the vertical finger and the
receding edge.
In thi. solid objeet we are aided in seeinz converzence by two exterior angle.
in the front, while in our former lessou with the hollow model we were aided bv
the two interior anges at the back.
The book should be studied in this wav at various heights before any drawin
is donc.
IV
The drawing of a book placed with ifs back toward the pupil on th desk ahead
and straight in front of him. The book must be ruade level in the manner explained
in the case of the cubical model.
FOREStlORTENING AND C(}NVER,;EN('E 25l
1. Estimate the proportions of the back of the book and draw the back verv
lightly.
2. Take pencil measurements, comparing the thickness with the length of th,
back and correct, if necessary, the light sketch alreadv ruade.
3. Judge the position of the back edge of the top in relation toits near edge
and lightly place it.
4. By pencil measur««nent test the accuracv of this judgn,ent, measuring the
thiekness of the book and comparing thi.¢ dimension with the apparent
width of the foreshortened top.
5. Correct, if necessary, the placing of the back line.
6. To hêlp in the judgment of the convergence of the two sides and of the
apparent length of the back edge of the book. hold two pencils verticallv
at arm's lenh, one at each end of the book and at right angles fo th'e
front edge, so that it appears fo touch the end of the near edge of the top
surface. Keeping the pencils perfectly vertical, close one eve and studv
the al)parent slant of the receding edges when compared with the
vertical lines of the pencils. Studv also the angle at each end ruade bv
the vertical pencil and ihe receding edge. Draw the receding edges
with ver)" light lines.
7. tï[old the drawing af arm's length and compare if with the model. If it
does not agree .with the model in appearance, take more careful pencil
measurements and tests and correct where necessarv.
8. Go over the drawing carefully, finishing it in aecented outline, and add a
table line.
259 ART
V
The study and drawingof the cubical model at an angle of forty-five degrees.
1 Take the pin fronl the front face of thê nmdel alreadv ruade and insêrf if
vertieally in (cm of tlle (.orners. allowin,z it « prject ai»ove tire top a
definite fra(.ion of the llcight as before.
2. The pupil should now turn his model so that the corner wifll the pin
toward him and is also exactlv in front of thc hack (.orner. The model
sh,,uhl i,e h(.hl hv the low(.r end of lhis ba(.k (.orner which is diag,»nally
oi, p,site lhe one with the I, in.
3. Ilold the nmdel (a) so that the head of the pin eovers the far corner, (b) so
that lhe far tourner is half-way down lhe pin. («) so thal the far corner"
is ahove the head of lhe pin, etc., etc.
4. Place the model at an angle of forty-five degrees on the desk in front,
nmking sure that it is level and that the «orners are true, and studv
al,l,«.arance. Note where lhe baek e, wner is now. in relation fo the pin
head.
5. lraw a vertical line to represent the near upright ed:ze of the model.
6. lh,ld a pieee of thread horizontally belween lhe hands in sueh a position
that it s«.(.ms 1o eover lhe top «,f lhe near upriht ede of the nie,riel.
The «,l » edges «,f lhe two visible ft(.es «,f he model will al»pear to form
angles with this thread.
7. l)raw ai the to 1, of the vertical line alreadv drawn a verv liht horizontal line
fo represent the thread.
8. l[ohl lhe lllread iii position aain and carefullv studv the angles. Do the
lines «,f the model seem fo lift verv mu(.h off the thread at one end or
are thev close fo it? I[ow eloe?
9. Draw lizht lines of indefinite length from the toi» of tire vertical line
represent these recedingtop edges.
10. Now hold the thread horizontally, so that it appears fo touch the lower end
of the front edge of thc model, and study these angles in the same way.
Are the mgles ruade with the thread and the recedinz edges just the
saine, or greater, or less than those at the top ?
11. Lightly sketch al lhe botom »f the vertical line in your drawing, the faint
FOI{ESIIORTENIN[; ANI ('[NVERGENCE 253
horizontal line to represent the thread and also the lines fo represent
the lower edges of the two visible faces of the model.
12. Estimate where the far upright edges of these two front faces should be
placed and draw with light lines.
13. By peneil measurement get the lcngth of the near vertical edge, compare
this dimension with the widlh of the sides (mea.urcd horiz»ntally) and,
if necessary, correct the placing of thc vertical lines ju.*t drawn lo
represent the far upright edgcs.
14. Place IIe far corner of the top whcr(, if appears to bc. Mcasure verti«ailv
on the pencil the distance from tho front corner af the top fo the back
corner, compare this with the height of the front ede and, if neces.*ars,
correct the placing of the back corner in the drawing.
15. Draw the remaining lines of the top, also a light vertical line fo represent
the inner corner at the back.
16. Strengthen the outlines.
THE CUBICAL IODEL AT AN ANGLE OF 45 °
TIIE CLBICAL IIODEL AT AN ANGLE OTtlER TIIAN 45 "
vI
The study and drawing of the cubical nmdel af an angle olher than forlv-five
degTees.
Use the same model as in the last lesson and, holding it in a similar way,
quickly review what has been learned concerning its appearance. Then, holding the
model af anv height determined upon, that is, the back corner even wih the head
of the pin, half-wav up the pin, three-quarters of the wav up Ilae pin, etc., turn the
model so hat the far corner will be (a) to the right of the pin. (b) to the left of
ART
Ihe pin, (c) se that the pin fs in the middle of the right face, (d) in the middle
of the left face, etc.
Place the model on the desk in front as before, for drawing, and turned af an
angle other than ferry-rive degrees. The steps taken in the drawing will be the
,ame as in the last les.«lL It will be found, however, that lhe side that fs turned
«wav m,re lhan the other appcars more foreshortened, and the receding edges af
lhe to I) and bottoln make greater angles with the thread af that side than on the
other.
In placing he far corner, thê l,»cation of thc place where lhê line of lhe back
,ngle seems te touch one of the front faces will be a help.. When drawing closed
l«xcs or books in this position, the location of the back corner may be ruade very
apparent bv holding a thread verticallv se as te cut through if.
The foregoing methods should be used in teachin;z the princip]es that underlie
Ihe drawing of rectangular object. After these princip]es are well understood,
interesting ol»jects, such as baskets with handles, etc., etc., mav be placed on boards
across thc ai.clos .«, that each pupil mav bave a good view of one. ]n studying the
-I,jccts thus placed, the pupils should face them and observe verv carefully
apparent ,lants of the edges. çhseration will show that a single rectangular
,,bject of which two vertical faces can be see fs af an angle te the obsêI'er and must
I»e drawn in that way. showing the near vertical edT longer than those af the sides.
The saine helps and tests should be used in drawing frein these objects that were
u.ed in drawing the indi idual cubical models.
Althou._-h nothin. has been said about convergence in the preceding lessons,
Ihe pupils have been dealing with this principle unconsciouslv. In the studv of an
"" Avenue of Trees" which follows later, convergence fs se apparent that the prin-
ciple may be definitely taught.
LIGHT AND SHADE
No instructions concerning light and shade bave se far been given, because if
wa. deemed inadvisah]c te begin the studv of light and shade in Form III with
cvlindrical ol,jects which, although thev are simple enough when drawn in outline.
I,resent subtle zradations in shadingon account of rounded surfaces. With
rectanular ohjects these difficulties are net encountered, and the first lesson in
light and shade mav ben with some simple rectangular object, such as a plain,
white, cardboard box with dimensions anoehere frein four fo eight inches.
LIGHT AND SHADE
255
If the room ean be arranged so tbat tbe light falls upon each box from onê
direction only, the boxes mav be placed on the boards across the aisles with a sb«,ct
of white or ligbt gray paper under each, so that the cast sbadow may be definitê.
Each pupil may then proceed to sketch the box he secs best, as follows :
1. Making a verv light skctcby out]ine of tbe b-x, of good size and well placed
on the drawing paper.
2. Sitting well back i the seat, with eyes hall closed, and studying tbe box fo
sec which f«ce i. definitelv in shadow.
3. In the saine manner studying the shape of tbe cast shadow, taking pencil
measurements and straight edge tests, to determine ifs exact shape and
proportions in relation to the box.
4. Blocking in the shape of the cast shadow, using a verv faint sketchv
outline. " "
5. Testing the pencil on another sheet of paper, fo sec how heavy the strokes
must be to make the shade and ca.t shadow correct in value. It is
advisable that the pencil lines sbould fo]low the direction of the surface.
therefore the vertical surface that is in shadow should be covered with
firm, vertical strokes that touch or almo.t touch, withou lapping, but
fhe cast shadow should be ex-pressed with a laver of strokes laid
horizonally, on account of the horizontal surface on'which the box rests.
256 ART
6. When these tones ruade up of pencil strokes have been placed in the drawing,
the edges that are net defined by tones may be strengthened with a
soft gray line.
There should be rime in the same lesson te make another drawing, after having
studied the model te observe that while only one surface is in direct shadow, only
one is in direct light, and that the third visible surface represented in the drawing
will require a p«,ncil toue to express its truc value.
In ail sketches meaninless lines should be avoided; sade and cast shadow
shouhl be verv definitely massed in with crisp pencil strokes that gire the correct
value without oxerlappinz. The blockinff in of the exact shape preparatory te the
lat.ving of thc toue is necessary until one has acquired great skill, in order that the
l,encil strokes may be laid
BLOCKING IN A GROUP
with firmness and precision.
Il must be remembered, how-
ever. that no cast shadow or
surface that is shaded should
show a visible outline other
than the edffe of the tone itself.
A studv of good illustrations
will show how texture may bo
suggested.
In expressing ohjects
which bave a curved surface
in li._-ht and shade, the shape
of the cast shadow is quite
definite, but the shade upon
the ohject itself is less clearly
defined; a li-hter tone than
Ihat covering the part in
direct shadow must corne he-
tween if and the part in direct
light.
Pupils in Ferre IV should
be prepared te use ohjects with
a eurved surface, as well as
those with a roetangaflar sur-
face, in the makin of groups.
AN AVENUE (}F TREES 257
As lhe lighting in very few school-rooms is satisfactory for drawing purposes,
it becomes necessary to devise some means for shutting off reflected lights and
providing for a more interesting li,hting of the objcct, mainly from one side. A
sheet of light gray cardboard about 1'" by 18" may bc scored and bent fo form a
shadow box to bc placed behind the ol,ject in such a wav a. to eut off the liçht from
some of the windows, or wo 9" I,y 12" shcets of cardl,ard may I,e tied ogether to
form a hinge and he placed behind the ohjcct in the saine wav. S,metimes a single
sheet of cardboard will suffiee, iï it is placed in an uprigï3t position behild l-he
ohject fo l,e drarn.
if great dilïiculty is experienced in providin for an interesting lighting of
ol,jeets, teachers are strongly advised to confine the efforts of Form IX" l,upils, in
their pencil drawings of oi,jects in sch«.ol, to Accented Outline, or to Expressive
Outline, whieh will permit a further suggestion of liht and shade than th¢, former.
It would be well. however, to exp]ain th¢, method of drawing in lizht and shad¢,
fo the class and have the phenomenon, as seen out-of-do«.rs and also under artifieiai
li.,_,ht, carefullv observed.
As the ravs from a singl¢, lamp or other artificial liht fallin.,z upon an obj¢,et
throw a definite shadow and aiso permit of the placing of tbo obj¢,ct so as to give
an interestin/z lighting, the drawin7 of an ol,ject in liht and shade makes a valuable
home exercise.
AN AVEOE'E OF TREES
Before the average pupil has reached Form IV, Junior (;rado, he bas dis-
covered that an object near him appcars to be taller, wid«.r, and me.re distinct than
an object of the saine size and kind seen in the distancc. Ilc has probablv ohserved
ihis nmre particular]y in the appearance of trecs and bas noted that a treè near him
is apparently vcry much taller than those in the distance.
in the avenue of trees shown here the person drawing if stood in the
middle of the road, the two noarcst trees towcred far ahove his head, and those
r«'cedin 7 from him seemed to gradually diminish in size and in space apart, till ail
the rccedin. lines seemed fo mept af a point in the distance.
In locating this point in the drawing of a picture, it is necessarv that the
pupils bave already ascertained, through frequent ob.ervation, that the s'ky appears
fo touch the earth in the distance, and that un]e.s hills intervene thi. line where
sky and earth appear fo meef is alwavs on a ]e'e] with tho eve of the observer. The
eye of a person standing hesido a tree of avera.ze height wuld hot be high enough
fo corne among the branches; ils heighf from the ground would corne somcwherc
AN AVENUE OF TREE$
AN AVENUE OF TREES 259
on the trunk. A horiTontal line drawn lhrough thi. [«»int Ioeates the horiTon
line of anv onc of similar height standing on the :amo leel and viewing it fïom thc
saine direction.
The fault ïound in most drawin,.,s i: that this point is placed entirely t«»o high
te represent he eye level of the pul,i! when he is standing (,n the gruld. Wht«
the horizon appears al)ove the heads of fi:zures in a picture, it indieates that the
ol,server viewed the landseape frein an elevation.
If an ulml»stl'ueted view of the apparent meeting of earth and skv
«,btained. the I,upil ean he led «» diseover that this line moves Ul, or «h»x n with lais
eve aeeording te whether he sits or stands or mounts an elevtion. If he ean :ee a
tree a short di:tanee in front of him. he ill notice that the horizon line pas:,.s
behind it exaetlv where the height of his eve would 1,e if he stood again:t it. in
l,laeing the horiz«n line on the paper when drawing the avenue, the:e poilfl. mu:t
I,e rememl,ered.
1 2 3 4
A.NI" AVEiIL'E OF TREE
tIaving ascertained that the point where ail the lines eem te meet is oppo:ite
the ob:erver and on the horizon line, if is easily seen that the skeleton line: in
Fire 1 will mark the apparent po:ition of the bases of the trees and of the
general level of the reps.
A line te indieate the average height of the trunk must al:o h,- plaeed (Figure
2). In an lvonlle of trees the trunk: are enerally trimmed se a: te I»e fairL" uniform
and of suffieient hei._,zht net te allow the branches te interfere with tho top: of pas:inz vehieles or the umhrellas of pedestrians, therefore a line drawn fr,,m the top of the
trunk of the near tree af either :ide te the point alreadv loeated on the horizon will
mark where the top of the trunk in each tree in the row would appear te corne.
When drawinz the avenue, hesides :howin |he dimini:hin in the apparent height.
we must take into eon:ider.tion the apparent dimini:hin_ in width of the trees and
tree frunks and of the spaee hetween them as well: and the faet al:o th,t eneh froc
60
AN AVENUE OF TI;EES
261
in the row, as if recedes, becolnes less and less distinct and distinguishable frein its
ueighbours.
All these points concerning the appearance must be gained through the pul, il's
own observation as must aise the appearanee of the receding edes of the sidewalks
and roadway.
The fol]owing sequence of ste W mav l,e followed with advanta.,_,e in haing a
,.la.s draw frein m,«norv an avenue of trees after the foregoing obervation. have
been nlade :
l. Draw the nearest tree in êach row in that part of the avenue that eould be
seen by a person looking down thé aenue l'rem the middle of the r-ad.
2. L«,eate the horizon line behind tire trunks.
3. Loeate the point on the horizon line opposile the observer's eve.
4. Te this point draw vêry liht lines fr,m the base, the toi». anti the top of the
trunk of each of thee trees.
5. Estimate the widths of the sidewalks and roadwav.
6. Draw light lines te the central point on the horizon t» indicate reeeding
edes of road and sidewalks.
7. lraw light »rtieal lines te b,eate the tree. in each row at the l,rol,er
distanee.q apart te r,.l,resent tbe gradnal diminishing of the al,lmrent
width between the trees as thev reee,le.
g. lndieate the width of eaeh trunl that e,,uhl be seen separately, also thê
main limbs that would show.
9. Draw the parts of thê reps that would show, remembêring that the line
formed bv the reps against thê skv would lin irr%mflar.
10. Strenhen, toward the front of the picture, the lines of the sidewalk. and
the irremlar edes of the roadwav.
I1. Emphasize thê nearêr tree. in sud a wav that those rêeeding will grow
m'adnally lo.s distinêt, leaving those in the di.*tance scareely distint,ish-
able frein their neighbours.
The pup[ls shoultl al.o be ]ed te notice that, if lhe observer is nearer one side
of the avenue fhan fhe other, thê point on the horizon line where thê rêêêdin lines
appear te mêêf will be nêarêr fhat side lhan the other. Figures 3 and 4 show the
effeef sueh a chan.,s_e iii the position of the observer would bave np,,u thê rêceding
lines.
ART
PICTURE STUDY
THE Ax, OENUE OF MIDDELHARN1S--HOBBEMA
THE ARTIST
_[oindort llolhenm was born in 1638. IIe was the son of a soldier, and the
pupil, and later, the friend and comrade of a noted Dutch land:cape painter named
lhl:dael. I;eond thi: we kl|ow ver little of his lire excepting that he spent the
.._,rcater part of it in Aln:lerdaln. where he died poor in lîOO. Three places, of
which MiddelharlfiS is onè. claire the honour of having bccn his birthplace.
We ('an tell something of Ilobbcma's character and disposition from his paint-
i7, lu the ordinary everyday land:capes that he painted he ruade no attempt to
idealize th,«n, but painted theln a: one who knew and lovèd thc country:ide. Unlike
hi. friend ltuv.dael, he never cho.e the lonely, the :ad. or the storm-worn. His
i,icturcs are full of SUl.hile alld suggest quiet happiness, and in them people and
aliilimls are shown occupied quite naturallv with the ordinary affairs of lire.
THE PICTURE
I[avin di:cussed the arti:t with the pupils in an informal way. the teacher
shonld ,_luc:tion them with regard to the pieture, whieh thev should have had an
,,p[,ortunity of studyin :orne time previou:ly. The po:ition of the village, eihteen
toiles to the south-west of Rotterdam, should be loeated on the map. The occupa-
tion of the people, ehieflv herriug fishing, should be spoken of, and the various
thin,: eoncernin the loealitv that ean I)e gleaned from the pieture should I)e noted.
The original pieture, whieh i: in the National (-lallerv. London. England. is full
of light, but does not show all the varied colouring of nature. The road. with its
dep ruts ruade l,v the heavv earts that have paf.ced over it. is yellowish-gray, and
the dark green 1,1urnes of the poplar stand out against a 1,1ue :kv that is fleeked
with little #ray and white cloud:.
Lafond in peaking of Hohbema savs : "Whatever mav he the subjeet he treats.
he alwavs remain the happy interpreter of the ealm seenerv of his own country of
low and dromed horizon¢".
What i nwant bv "l«,w and drowned horizon:"? I. the terre applicable fo
this picture? Noie the hull: and ma:t: of ship: l,evond the illae and the village
home, «-luterina, around the rail church tower, in whieh a light i: placed at night
PICTURE STUDY 263
to guide wanderers on sea and land. Does a church tower seem a fitting place for
a beacou light ? Why ?
What is the title of the picture? ls it ai»Pl'opriate? Where bas the arti.-t
placed the avenue ? Why lot exactly in the middle of thc picture?
Let us stand in thought looking up the avcl|t|e loward thc illag and lit»te the
convergence of the receding lines of the trees aud the height ot: the huntsluaii with
his dog and gun as COnlpared with the group of figures in the distance.
A. we walk up the avenue in imagination, let us g]allce oit either hand. We
note the wide ditches filled with water. Why are they there? Te, the h.ft is a
tzrove of trees with a long, fiat lneadow behind it. (ll the right is a l,l,,t of 7rOUlld
that seems to ho part of a nur.erv garden. It .hows patient eultiati«»n, and in
it tho gardener is pruning his shrubs. On the roadwav that lead. to the sul,.tantial
farm buildings heyond, a man and wonmn bave pau.cd a moment fo exchange
greeting and possihly a word or two of good-natured gos.ip. It al] Seolns very
natural, although so different in manv wavs from the land¢«.apos t,) which we are
aceustomed, and we feel that the man and woman who are ehatting together will
part presently and go on their several wavs and that the pedestrians in the avenue
must soon disappear in the distance.
The pieture is full of details, and the horizonal lines are in sharp contra¢ with
the eonspicuou.ly vertical lines of the poplars: bnt this lack of unitv in the picture
is largely overeome by ifs splendid perspective, hv means of which the eve i. drawn
irrei.¢tihlv haek o the avenue from every part of the pieture.
CIIAPTER XV
('( }L(
A.st-.ixa that lhe F-rm IV. Juni.r (',rade pupil bas corne up through tho
i,reccding l".rm., lhere i. verv litth, lhal i. m.w concerning colour t]mt he is
«.xpeeh«l le learn. What ho bas already bcen laught should be svstematized.
TIIE PROPERTIES OF COLOUR
The l»upil in tl,is (;rade should be taught that colour has three properties--
llue, Value, and lnte,,Aly, or as the latt«.r is somctimes called, Chroma. lIe has
a]rcadv 1.ecome familiar with lhe lw. f.rmer 1,rol,crlies--hue, tho property which
dislinguishes ont t«d.ur fr««n am.ther, and r,tlue, lhe l«,sition that a col«,ur occu],ies
m relati«,n t. h]ack and hite. 11,. hould mw i»«. taught that inten.,ity, or chroma.
is tle position that a (odeur et'cul»tes in relati-n te full brightness, ai which it is
possessed of its greatest degrce «,f hue, -r te neutralitv which exhibits the total
ahselWe of hue.
The Col.ur ('ircle, deseribed in the Sêni«,r I;rade of Form III and whieh
shows lhe colours at full inlensity, should be ruade earlv in Septembor a a pre-
i,aralion fi,r lhe Aulumn work in col.re'. Irealor aeeuracv of hue and value should
I,e eXl,eclcd frein the Ferre IV class than was requirod in tlw lweceding one.
REDUCINC, THE INTENSITY OF COLOURS
When we gray colour bv coml»lementarie., we are reducing their intensity.
A .cale nmv be ruade showing the gradation of one colour fo ifs complementary as
f,llows :
«',LE FR«)M lqLUE TO ORA\GE TITROUGII NEUTRkL GRAY
1.' Draw rive rectangles each one in(.h bv two inches.
".'. Make a small pool of clear strong blue and paint a wah of it in the tir.et
rectangle.
2. Make a small p««d of elear strong orange and paint a wash of this in the
fifth rectangle.
4. In the third rectangle paint a wash of the gra S ruade bv mixing equal
quantitie. of the blue and orange.
26t
REDUCING 1NTENS1TY tF C[tLOURS 265
5. In the second rectangle paint a wash made by mixing three parts of blue
with one of orange.
6. In the fourlh rectangle paiut a wash ruade by mixing one part of bluo with
three of orange.
The first rectangle should show I,lue at full intensity. TElle fifth rectangle
should show orange at full intensity. The second rectangle shuuld show a dull
I,lue, which nlight I»e called variouslv a grayed |»lue, a partly-neutralized ],lue. or a
blue of h,w intensitv. The f.urth rectangle should show a dull «»l'unee. which
might be ealled variously a grayed oralltZe, a partly-lmUtl'alized orange, or an .range
of low intensitv. The middle rectangle shouhl sh«»w a neutral gray, one lhat
sngTests llei|h«.r hlue ner oran«o Ay pair of eomplenielitary eolour. nmv be handled in thi. wav wilh similar
results.
Although if ha. already been explained in the Junior ;rade .f Fo,ml 1||
that colours u.ed in Rcpre.entation and I)«,.i¢ shouhl be grayed when lmCes.,arv
with their eomplcmeltary eoh,urs, a seule frein one eol,ur te its (-,lnplenxentary
(-olour eau hardlv be called a scale of inten.itie.. When we make a .eale of vahw..
the movoment
a seule of inten.ities sh.uhl be horiz-ntal frein elle «th)ur tJ, ils corrcsl,ondin
value in the neutral seule. There should be no change in xalue shown in
different steps.
If we mako an analvsis of the seale gixen ahove, we fitd that the normal
value of blue is IIigh Dark and the normal value of orange i. Low Light. Orange
nlixed with blue in equal quantitics makes a gray lizhter than blue. but darker
than orange. The grayed blue. having less of orange than the neutral gray. would
he darker than if but lighter than the 1,hle; and the grayed orang, having less of
Mue than the neutral gray. would ],e lighter than it but darker than the c, range ; thus
lhe scale fro,ni 1,hm t- oranz would show gradations in value as well as intensity
ri'oui one eolour te the other.
SCALES fF ]NTE..q]TY
In order te give he elass a conception of a seule showing different inensities
of one e«lour, a plan similar te the «ne sug.ue.¢ted for teaching values might be u.¢ed.
Let the pupil. imagine a heap «f p«wder..tandard red in colour, for example,
ai one end «f a table in front «f thom. and a houp of gray powder «f lhe came value
ART
(that is IIigh Dark in the case of red) at the other end of the table. One heap of
powdcr would be red at full intensity, the other would be red at no intensity, that
i., red with all hue takcn from it and only its value or degree of darkness left.
Thc pupils should now imagine the teacher takiug a portion of the red powder,
mixing it th,»roughly with an equal quantity of the gray powder, and plaeing it
half-way between the two. The middle heap would be red at half intensity. The
1,upils shouhl next imagine thl'ee parts of the red mixed with one of the gray and
pla('ed in positi, m next file red. This heap of powdcr would be red at three-
quar|cr in|(.n.ifv. The next step wou}d be f,» ]lave file ,'}a.s inlaine three parts
of gray nlixed with one of the red and p]aced in po.ition belween the gray and the
red at ha]f intensitv. The last ]leap mad,, w,m]d be red ai one-quarter intensitv.
ll order lhat the pupi]. mav rea]ize the differenee bctween value and inteîasity,
thcy shouhl be rcquircd le nmke one or two scales in ihe fo]h»winz manner:
1. Iraw rive small rectangles in a horizontal row, as for the ]a.t exercise.
2. Make a was]l of strong rcd in the depres.¢iou at one end of the lid of the paint-
box.
3. l'u( a wash of this red over the first rectangle.
-t. (']ean the brush and make a gray was]l of file saine value as the red. in the
depressiou af the opposite end of the lid of thv paint-box.
.5. Put a wash of hi. ray over lhe fifth rectanzle.
6. _Mi< equa] quantities of the red and the gray and put a wash of thi. mixture
over the nliddle rectangle.
7. _Mix three parts of the red with one of the ,ray for ]e second reetanIe.
s. Mix flaree part. of the zray with one of the rcd for the fourth rectangle.
When the washes are ail in place the sca]e should show:
]t rectanyle: «,d at full intensitv
2nd recan.le: Red at intensity
3rd rectangle: P, od af .a_, intensitv
4th rectangle: P.ed at 4 a inteusitv
5th rectangle: Red af no intensitv.
Xo one of the rectangles should be ]i.bter or darker lhan any of the others.
COLOUR IIAII[ONY
The effêet that vêrv bri-ht eoIours bave upon the eve bas already been spoken
«,ï in the Form III. Junior Grade têxt. Colours used in bouse furnishings and
COLOUR SCHEMES 267
clothing and for similar purposes should be softer than the standard colours at full
iutensity. When the tones of one or more colours that are to be used together are
so rclated to each other that they continue to please the eye, we .l»eak of the
eombination as producing harmony.
Tones of colour which are very unlike em.h other in hue, as orauge and blue,
require to be of lower intensitv than those which are of the saine hue.
COLOUR St'H Et'ES
When different values or different intensities of one colour are used together
in a design, we speak of the tones used as a Monochromatic colour scheme. The
pupil in the Junior Grade of Form I1 who used oue or more tints or shades of a
colour in his designs was using a monochromatic colour scheme. A th(«'e is no
difference in hue, the different values of a colour require little if any graying to
make them harnmnize with each other, but there are few purposes for which any
c«,lour scheme can be used where greater harmony is hot 1,roduced by graying the
colours used.
When colours which are at opposite ends of anv one of the diameters in the
colour circle are used together in a desigq, we speak of the combination as a
Complementary colour scheme. In uing a colour sch«me of this sort. we have
the greatest possible contrast in hue and, in order to produce harm«»ny, the tones
used should be of low intensity. The method of graying complementary colours is
described in the Junior Grade of Form I I I.
Beautiful colour schemes of low intensity are often found in moths, butterflies,
the feathers of birds, fungi, mosses, shells, pebbles, and other things from nature.
Pupils in Form IV should be allowed fo match some of these combinations, arrang-
ing them in order according fo hue and value, for future use in dest,-ha.
DESIGN
The pupil who has done the work in Desima a.simaed fo the preceding Forms
will hot find anv serious difficulties in the new work arrangd for Form 1V, Junior
Grade. Two constructive plans that are new fo the pupil are introduced, but the
chieï development must be, as it was in Form III, Senior Grade, through the
designing of the sing]e unit. There must al.o he a c]earer understanding and a
more intelli.ent use of Balance, Rhythm. and Harmonv. The.¢e three principles
are so interre]ated that if is sometimes difficult fo distingish them. Balance and
AI ALL-OVER PATTERN READ FOR TIIE BACKGROUN'D NVASII
26S
DES IG N 26:}
Ithylhm might bolh 1)e present in a desigm which was lacking in IIarm,,ny, yet
without hoth Balance and Rhythm perfect llarmony is impossible.
It is essential in making a design for any particular lmrp«»se, that we consider
tirst the Imrpose, and then deeide frein thal standp,,int the position, size, shal)e , and
te»leur the design is te bave. Te de this we must rea]ize t|lat every mark or spot
that is placed upon lhe surfa(.e of anything has a cerlain power of atlraction due
te each of the fo]]owingposition, size, shape, value, an,1 (.oiour. Those attribules
,*f a design must be se manipulated as te brinz about a balall(.e of attl'a«.lions lhat
will resu]t in a harmolims whole. T]lus. if a s]la]»e is snmll, ils power of atlraetion
mav be increased by eo]our. A snm]l shape that is bril]iant in eo]our wi]l balance
a much largr shape lhat is dull in colour. The larger the shape is the lcss intense
should be its colouring.
I'O.ITION
The desigl l,rol,ared for a t.ziv«'n surface nmy ]»e good in ilself frein eerv
standpoinl, yet mav he se, placed on the surface of an article that the balance is
deslroyed. When a Sillgle unit is le be p]«l«'ed upou a plain surface which is te ho
viewed vorlical]y, if may be plaeed usually, wifla good effeet, slightly al»ove tho
middle on the vertical axis of the surface. When the surface is te be viewed
horizontally, as in llle case of a ru.,_,, or a ceiling, the unit l,»oks bettor as a fuie when
placed exactlv in the middle. It is soldera, however, that the desi¢qaer has the
l,lacing of OlflV one thing te consider. Tho meflaod of approaching the subject,
when more than one shal,c bas te be considered in relation te lho surface te be
decorated, bas boen given in connection with Api, liod l}esig in tho previous
Ferres. In a]most everv case, the first step should be lllc ]dalming of a propor-
tionate margn te regdate thc anaount of space lhat is te ho kept quiet, that is,
unbroken bv ornament. In such prob]ems in Applied Desig as book cover.q and
title-pages, a single decorative unit is often used as a balance point 1)elwoen two
soparale lines or masses of letlering. Balance nmv ho secured bv having both
letter spaces of the saine size wifla letters of equal weight, but fle haianco would ho
loo obvious. The ove de]iffhts in a more sui»fie balaneiuff of attractions, ono that
«an ho felt rather lhan seen. The ]etterin at lho bottera, l»eing of lors imporlanco
than lho lil]e, mav he ruade of snm]ler type, and l»a]anco mav ho secnred bv moxing
this sma]ler lelterin.,_,, down se that tho distance between if and the deeoràlive unil
whieh marks the balançc point is goater than the distance betwoon tho balance
point and the lattr mass of letteringin the titlo. Everv boy or girl who bas
balanced a larger or smaller child on a see-saw knows that iho one of lighter
ART
weiht rcquires the lougcr end of the board and that two children of unequal weight
must adjust their position on the board in relation to the central support, belote
they can bring about the desired balance. The prineiple on the book eover is
the saine.
SIZE
Thc deeorative mass or masses may be so large or so small in re}ation fo the
surface decorated, or fo eaeh other, that both Balance and ]larmony are lackinV.
The desi.ner must eercise great earc and thought in di.covering ihe cact pro-
portions in the spacing which wi}l bc in }»est re}ation fo the size of the surface.
SHAPE
Discordant shapes are perhaps casier to avoid than disproportionate or un-
interestin,g sizes. No other shape looks as we]l within a .quare as a sma]ler square
that is of proportionato size. The zroater tho difference in the shape., the .reater
is the discordance or lack ,»f lhrmonv. Thcre must be some element lu common
to brin z about a harmonious rc]ation ,f shapcs. A rectan.u]ar surface should bave
the outor boundaric. of shapcs that corne near its sides or ends parallel with these
«'dzes for af least a part of their ]cnzth. The boundary lines of oue shape should
c,mform, or fl-w in unison, with the nearest boundarv line of adjacent shapes.
Monotonv must be avoided, but when variety is purcha.ed af the expense of unity
the price is too zreat. The beauty of simple, dizified shapes and their superiority
over those that arc fu.,sv or elaborate bas heen emphasized in the preceding Forms.
The second step in the decorating of the type of surface under consideration
wou]d be the determining of the shape of these decorative masses. Size and
position will bave heen determined already, in part at least, by the marginal line.
The third step would he the breaking up of these masses into agreeably related
part.. Letterin should be planned in the saine way as other decnrative units.
Letters that oc«.upy a spaee well, are of good weight, and rhvthmieally related to
each other, are exceedingly decorative. "
VLUE
In he definition of Harmony given in the Introduction, the necessîty for
havin. a dosim fittod fo the pnrpose for which if is intended was affirmed.
Xowlwre i.q thi. uecessitv more noticeable than in the colour values that are used.
If the values for a repeating unit on a wall-paper were chosen from the saine
VALUE 271
standpoint as those for the lettering on a book cover, the pattern would so clamour
for attention that il would be next fo impossible to think of anything else in its
presence. In like manner, the book cover design worked out in values suitable for
a wall-paper would result in a book whose fille was ail but illegible. The one
problem requires close values that will result in a quiet, unassuming background.
the other dcmands a striking differeuce in values that will draw the eve unhesi-
tating]y to the point where the required information is le,,dl»ly as well as attractively
displayed. The purpose for which the article decorated is la be used must govern
the choice of values for the working out of the de.ign. In the colour work for
Form III, the pupils were taught fo balance values and fo make ffraduated scales of
values. The knowledge gained there should assist thom in producing a desirable
balance and a rhvthmic relation of the values ud in working out their problems
in Applied Design.
COLOVR
What has been said with reard fo the values used in a desiz applies with
almost equal force fo the c,lours u.ed. The colour intensitv choseu, if Ilarmonv
is fo be achieved, lnust dcpond largely on the purpose for which the desi._-n
intended and also, as has alrcadv been intimated, upon the quanIiIy of if that is fo
be used. ]hvthna may be broughI about by regular gradations of value, hue, or
intensity. Balance may Ire established by giving prominence in colour fo .hapes
that are subordinate in size. The colour work for Ihis and the precedinz Forms
should put the pupil in a position fo choose and apply a colour scheme that will
exhibit Harmony.
IIEASUREMENTS
The measurements fo be ud in Form IV are practically the saine as for
Form 1II, ,qenior (;rade. They must depend on the nature of the problem that is
being undertaken and may be determined bv the individual pupil «»r bv the class
after a discussion of the question, or mav be dictated bv the teacher if occasion
renders if expedient. Ail measuremelatS should be verv accurate, and ail construc-
ti-n lines .hould be drawn lightly with a well-sharpened pencil. A medium pencil,
such as H B, is t]ae best for the purpose. The regular drawing pencil should hot
be used in Desig-n.
CONSTRUCTIVE PLANS
The constructive plans used for the repetition of nnits in ail-over patterns mav
be ruade of oblongs, drop oblongs, diamonds, circles, and semiorcies. AH excepting
the latter two should be familiar fo the pupil. For hoth circles and semicircle.,
272 ART
compasses should be used. If a constructive plan of squares be drawn first, each
circlc may Ire described with ils centre at tle point whcre four squares meet, its
radius bein le ide of a sqnare. In his wv thc lwo diamctcrs arc lu place as
constructive lines nl.m which lc nnit may I.. d«sivned, or as a lwlp in pla«ing
other llr'r'earv 'onstrn«tive lines. The r.ir«los are ea«ilv ke »t lu uniform row
" ,, . l . al.o
bv lhis me.ans, lhe small ba«'rt»und opcnin" ruade, bv eery four adjacent eircles
CONSTRUCTIVE PLANS
gives an Opl,ortunity for alter.ati,,u in the desining of a second unit that will
oeeupy lhis q»ace in such a way as to add to the beauty of the pattern.
The Izroundw.rk of squares is an assistam.e also in drawing a constructive plan
of s«,micir«h,s. "]'hese are arranged a]tornate|v, formiu a uet-work that is some-
tim,,s ,'a]]ed |]le fi.h-s«a]e paItern boeauso of" its rosemb]auee to the over]appin
s¢.alos of a fish. Some of tlw mo.t ,qttraetive palterns for broeaded silks and
ve]vots are ruade on a constructive plan of semieir«]es.
UNITS OF DESIGN
Althou-h Form IV. Junior (radc pupil are expected fo he ah]e fo adapt
geometric shapos and un;ts of design derived from nahre to the different con-
UNITS OF DESIGN
273
structive plans specified in the Detailed Course of Study, the special work in
Design apportioned te this class is the making of units from abstract shal»'s.
It would be too much te expect these pupils te create for themselves the elements of
which thcse designs are te be composed. The teacher should draw them ou thc
hlack-board or have sheets of paper on which a few shapcs that can be seen
distinctlv frein any part of the room are displayed. For the sake of the teacher
who feefs himself lacking in the iuventive power necessary te» the drawing of suit-
able abstract shapes, if is sugested that enlarged punctuation nmrks he used.
The pcri«»d, comma, dash, 1)racket, the upper part of the exclamation mark, and
the point «»f interrogation, with variations of these, will provide satisfactory cloments
for the work of the terre in desirning frein the abstra«t. It is net intended, how-
ever, that the more invetive teachcr should confine himlf te these. Care should
l»e taken te give the class abstract elements that can he ruade te conform te each
other se as te produce a unit that will possess cohesion aud unity. A mere
agglomeration of unrelated shapes cannot be considered a unit.
ABSTRACT SHAPES
T,, ho satisfactory, ihe parts of the unit should he balanccd on either side of a
central axis or ,hould radiate frein a central point, or shape.
A related movemcnt that carries thc ove fr«»m ont part or line te another
ihrouTh ail thc parts, must also 1)e evidcnt. Thc eves must net ho dragged abruptly
in contrary directions. A unit might be pcrfectly balanced and ver unsatisfactory,
because if was lackingin this rhvhmic quality.
The houndary lines of each shape must also conform te the houndary lines o
adjacent hapes. The separate parts need net touch, but they must be sufficiently
«-lose te appear te belong togther.
27 ART
It will I,e observed that the three great principles of Design
whi«.h had te ho -he.ved in the placing of decorative masses on a
-rien surface arc oqually important in the constructing of the
singe mit. Thc illu.tration. on this page show units rnade fronl
abstra(.t shape. I,v bovs in F,,rm Il,'..limier (;rade.
The follcwinff i.* a fasciJatin,.- wav of producingan abstract
unit. F,,Id a piece .f papor and crease if. fil»on it and put a
-re,Il Sl,.t or tw«, of ink on lhe creaso or near it. then refold if and
I,re.s wilh lhe lïnger fr.m the fold. nmvingthe fin._-or about with a
eir«ular moti.n. A little 1,r.ctiee will onable the pupils te produce
in this wav a euriausly-balancod spot whieh mav he used in Desi
t- «od purpose, afer il ha I,oon shorn ¢f all ininteresting details
«llti bas ho¢,n modified sa as la exhil,it Rhvthm and/larmonv.
TI[E PRINC[PLES OF DESIGN RELATED TO LIFE PROP, LEMS
III lhe lmges lhat immodiatêly precode, wo have hecn consider-
i.ff lalam.«,. Rhylhm. and llarmonv in relation te lle single unit
«llld le, ],r.l,lem Jll Apl,lied ik'sivn that c,,me up for solution hv
lhe I,upils. The teaeher should Irv l«, gel the elas Io realize that
lo al,l,lic.io n «,f lhose Ihr«e l,rine[l,los is m, limited 1o w-rk t. d«fllO in s«hool, n,,r is flw l,.wer Io use lhem of value al,me te anv
l'"rlicular pr-fession, alfl««ffh oxperienee and the nature of h
u-rk sh.uhl alwavs give the artist or the 1-,r-fessional designer
realer or more pall,«d,lo skill in lheir apldieation" Ail through
lift. lllp i,c, wer I«, «q,l,ly lho i,rineipl«,s of Balance. lhvlhm, and
ilarnmv te /he ('mnm.n everyday prol,lems thal meet'us will be
found of inestimal,le value. The friondh- letter and lhe formal
invitation, as well as the business adverisoment, will ho vastly
more attractive te lle ove for having been planned aeeording te
heso prineiplos. The t:l»lo tiret is set in an ordorlv wav is more
blvitinff than lhe ono on whieh tho dishes bave I;een laeed af
rand«,m wilh,,lfl an apparent relation o ea«h othor or te lhe effeet
.s a whole. Tho room bat is nrraneed according te a definie.
harmoniou plan is likoh- 1o be more eharminff and restful lhan one
whic-h mav he more ri«,hlv furnished, if in the latter the articles
bave boen pur«'hased indix:idually without any thought of how they
UNITS DESIGNED FROC_t"
AB8TRACT SHAPES--
BY FORBI IV PUPILS
PRINCIPLES OF DESIGN 2î5
would look together in the room for which they were intended or whether they wer_
at all suitable for the purpose.
A good deal that has been said in the preceding Forms concerning wall-papers
is applicable to other house furnishings, such as hangings. If nfight be added here,
that colours into which red and yell«,w enter lar-ely are warln col,,urs, that is, their
appearance gies a sensation of warmth. For this reason the wall coverings and
hangings in a room which has little or no sUlflight, as one that looks to the north.
should I,e in some tint or shade of oue of the oran,.-es. The deep crealns and
I,rowns. and the pinks and dull reds that ver._,ze on orange are all suitahle in hue
for such a room. A room looking to the south should be furnished in the eoolcr
colour. into the makin of which blue entcrs.
A verv low-ceilinged room tan bc nmde to aN,car higher 1,v having a striped
wall covering or one in whieh thc movenlent is distinetly vertical. The wall space
in sueh a roonl should hot ho broken hv a hord,.r, and the nmuldin should I,e plaeed
af the top, close fo the ceilinz. On thc other hand. a room with a verv high eeilinz
mav he ilnproved in appearan.'e hv bavin;z the wall spaees 1.roken horizontally bv
such deviees as drop-ceilin._,zs, borders, nlouldin7s, panellings, or wainscot., etc. To
produee a ploasinzeffoet, those horizontal divisions must he arranzd ju.t as the
mar;zins and othor sp,qce divi:i«,ns were planncd in seh«,ol probl,.ms in Dosia, so as
to brin._-, ,qhout well balaneed :paces that are notieeablv different without being
disproportionate.
A knowlodze of the princil,les of Dcsi;zn should be of great assistance also to
the individual who wishes to dress tastefullx. In a costume or suit, long unbroken
lines tending fo the xertieal will increase the apparent height and lessen the width
of the fire. Lines tendinzfo the horizontal have an ol,posite effect. Exeeptin.
when tbe figure is unusually tall and rhin, eon.pi«.uous horizontal divisions are
likelv to detract from, rather than improve, the al,pearanee. The individual should
be of more importance than the elothiuz, thereforo to bc in Z«od faste the colours
chosen for ,armonts nmv farcir he of full intonsitv. The li;zhter tints require less
-,-rayin7 than tho.e whieh are near the normal value of the colour ud. Tones of
colour that are quite brilliant mav be used with zood effeet in verv small areas,
sueh as pipins, or a knot af the throat, with a costume or suit that is of low
intensity.
In our treatment of others these laws have a place. Balance demands that
Ihe rights of each individual in the home or the community be respecte& Ihvthm
teaehes the neeessitv for bearing and forbearing, and truc Harmony is impossible
ART
without an unseifish consideration of others that brings ai»out umty without sacn-
ficing individuality.
APPLIED DESIGN
If it ean be so eontrived, the special work that is being done in eaeh elass
shouhl final expression in some prohlen in Applied lesigm. The deeorative com-
positions which bave been takeu up in eonnection with Representation are particu-
larlv adapted f,r uso with good lettcring in the making of school posters. These
I,ostors nmv be ruade hy the pupils fo advertise school concerts, lectures, faits.
ehihitions, or anv form of entertaiument given under the auspices of the school.
or any pul,!ic cclebration in which every pupil is interested.
For the ordinarv school
postor, the rogular 9" hy 12"
short of drawing paper will
sulti(.o. For Sl,Oeial purposes,
shcets of stiff i,ai,er or P, ristoi-
l«,ard 1" hv l,q" or larger
mav ho ohlainod.
A poster is intendcd fo
«'at«.h tie (.ye, thcrefore a
whito or vorv li7ht papor is
I,ost for lho purpose. The
««,l,,urs usod in workiu._-, out
llw poster shouid he striking.
lmt shmfld hot prescrit in-
POSTERS
ALLOWE'EH (ELEBRATION
AT
@ I'1RY3LE R',3 A Rlvl
AME OeONG OEEFRE8 PIME HT,.S
harnmnious comhinations. One colour and black, or one colour and middle-gray
,nd hlaek wili give suffieient riehness and sparklo fo the poster. The use of a
widor range of eolours if likelv to produee less satisfactorv results. The erude red,
yo]],,w, or hlue «,f the paint-box should hot he used witiaout first heing modified;
but anv een tone. front a stron¢ yeliow-ffreen fo one that is nearer hlue than
zreen, and anv of lhe oran¢es, from yeliow-oran.-e fo a brilliant searlet or a bright
lwown, are exeeoflin;ly attractive when used heside hlaek or hlaek and rav. Black
waterpro«,f lndia ink is hetter Ihan paint for posters lhat are o he usèd out-oG
doors, but hlaek water-eolour will give a velvetv black if the wash is thiek enough.
APPLIED DESIGN 277
DIFFERENT ARRAN'GE,IENTS FOR POSTERS
To make lhe 1,osier |,r«,ceed as f,,lh,ws:
1. lh.cide what inf.rnmti.n is to go «,u if. and express it tu a terse, striki,,:z
2. Choose. fr«,m the decoralive compositions ruade duriu the year. the one
mot aplm,l,riate f«,r the poster.
3. Iecido whether tire letterin or tire picture is to occupy tle greater spa«e.
4. Plan f-r a good nmrin aud draw the marginal line.
5. Break up the area im.losed hy tire nmuinal line ino tw,, or umre
ft»r l,icture aud b'lteriu«. The illustrait,us .u,«ot._._ diff.relt arran?e-
nl(.I i t s.
6. Draw tho l,icture tu pencil outliue and l,lau the leli«.ri:¢ tu l,«m.il. Tho
lettering shouhl -('eupy the spa(.e I,repared f«,r it and slmuhl at
saine rime he larTe aud
7. Decide upon the colour s«-heme te, I,e usod aud 1,repnre a suflicient quamiy
of le colours required for the poster. Belote using the t.-1,,urs i, re-
l,ared, test them to see that thev are strong euouh.
8. Apply flw prepared colours to the poster, after lmvin studied it to see how
thev mav be nrran.ed best.
9. Wheu the o,lours are dry. oufline with black any parts that sevm
require if.
STEN'çILLIXG
The unit of desi. ruade from abstraet shapes can be ruade into a go«,d steneil
pattern with so little dicultv that pupils in Form IV. Junior (;rade, should
taught how to make aud use a simple stenci] patteru. Many opportunities for ris
use mav corne up tu the school-room or in tire pupils' homes and, ou that aecouut,
further instructions wil] be given in Form IV, Senior (grade. It would I,c
AN" AI:i:ANGEMENT THAT MAY BE ADAPTED TO A POSTER, A LETTERED .iOTTO,
«q A MAGAT.IN'I- PAGE
DESIGN: (PTIOXAL PI'd)BI,EMS
fo undertake any elaborate stencilling in school, no matter how great the temptation
nfight be. The steneils ruade by he pupils in this Fornl lnight be used in the
repetition of bordcrs and surface paorns on the ordinary drawingpal,er, iii which
case water-eolours would be applied with a brush that had been lirst tilled with a
wash of the desired colour and theli l,ressed out till it was alnmst dry hcfore bciltg nscd. ïhe pattern should ho eut fro,in snlooth, rather heavy, lnanilla 1,al»er. A
seneil design should consist of parts that are sel,al'at«., vet soplaeed iii relation t«
eaeh otlwr laat they give the iml»resion of hein e-meetcd. Tho shal,es that
rotin the design are eut ont and. when he tneil llms lnade is laid fiat «r if
lwecssary l,inned in ],lace over the surface b, ho stcncilh.d, the c«,]»ur is ],rnA..d
hack ami l'-l'lh [,ver lhe Ol)elillS t]mt fm'm the 1,aih.m. If the stencil is eut
clown t«, fit th(. single ge,melrie shal., which is repeatcd b, form the emslrucliv«,
plan. flwre will I,e no dieultv in rel»cting lhc stencilled unil r«7ularly and
aeeuratclv.
Instead (,f the eolonr heillg painted ihron7h the steneil with a brnsh, the
pattern nmv be drawn in oulline with pencil, and th(. e,»]our al,l,lied . the shal»e
after the stencil bas I»eell renmved. The m,.th.d of repeating lhe unit hv llll.flllS of
a sleneil is s,nlelinles enl],l,yed on «'loth. and in that easo .il eolour* that have
been lhinned wilh tur])ontine nmv he usod f«»r e.lonl'ing lhe shal»o.
OPTIONAL PROI;LEM.q IN APPLIED DESIGN
('LII'I'ING-C.,sE NO. 1
The making of a elipping-ea..e is suzzested as a good pieee of Applied I-)esizn
for pupil,q in Form IV. Junior Grade. The prol,orti.ns of the eover will depend
on the size of fle enveopes to'be u.¢ed for the eliplfinzs. A machine-ruade, envelope
whieh is 4" bv 8z" ean be pm'chased in paekazes. From four to si,: enveh,l,es of
this size wi]l make a useful clil,ping-ea:e. Two pieces of mill-h.ard. 44'" hv
will ],e necessarv f-r the c.ver wh«,n this size of envelap,, is us«.d. The mill-l,.ard
mav ,«. cover«.d with anv sm.ofl, lhin fahrie. ]»refera],ly eolton .r }inen. of a e.h,ur
that is rather li,,..ht in value but «f h,w inten.itv. The f-ll.winz material.q will
be required for a elippin_-«.ase if lle abore dimensions fo," #he envelopes are used :
Two pieces of mill-board, eaeh 41" x
Two pieces of eover «loth. ea«h .5" x
Two pieces of lining paper suitablv linted, or having an appropriate surface
pattern, eaeh 4"x 91"
28u ART
A suitahle design for the cover
A pieee of carhon pap.r for lraeing the design upon the eover
Froln four lo six elvelopt, s lhat open at the side, eaeh 4" x 8"
{ Iie Val'd o|' silk e.rd. s.utaclle braid, or narrow ribbon for laeing the parts of
lhe t.lipl»illg-easo logether.
See lhe inslrueli,,ns lllmder '« l'en-wipers" in Form I l l..]uni,,r t;rade, for
firl]lel" ll.eessilies alid for directioll t'-r
Whel lhe e»vt.rs ]mve ]tt.Oll lefl under pressure till lhey are thorouhly dry.
h«,h,s f«,r lhe l«..ing uf ff.. ltll'lS of lhe elilq»illg-(,ase logclher must be l»un«h.d Olle
quarler of 111 ili('h iii ['l'(llll [11" Iii(-k ed¢e .f the enve]opes and fr«,m the back edgp
,1' lh. lx,» paris .f lho .OV.l'. Three h»]es will he suffieienl in eacll, one in the
middh.. OlW 21" al,oxe tlle middle, and .le 21" hel.w it. An ordinarv ew.let pum.h
1«» ]e u:ed wit]l et hlllHlt,r t'OS( lt'll 'ellts ald tan he usc.d hv the wh.h, .]ass. A
line.al Sll'ip tf lhe ',Xel' (.],,1]1 about half an illeh wido pasted dowil lhe baeks of I]le
OlW.l,q,es hefiwe lho lloles are lmm.hed, will prevent their tearin out. If evelets
are d,.sire,! f,,r lb. ]l,les i,l th. cover, they nmv 1., ¢,],tained in I»roxqa or black and
fas[oned il ],]1-«. wi[h ail cv«.h.t seller to ]». used with a hammor. This mav be
lmrchas.d usnal]v af a hardware s[,,re «r. failil l]lat, ai a shoemaker's shop.
\\
CLIPPIN{-CA.gE NO. 2
The two pieces of mill-hoard lai,1 on the eloth The inner side of tho finishe,1 elipping-ease
LETTERING 281
CLIPI'ING-CASE NO.
A clipping-case that will hot require lacing can be constructed to hold two
large envelol,es of tough lnanilla wral,l, ing pal,er which may ],e l,mde of ail 3" d:sired
dimensions I,y the class. Two 5" I,y 9" cnvelop«'s can I,e eut froln 19" hy
heet of pal»er. They should be lnadc 1o ope froln lhc side, hot lhe cn[l.
The requirements for a clippilg-case to hold two envelopes of this size would I»e :
A piece of cover cloth ll" x 13"
A l»iece of cover ch»th 3"' x 9'"
Two pieces of mill-hoal'd 5" x 9"
Two envelopes 5" x 9".
The lwo pieces of mill-hoard houhl be placed on thc l l" by 13" piece of cover
cloih far IlOUTII al»art fo h.axe a space fr,»nl Olle hall fo ihrcc quarters of an im.h
wide de»wh the middle for the hint.. When thc laps bave I»ven creased and the
(.omets (-ut properly, thc mill-I»oards should be i,asted in place according o the
instructions given in Fol'III III. Junior rade. Thc Ion laps ac'(,ss th eds
lhe two I.ards att(l th«: sirote betwcen thcm sh«,uld I,. pastcd Ul» ltext. Aft«.r the
short laps are l,aslcd up. the 8" ],v 9" sirip «,f (.lolh shouhl be l,asled de,wh the
(.,.nll'e fro,In lnill-I,,ard io mill-board across ihe hin/c. Ne» lining papers are
required, as the plain side of lhe enxelol,es is l,aslcd a/ainst lhe lnill-I,«mrds wh[.re
lhe lining pal,«'s would go. (See illustrations.)
Inslruelions that haxe I»ccn given alreadv sh«»uhl bé foll[»w««l in plannin the
desiq for the front cover.
LETTER I XG
In this (lrade the letters are the saine as lhose used in Form 1 lI, Senior tirade.
but in planning fo have them fit a sl,a«e a new problem must I,e s«,lved, as
pupils are required fo letter quotations or mç, ttoes of more lhan ç,ne line in lcnTth.
This will neeessitate the planning for spaees hetween listes «,f h.ttering.
In lettering a quotation of some length the following ortier of slel)s should I)e
followed :
1. Write the seleetion and eonsider how il mav I,est he dix ided inlo lines
approximately of the saine len7th.
2. Lightly draw on the pal»er a rectangh, of suilal,le size. all,,wing for good
margins.
ART
3. Within the rectangle, rule light double lines far enongh apart fo contain the
h.tters agreeably, ad make the space that is to ¢ome between the lines
of lctters no wider that is necessary fo keep the letterng perfectly
legil,le. When finished, the block of letters should appear as a unit
and hot as widely separated lines.
4. Sketeh the tiret lh,e of letters in accordance with the rtdes already learned.
nakh,g it exaetly fit the spa«.e al]otted fo it. This first line should set
the sadard of size and Sl,adng for the ],tteç in the remaider of the
5. A sinll»le flor«.t or nnit. su-li as thp pupils have learned fo make in lesson in
lesig, nay 1,e plat.ed in any empty sl,aees that oceur at the ends of
liches or senteneçs atd seem to require occupying.
6. After the sketch has 1,een e«,rreeted, it max. I,e carefulh- traced or copied on
fresh l,al,er" using very light con.tru¢)tion lines wiere necessarv.
7. If an inelositg line wottld improx'e the appearanee of the whole, ii mav bp
added a a finish. A little spaee should 1, left between this marginal
line and the original oblo.oE which set the 1,ounds of the mass of
letterin. 1,t doçs not appear i the fiished reult. This line, which
should hot I,e heavier i x'eiht tha thç lettering, and the florets nay
I,e of a eolor that will contrast with the letters.
*.O NIGH I$ GRANDEUR 1"O OUI DU,'lr,
O NEAR I,S GOD TO MAN. ,. ....t, ,....j,
WHEN u'rY WHIPERS LOW, TI'-Iou I,v'tu3"
"I"HE YOUTH REPLIES,
CHAPTER XVI
FORM IV, SENI(}R (;RADE
I IA, USTI'ATI VE IRAWIN(
IN- TtIE Illustrative Drawing iii Ferre IV, Senior (;rade, seine particular fêature
which has net receivcd special attcntion se far should be emphasized. As it has
I»,.n plalmed 1o have landscapes aud flowers used freely in the two preceding
Ferres, if is suggest,,d that in this Ferre classes be given chi,,flv sui,je.ets that will
rcquire the drawiug of thé, figure, whi(.h i. especially adapted f«»r use lu poster
dcsigning. The school poster eau be ruade very useful iii connection with sclm«d
closings, concerts, and exhibits of all kiuds, and furnishes, nml'CO.r, a I»roblt.m
that appeals very strongly lo scnior pupils.
Whether the problem chosen be the making of a poster or lho ilhlstration of
seine quotation calling for the drawing of lhe figure, several quick pencil skotehes
nmy be ruade l»v the class frein pul»i.l l)Os«.d in ways suggested bv differeut members.
These skelclles nmv be madO at the beginning of the lesson in illustration or mav
llae been nmde in a pl'evious lesson ou drawing frein the p«se. Fr«,m the skotche.
he has ruade, each pupil mav ('hoose the one that he considers l»est suited te convev
the idea te be expressed.
(reat care should be taken te make the important figure large aud
well. A studv of figure composition, as shown in pictures bv arious artists, wouhl
ferre a good preparation for one of these lessons. After the figure is drawu,
landscape or interior is added, as are all other necessary surroundings.
Lines suitable for figure illustration are se numerou. in literature that none
neod be zivon ]|ere except perhaps the following verse, which is particularly suited
for expression in charcoal :
lv his eart's side the wagoner
Is slouching slowly at his ease,
l[alf-hidden in the windless blur
Of white dust pufflng te his knees.
" The Slaying af tlle .Iabberwo«k ". drawn in eharcoal bv Ferre IV boys, fol-
lowed a less«m Oll the drawing of lhe figure in differen attitudes, in which a
o,3
'' TI[E SLAYING OF THE JABBERWOCK ''--BY FORM IV PUPILS
REPRESENTATION 25
number of the boys were posed in the act of drawing back preparatory to striking
with a two-handed sword. 'ïhe Jabberwoek, being a fabulous animal, gae plenty
of scope for imagination, and the boys were less hampered than they would have
been with an ordinary twentieth century animal.
When illustrations are intended for posters, they should be finished in colour
in some of the ways mentioned under Design in the detailed (:oure of Studv.
Posters are most effective when strong black is used with one or more tones of
eolour in such a way as fo produce a striking contrast.
REPRESENTATION
The text of Form IV,
Junior {rade, should be read
carefully by the teacher of
the Senior {rade, bccause
many of the problcms in
Representation are pracical]y
the same, and in nearlv every
case the pre]iminary skctches
must l,o ruade in the saine way.
A decided improve.meut in
rendering should he expccted,
however, in the Scnior Grade.
The help of good examples is
necessary in the teaching of
rendering in anv medium, and
there shou|d be in everv
school-room a collection of
such examples so placed that
each pupil mav studv them
and compare his own efforts
with thÇm. These examples
should not be used as copies
and are.of more help fo the
pupil when a similar, rather
than the saine, object is
depicted. Information is #ven
CORRELATION OF DRAWlI.G WITH NATURE STUDY
286 ART
in the Introduction as to where helps of
this kind may be obtained.
FLOWERS
Natural spe«.imens, such as plants or
parts of plants, may be rendered in any of
the ways suggested in the three preceding
I"orms. A choice of medium might
occasionallv be a]lowed fo those membcrs
of the class whose proficiency makes such
libertv of ehoice desirable.
In ««»rrelating the drawing of plant.
with Nature .udy, a .trong effort should
he ruade to bring about a proper subordina-
tion of detai]s, bv the ilelicate quality of
the line or tonc used in rendering them.
The iris is by a Form IV pupil.
WIIITE FLfWER.q IN" VE\'C'IL
The instructions up to thi. Form bave
«Mled for the bl,,ckiD in of the whole
OI-'TLINE DRAWING.q. I'.qEFI'L ALIKE FOR
DESIGN AND 1N'ATURE STUDY
anIl t]wn «,f t]w .e],arnte parts, but it wi]l be found that l,roblelnS such as the pencil
drawinz of t]w whitc peony i,n page 2aï, requirc so delicate a toueh in certain
pnrt. tiret the b]«,cking in of these ]*art.* with any preparation lines would detract
l'r«,m the d«.]i«acv of the drawing. In thc i]]u.tration, verv faint lines were used to
hh,ek in the zeneral .lm],c of the wholc flower. Then each separate larze petal r-as
],locked in wi{h similar lines, but flac t«,uches that were used fo represent the
rzzd pomponl-]ike c'entre of t]ae flower were put in direct]y, after a carefu] study
c,f thc fl«,wer with ha]f-c]oscd eves to .ee whieh edges should be suggested and the
«haractor of the .troke that wou]d he.t repre.ent thcm.
FLOWERS IN WATER-COLOUR
Tho followinvlesson on tho painting «,f a spray of peach blossoms will be
round he|pful in tho renilering of specimens from manv different flowering shrubs
,qnd trees. The steps to be followed after ,qll preliminary preparations with regard
to necessarv materials and the placing of a sufficient numbêr of spêcimêns bave
IleOn nladO are :
'tITF. PEONY I_N AÇCER'T'D PENCII orLIN
287
"çVIdITE PEO.Y, IN PE.N'CII VALUES
FLOWER5 289
joins it, its colour, the colour and shape
of the blossoms and their arrangement
in groups, the anglo at which each
blossom joins lhe stem and its position
in relation to tl-.e latter, also the lee.ation
of the leaf huds.
2. The testing of le difforent cç, lours on a
practice sheot .f drawillg paper to
a:«ertain how 1ho exact huos and
gradations ¢,f tone are to bê obtainod
3. The sweepillg in of a faint pink diroction
line for the placin..-
paper, and the addition of simi]ar linos
fo zive the anle at which the I)lossoms
join the stem.
DECORATI%'E COOl POSlTION--B r A
.ORMAL SCHOOL STUDENT
1. A careful study by each pupil
the specimen fo be painte,1
hy him, in ortier that he mav
note the direction and char-
acter of growth of the woody
stem, the chan,.-e in ifs con-
tour where êa«h blossom
DECORATIVE CO,[POSIïIO:N " FROf
BOSTON IVY--By A NORMAL
SCHOOL STI_"DENT
zgo ART
4. Thc painting of the petals of each blossom that cornes in front of the stem
with a wash of pale pink te match their lighter tones, and the touching
into thc centre of stronger red while the flower is still wet, in order te
get the gradation ïrom pink te crimson that is observed.
5. The painting i, a similar way of the blesseras at the sides, paying careful
attention te lheir ïorcshortened appearance and adding a little blue te
lho pink for those petal.* which are in shadow.
6. Thc I, ai,din,,., of the l»lossom., that are half-hiddon bv the stcnl.
ï. The l»«,intinff of tho green calyxes, addinff tou«-hes ot: red in the sepals.
8. Thc l,intin z of the stem and buds. beginnilg with the lmd at the tip and
painting thc lighter side of the stem first with a brown obtained bv
addinzyollow-zreen o red with sufficient water.
9. The painting of the darker side with strong brown obtained hv usin. more
c-hmr and l«,.*s water in the hrsh than for the l»revios step. The
shinv siroak on lhe st,.m nmv l»e got l»y wiping out the eolour with the
driod l»rush bol.re the store is drv or l»v leain/¢ a nal'row sIrip of the
hite l',p«'r unpintcd. As snon as Iho store is tïni.*hed, a clean, damp
I,rsh should ho drawn d-wi this whiIe strip te soften the light and
all,,w the side., te l»lend slihtlv.
1o. The paintinff of the stamer'with iïne, dark, erimson lines, and the touch-
ingin ,,f tho tinv brown anthers.
11. The addition of anv ton,hes that a final eomparison with the specimen
shows te be necossarv te the truthïul representation of if.
TREE AND LANDSCAPES
If he studv of trees bas boen «arried on in tire nmnner suzested in the
preeedin F,,,'ms. lho pnpil., in this (;rade shouhl roquire erv littie exereise in
the drawing oï single trees ; their attention should be directed more te the sketching
of group., of trees and lhe l,h,eing of trees in a landscape with due rezard te con-
verzonce and foreshortening. '
Frequentl.v a ,qenior class is-sufficiently interested te make outdoor sketehing
a profitable exer«i.e. An old house in the neizht)ourhood. ith long. simple lines,
will furnish a good subjeet for sketching and one that mav be used te advanta«e
afterwards in landseape composition. "
For outdoor ske/«hing pupi]s will require a drawing board or heavy picee of
mill-board as large or brger than the paper used, which should be about 9" bv 17"
and should be attached fo/he board with thumb/acks or pins.
TREES AND LANDSCAPES 291
Subjects for outdoor sketching may be given as home exercises. A Saturday
should be allowed to intervene before these are handed in. When all have beell
received, they should be put up for class criticism and examined with regard to
placing of the horizon, supposed position of the observer, proportion, convergence,
foreshortening, expression of distance, and the general effect of each drawing as a
AN OLD IlOI_'SE XVITII LONG. SI.XIPLE LINES
whole. After this eriti(.ism, oach lmpil shouhl tako his drawin home in ortier fo
¢-ompare it with the orignal view in the ligt of ils erificisms that have been
marie. A nwnmrv skÇt«h of th saine iew should follow as the next lesson in class.
The view of a steet, su(.h as the on illustrated, would le a suital)lo sO)ject for a
home exercise to ho trcated in thi. wav.
Ladscape sottings will I,o reuired for somo of tho fi._-ro composiIions, and
Ihis use to which thev mav he put sho'.fld be kept in mind when views are hÇing
2? ART
,lrawn. 'l'lw lrcahmq,t of landseape «omposilion in conneciion with lettering is
sh,.,wn in the framed motto opposite this page.
Tlll-: I'AINTI\G oF A L-I\I»S«AI'I-; IN WATEII-COLOURS
Earlv in ,-.lh«nber. le, fore, iakin the first h«son in landseape paintinff, lhe
h.acher shouhl dis«us tlle all«.aram, e of a landseape with the pupils, eallinff their
attenti.n t» lho fa«.t that it may bc divided into sky, backffrouml, middle dtance,
and f-reffround. A sunnv day wh«,n lhe lrees are slill in Summcr f.liage wouhl
I.. lhe 1..t lime Io «hoose for lhis discussion in whieh, amonff other things already
spokon of in l«mdscapo composition, tho class should contemplate the eolours seen
in tho lands«ai»o ami the effc«t distance has upon lhese colours.
The sky will probably be
blue or hlue-ga S almost ns
pale ns lho sky. especially if
ihero are distant hills in view;
lhe middle distance groenor
nd darker than the distance;
[ IV lho foreground wi]l tle sli]l
[;. - Tho composinff of the
"'" pivture should also be referred
tj - _ .... t-. and the pupils should be
t t _-" warned to remomher the rules
plannin. their landscapes.
' this discussion, when the
--ar pupils bave opened their paint-
A SUITABI E 8UBJECT FOR A I]OME EXERCISE, ]IOXOS and moislened the eakes
(Vicw from an e]evation) and everything is in readiness
LAN 1 SC'A I'E I N WATE I:-C[ LO UR,S 293
for the lesson, the teacher may make a rapid delnonstration of the different stel)s.
The pupils should then procced as follows:
1. l)raw a rectangle about 4" by 7" on the paper, lea ing satisïaetory margin.¢.
and indieate lbe horizon with a light line draw,1 across ihe rectangle
either nlore or lcss tban half-wav clown, ae«.ordil,g te the height of thc
tl'ee masses lhat are te Colne alzail,st the sky il, the pieture 1,1almed.
2. Mix a l,-ol of pale hlue wash for tbe sky. (,ne of yellow-green fol" the stlnlly
gl'ass-('o(.red earlh, att«! elle (,f deept.r, richer grec.il for tire trees.
\Vht.n ariatio.s il, these t,,l,eS are required, the (.lass will w-rk fro,in
I«,th l,o.l and cake.
3. Ih»ld tbe ],apor at a slight im'lilm or 1,lace it on a sla.tin.,.., hoard or I««,k
and al,ply tl:c skv wash OeldV a.d qui('kly a«ross tbe top of the
re(-talgh'. Iringinx il sm,mthlv down te, the horizon.
4. W-bile the skv is still quitc wcl. paint a hrushfui of the .vellow-green into
the lowêr «.«le (,f thc sky. bril,ging it down with wide strokes and Identy
of wash t,,ward ihe hottom line. wbere a litih, of tbe strongor 7reen nlllV
I,e droppod in.
5. With the skv alld ground colour still wet and parily sunk into ihe 1,al,er.
1,aint ibo masses of distant troes aeross tho lorizon, makin.._, sonle in.es
sh«,l't and ,,,e .,_,roue taller than tho rest te gve varietv. The distant
trees shouhl net drv with hard. shal'p edTes ngainst the sky. but .h-uhl
appear softcned or blurred slightly into it. .. ïew stl'okes of hhle-vi,,lct
touehod into |he l,,wer part of the woods will give the right shadow
effeet for distant
6. Before tbe hackground has bad time te I)eeome quite dry, slmpe the ma.¢se.
of f«,lialze of the nearer trees with bright yel]ow-.ffreen, loe1)er geell
and vie,let will ,,.,ire the darker êffoet te the parts in shadow. The .alne
eolours mav I,e used for the fiat shadows on the ,ra undor tho trees in
the inmwdiate foreground.
7. When tho troc masses are almost dry. paint the trunks and any branches that
are net hidden bv ïoliag, with dark gray-violet.
8. 5Iako a few fainI stroko. and touches for grasses or other plants near the
lowor edge of the skeIeh.
9. Aftor a final sIudv of the pieIure, add anv dark touches te the objeeIs in the
foreground thaI seem neeessary te bring lhem out.
294 ART
10. Add a firm inclosing line to the picture, using some dark tone that wil!
harmonize with it.
Where a building is introduced in the landscape, its outlines must be sketched
lightly first and the sky painted to thcln. The saine preeaution is neeessary when
any objcct that is very light in eolour is a feature of the landscape.
WINDOW SKETCtlES
Views from school windows oflen alrord xaluablc opporlunities for lessons in
«..maposition, mass drawing, tree study, (.onergcnce of receding lines, and fore-
S|lortening of surfaces.
Whilc the outlook from the city school windows may be more restricted than
l'rom rural ones, t|m tea(.hor will rirai abundant opportunity for the representation of
objeets in a giron inclosure. The framing of the subject by the whole window or
ex'en bv a sinle pane. has the efl'ect of excluding confusing surroundings, and
tllus gives 11o 3"orang student praetiee in choosing good «.Oml)ositions. The vertical
and horizontal lines of the framework of the window will 1,e fotlnd of great assi.t-
allCe in fixing tlle al,parent direction of rêeeding edes and detêrnfining the proper
I,roportion of spaee to be allowêd for foreshortened surfaces.
TIIE DRAWI\'G OF A WINDOW SKET('It
The elass should be direeWd 1o look zt lhe windows and deserihe what can be
soen flrotlgh them from tho s0,ats, whilo ea«h I,upil is siting in che position. As
in all prohalfility obje«t. I,evond can Iw seen through sevêral wi.ndows, eaeh pupil
shouhl deeide whieh window afford. him the most pleasing iew. This viêw mav
ho roofs and ehinmevs, with a varied skvlinê silhoue*,ted against bright clouds, or
I,erhaps a tree and a fenec with a field bovond. Tho elass should be told 1o think
«,f tire viow ehoson as tlloug ït were paintod on the glass. Eaeh pupil should
lllon draw with l,oneil on lli. paper z reçtan-lo which is fo inelose the viêw as seen
through the win,low and leave a suilablê margin all around.
The pupils, having bêen cautioned hOt fo more forward or change position
i an" wav. should hegin hv drawing thc most prominent line in the view, proceed-
in fr«ma this fo «,iher inll»ortant lines, leaving minor details fo the ]ast. If there
are irees, li7ht lires nmv be drawn for the main branches in order to locate lhe
DRAW1NG FRO:I TIIE FI;URE 295
masses of foliage. If there are buildings, their outlines should be drawn before
windows or chimneys are placed.
This will oceupy one lesson preparatory t,, colouring, which mav be donc in a
later lcsson in the folh,wing way:
«'oLoI'ItlNG A WINDOW SKET('II
The class should first prepare a skv wash according to the rime of day at which
the skctch is being 1)ainted. This wash should be applied first, brought down
below the tree ops, and allowed to drv. The trees nmy },e painted next, then what-
ever .hows in the foreground, and, filmlly, dctail:, «,f which onlv tlm mo.t iml,ortant
should be ildicated.
The renderill.,_, .hould be kel,t verv siml,lc throu.,_dtout and rather fiat iu cfhct.
When drv the main masses mav be lightly omlimd with dark colour, unless thev
are alreadv strongly defined. A firm line of dark colour shouhl cover the 1,encil
line incl«,siiig the original oblolt.
When s,,me of the pupils can see tothin.,.., but skv or tree tol,. fr«,m the stars.
they may be allowed to stand at a window and use small finders, which will ittclo.e
more distant views.
DRAWING FROM THE FIGURE
,'erv few instructions for the drawin, of the fi/ure, other than those alreadv
gven in the precedingForm:, are noces:arv bore. S,«m of the vi,,.,ilance that bas
been required to keep the attention of the class directed fo the action of the figure
may now be relaxed and greater stress placed upon proportion,. ('areful pencil
measurements should be taken after the main proportions of thc figure bave been
indicated.
]t has alreadv been stated that the head is taken as the unit of measurement.
and it will help pul»ils to discover their mistake. in proportion if thev kmow that
the average adult fi(,-ure is seven and one-half hcads lfid with a mea.,urement across
the shoulders of two head.; an infant a few nmnths ohl measures four heads and
has shoulders no wider than the head a child of rive vears i. six heads high with
shoulders very little wider than the head: while the avera.,_,e child of nine vears is
six and one-third heads high with shoulders one and one-half heads wide. Know-
ing these measurements, a pupil will af once realize that if his drawing appears
to represent a younger ehild than the one who bas posed for the «|ass, the head
must be too large in proportion to the height and width of the figure ç whereas if
A POSE THAT MIGHT BE USED IN A POSTER FOR A SCHOOL PAIR
296
IIEADS AND FACES
297
the drawing looks like the sketeh of an older person than iL was intendcd te
represent, the head is too small in proportion to the height and width of the figure.
Drawings frein the figure in this I;rade may be e,pressed in any rncdium that
bas been used in the prcceding F,»rms, and the pul»ils sh«juld be encouraged
cultivate the habit of nmking mcmory sketches at home frein childrcn or old.r
persons whom thev have ohserved in lhe l»lay-grounds or on the strcet. As much
of the figure draw'ing in this Ferre is intemled Io he used in tbe luakin of p.ster.,
the greater number of the sketche. ruade in (.las. shouhl ho planned in pencil out-
line, te I»e finished in seine of tho wavs menti-ned umh.r le(«,rative
in the ie,t fol" l:«»rm IV. Junior l',rade, and under lllu.lratie lh'awingill the text
for lhis Grade.
I-IEADS A.'ND FACES--SIDE VIFW
IIEADS AND FkCES
When the pupils tan make frein the figure rapid pencil .ketche.a showing good
action and good proportion, thev ma S be allowed te indieate the ïeatures in a very
simple way. In order te teach them te de thi., a les.on or two on head. alerte will
be neeessary. The head should be bloeked in with light lines and should be of
good size and well plaeed upon the paper. The neek and the line of the shoulder
sbould also be indieated. The line of the hair framing the face should he bloeked
in next. In the front view, a faint horizontal line mav be sketehed aeross the face,
halï-way between the top of the head imd the base of the ehin, te help in plaeing
the eves. Another line a little less ihan half-way down between the line for the
eves ànd the base of the ehin will loeate the end of the nose and the lower rira of
eaeh ear. A line one third of the distance frein the end of the nose te the ha of
the chin will give the position of the mouth. If the head be tiled baekward, eaeh
of these placing lines becomes the upper curve of an ellipse and nmst be s«, drawn.
298 ART
I f the head be bent forward, ihe placing line in each case is ihen the lower curve of
an ellipse. The eyes are usually about the width of an eye apart. The car is
nsually a little longer than the nose, and this brings the upper rira of the car
.lightly above the line for the eyes. When the placing of the features has been
indicated, they should be blocked in lightl)., and the form suggested in the simplest
l»ossible way. The illustrations show clearly the step. fo be followed in drawing
«»th a side iew and a front view of the face. Care nmst be taken in the side view
to place the neck well back under the head and get the correct angle at which it
j,,ins the head. It will be noted that the base of the chin cornes well below the
l,oint where the head and neck join at the back.
HEADS AND FACES--FRONT
IIANDS AND FEIïT
After the direction line or axis of the hand has been placed and the whole hand
has been blocked in, the separate fingers raay be indicated. Greater attention,
hoexer, should be devoted to the direction, shape, and proportion of the hand than
to the placing of the fingers.
IIANDS AND FEET 299
In drawing the feet, the direction line for each foot may corne first, to en.ure
their right relation to each other; the ankles may be placed next, and each foot
blocked in. The arch beneath the instep will fall into place easily, when the
gcneral shape of the mas. i. correct ; if is better, however, to leave it out than te.
exaggerate it. It will I)e noticed, in a front or back xiew of the foot, that the
ankle bone is higher up and more p'ominent on the in.ide of the leg than on the
outside. The side view of the foot is hot diilicult to draw, but the nm.t carcful
attention fo foreshortening is necessary in every other position in which the pul)il
i. likelv to see it.
, \
300 ART
In order that the feet may be seên in their usual position in relation lo the
observer's eye, the model should be posed, if I)ossib|e, so that lhe pupils are looking
down af the ïeet; sometimes this tan be malmged by having lhe class stand lo make
the sketeh.
Although the above instruetions are given in order that the teachers and the
Pul»ils who wi:h to undertake the drawing «,f the features and olher dctails mav
know ]lOW Io go al»out if, it must be distinctlv understood that 'tle put'tiug in o'f
tllêse dctails nleans lhe ('arryiuzof lhis sul»j«,ut fur'dmr lhan is exl)e«,ted from pupil:
in the l'ul,lic and Scl)ara(e ,'q('hoo]s.
TIIE BOl Se'OUT, IN PEN('IL VALUES
The illustration of the B,»v ,'¢-out suggêst. an interesling pose and show.
three stel)s that nmv l)e taken iii lnaking a sketeh of this kind. For ])urposes of
reproduction alld |o make the method of proeedure quite plaiu, the liues iii Figures
THE BOY SCOUT, IN PENCIL VALUES
LESSONS IN FREEIIAND PERSPECTIVE 301
1 and 2 have been made heavier than the preliminary lines of a sketch should be
ruade. Figure 1 shows the action lines or framework on which the fignre is tobe
built. Figure 2 gives the I)locking in of the shape on these action lines. Figure 3
shows the finished sketch. It is neither necessary nor advisable to put in the
action lines in every drawing of thc figure. Thcy should be kept in mind,
however.
This sketch might bave bcen made according to the following steps:
1. Slightly curved lines feeling for the top of the hat and the toe of the left
foot, to place the height of thc whole fi.,_,ure
2. Slanting lines, one fo locate the line of tl:e ri;zht shoulder ad the base
the neck, others for the waist ]iue, the placing of ea«h knee, aad thc
sole of the right foot
3. A sw[nzing line for the outside of the left arm and the e.rrcspondin;z liue of
the rizht arm from shoulder to elb,w, and am,ther for the ],ositiot of
the staff
4. A swin7ing .troke to 1.tare the out»ide lim from hip te, heel .n the bov's
left side and thc c-rresponding lines ou his right side from hip to kne«,
and knee to instep
5. A linc swinging from thc staff through the bodv to locate thc lower edge of
the right forearm, thc curve of the blouse at thc waist, and the left
elbow
6. The blocking in of the whole figure, beginning with the head
7. The blocking in of scparate parts
8. When this faint outline .ketch is correct, a decision must be ruade as to
which parts are fo |)e left white and which are to be ruade as dark as the
pencil will permit and, when the ontlines of these parts have been
faintlv ildicated, the sketch is ready fo have the pencil tones evenly and
firm]y applied.
,SERIES OF LESSONS IN FREEHAND PERSPECTIVE
In Form IV, Junior (,'rade, the pupils learned, with various aids to correct
observation but without being taught the laws of perspective, fo represent with a
fait degree of accuracv the appear,qnce of rectanfiar object.¢ in diffcrent positions.
In the study of the "Avenue of Trees", hweverç the convergence of the receding
302
ART
lines te a point on the horizon line was very apparent, and the first principles of
I,ersl,ective taught should ho the outcome of the observations ruade in that lesson.
The pupils learned, anaong other things, te locate the horizon line ; that this line
is alwavs on a level with thê eye; and that all receding parallel horizontal edges
appear te converge toward a point in the horizon line opposite the eyê of the
observer.
The Impils may prove that
TESTING FOI2,E.qlIOETENING AXD
this latter principle holds good even in small
object.% bv using a string af least a vard and a
hall long and an ordinary school-book in the
following wav:
Let eaeh pupil place his string under thê
lop eover of thê book close te the back, leavin
the free end» of strinffof the saine lenth.
Xext. Jet him place the book level in front
of him on lais own desk and. with the ends of the
string in lais hand koepin them paralM te the
pieture piano, brin.- lhcm together in stleh a
manner lhat lhov will seem te eoineide with
lle reeeding ed..,res of tl:e hook. IIe will find
that the point where thov moet is ou lais eve
level.
Let him now lift lle ].,ok on his left hand.
keeping it lovol, and discmor hv raisin._ and
lowerin V if. that no matter at what hei._-qat it is in
relation te the eve lovel, the strins, both ends
of whieh are held in the ri.'.,,ht hand. will alwavs
meet ai llae eve lovel if thev are kept in a
vrtical plane and s.that they appear te eover
CONVERGENCE the recedin._- edge. of the book.
Thi. is truc aise if the i»o-k be studied almvo the «,ve level: in which case the
«frinz i. placed inside the lower cover, and the bo,k is li'fted on the hand as before,
but ahove the level of the eve. ]t will be found that the strings still meet at the
ove h,vel, whieh is now bolow tho hook.
3,1! those ol»sÇrvations should h ruade with one esc close&
In Iho foll,win._-, soris of fessons in Freehand Perspective. the saine .teps that
were Iakn in tho sries of lessan. on Ihe cubical nmdel for Ferre IV. Junior Grade
classes are follmved, tlw onlv difference hein,z that vanishine points are aetuallv
LESSONS IN FREEHAND PERSPECTIVE 303
found in the sertes for ihis Ferre. The sanie materials and preparations are
necessary, and the eacher should sec that the class is properly prepared for each
lesson. ,. .
I
The drawing of the cnbical me, del with ils
front face parallel te the eye, after having dis-
covered and placed the vanishiug point.
1. Seat the class in the manner described iii
the second lesson in the sertes for
Ferre IV, Junior Grade, and let each
pupil place his cubical model on the
desk ahead of him, wih one of its
faces urued toward hilu exactly
front of and parailel te his eyes.
must net forger te slip the rulcr or a
strip of cardboard under fle front
l«,wer edge, se as te make the model
perfectly lcvel.
2. Each pupil should next place a sheet of
paper on his de.k, with tho short edge
frein loft le right, and draw upon if,
close te llle bottera edge, a square
which wili represent the near face of
the model.
3. 57ext, let him locate his eve level on he
wall in front or on seine intervening
object. This line of the evo level, as
has been shown in a former lesson,
corresponds with the horizon line.
4. Bv pencil measnrement let him find the
apparent height of the front face of
the model and sec how often this
measnrement is contained in the
distance frein fhe top edge of the
front face of the model te the eye
level.
30 ART
5. Let him new measure thc height of the drawing already made and place a
point directlv above the nliddle of il, making the distance between this
[,oint and the top edge of the drawing as many limes ils height as the
distance bctween the actual eye level and the top of the front of the
cuhical model was round te be of the apparent height of the front face
of the lllodol. A line drawn throu,..,h this point parallel te the top edge
of thc dra-ing of the front face will represent the horizon line.
6. Frein the ends of the top êdge of the drawinz, draw light lines te meet al
lis l,oint in the horizon line.
ï. Find hy pencil measurement the proportion that the fore.hortened top is of
the heizht of the front face and place a line in lhe drawing te represent
ils back edge.
,q. ]raw'vertic«,l lines frein the p«»int. where thi. line meets file converin,_.,
lines te the top edge of the front face, te rcpresent the inner corners al
thc back.
In the Ferre IX'..lunior radelesson whieh corresponds with this, the pupil
au7otl the ('r, nveren(.oI,v ol,sorvatir,n Mono: il, this les.on he has actuallv found
1he vani.hin point and has repro.ênted the rr.codin edges of the model as con-
vel'ing in a(.r.r)rdance wilh tho law that .411 recedinq parallel horizontal ed#es
,ppertr o conrcr#c toward a point on a Icvcl u'ilh the eye.
II
Tho drawin of the cubical model at an allgle of forty-five degrees.
1. Place tho cubi(.al modcl exacllv in front on the de.k ahead, al an angle of
f«rtv-five degree., makin- il perfe«.tly level.
o.. Le, cale the horizon line as in the last les.on.
3. [, a sheet of paper 9" bv 1"2" turned with ils longed,.-e frein left te right.
draw a vertical |ine al»out hall an in(.h hi,c.h net far frein the botom
ed-e of the middle of the paper, te represenI the near vertical edge of
the model.
LESS[NS IN FREEIIAND PERSPECTIVE 305
4. Find how often the near xcrtical edge of the model measures into the
distance from ifs toi» to the eve level, and place a line a proportionate
distance on the Pal»er aboie the edge alreadv drawn.
5. With the help of a horizontal thread, as explained in the corresponding
lesson in the .Iunior ;rade. estimate tlw angles at which the top edges
of the two front faces join the near ertical ed,,.,e.
6. Through the top of the erti«al line on the paper which represents this edge,
draw a light horizontal line to stand for the thread, and [»lace the lines
which are to represent the top odges of the two front faces.
î. As, even when great «.are is taken, the
angle f,,rmed hy these two lines may
1,e slightly inaeeurate, a furtlwr test
is neeessarv. With two straiCht-
eded srips of eardhoard, or stiff
paper, held as in the illustration.
parallel fo the pic.turc plane, measure
flfis large an]o at fle top ruade hv
the joinin of the two top edos at the
front corner. Keoping the strips of
cardhoard in exact position, lav fl
angle thns formed on top of th sanw
angle in the drawing and eorreet it if neeessarv.
,q. Prodnce the eorrect«d lines until thev met.t the line representing the horizon.
This will yixe two vanishing points, one fo the right and one to the left.
9. Since ail rccedin7 parallel horizontal lines convere to thc saine [,oint in
the horizon line, the lower edge of the right face will converge toward
the point already found af the right, while thc lower edge of the left
face will converge toward the vanishing point at the left.
10. When these are dram, the further edge of each foreshortencd side may be
indicated after if bas heen found bv pencil nwasurement. The lines
necesarv to complote the drawin7 will represent edge.¢ which are
parallel to those whi«h bave alreadv been represcnted and will be drawn
fo convere toward the saine vanishing point.
In this losson we exempIify the law tha¢ P,,rallel horizontal edges reredin.q la
the left appear ta ronrer.qe to a rani.ç'hin.q point at the left of the abject; tha.¢e
reeedng la the right appear la converge la a vani.shing point af tbc rigbt of the
abject.
5,}6 ART
We hae f«,und also, in the drawing of the cubicai model af an angle of fort)'-
rive (h.::rt.,..<, tiret hcn Ihc ]'acc. of a rcctagular «bjrct are turn«d away cqually,
lice rani..hing points arc" cyually di.tant front the poinl nrarest lice ob.errcr.
That l,ul,ils mav se.o the convorzen(.e fo lefl a«i right just as «ioar]y as they
»aw ihe lies converzng to a p,,ht diroctly in front in thc avenue of rces and aiso
b thc b,ok with fle string, a large w««den or pasteboard cubo mav be prepared,
wilh two sh'is attached lo ea.h end of the near vertical edvo and a sinzle string
1o ea«h top («wner lo the right and left «,f fle near erlicai edge. It will require
lw,, pur, ils. ,no at eaeh sido of the eubo. 1o hoi«i fle srinvs, so lha alolller pupii
mav stand in front of fle enl,e and direct the holding of the srings in sueh a wav
that flw aehml conerg¢.nee to a point on eifler side ean he soen I,v him.
This exJ.reise is nwr«.lv reeomm«.nded as bein one in whieh fle PUl,ils wou]d
tak«. g, reat im¢.rest in dis(.overin a law for flwmseive. Thov might aiso ,o eoun-
-.lh.d lo sand exa«.flv in front of ll:e «ornor of a i«re I,uildinv af a iille distance
fr,,m it. lo note for Oemselves the eonverging lines of roof and foundation.
III
"l'h«. drawin of the eubical mod«.i af an antzle other than fortv-fivc de.ree.
In [lis iess,,n tho stops ili ho similar fo lhoso fakon in thÇ prêcodiny lêsson.
,.xe«.pti that w]wn the anv]e, with lhe throa,1 are moasurod, thev wili Iw found
V.P I Ho,zon O vt o vH YL V.
L.GE CUBE NEAR TIIE LEVEL OF TIIE EYE
to I,e nJ/oquai in size. Therefare the angle ruade bv lhe two strips of cardboard fo
«'orre,[,ojd with tho l«re angle at the top of lhe near edze of the mod«.i will not
,,nl ha,-e o I,e nwasured erv aeeuraeiv but. while if is stili heid in position, a
vertical line will hae to I,e drawn o eoineide with lhe near edge of the modei, so
hat who the eardl,oard anglo is plaeed in position on the drawintz, this vertical
]iJe wilt fifll on ,p of lhe verfie:d iino which represonls lhe near edge of the model.
Wh«« flw liws liras ïound are l,rodueod o moet flo line represonfinV flw eve
1,««,1. |ho [,III, il wili dis«oor flat ll'l»en t]e faee.« of a rectan.qnlar ol, jert art, htrnèd
away une,luall.q" lb; ranishln.q imints are tneqttally di.ç'tant from t]e point nearest
SOME I'RINCII'LES Ul: I'ERSPECTIVE 3o7
the observer, and that the grc«der Ihc mtyle, Ihe nc«tccr the rani«hiny l,oint is to lhis
l,oin t.
OMI-; I'RIN«'II'I.ISS OF I'EISI'Et'TIVE
In addition te» the rules ,m coneronce which hao I,,.on eml,hasized in the
preceding lessons, the f.llowing princil,les of 1,ersI,ectio mav I,e recorded as lmv-
ing been observed :
1. Vertical edgcs alwavs aploar Vel'tical.
2. Ih»l'izontal surfaces of anv shap«., when viewed af the evo leel, appear as
straight lines.
3. llorizonal surfaces, whon
viewed al,ove or I»olow
tlie evc level, appear
f, reshortencd, and
thcir ai,parent width
froln I,ack fo front
inereases as lhey are
elevated or lowered.
4. The apparent width from
I,aek to front ,,f
horizontal surfaces in-
creascs or dccreascs
according fo whcther
thev are near or far
fronl tho ove on the
sanie plane.
5. Vertical surfaces turncd
away from the eye
alw,ar foreshortened
in proportion fo the
angle at which they
are turned : the
greator the an,eh., the
greater the fore-
shortening.
AN INTEREST1NG GROUP
3o8
ART
Aftor this series «,f lessons, the pupils should be prepared fo underlake lhe
drawin,.., of any intcresting rectangular objoets plaeed ou the boards aeross the
aislos, s««noxhere il front of tlmm. in plain view.
In everr case thev will turn to face the nlodel and, aIthough it nmy be placed
so that «,no .fits fac«.s is parallel to the edge of the desk, it is, lmverthe]ess, when
in lhat pt,sitit,n, at an anglo fo lhose who are drawing it and must be so represented.
11 frovh«md l,OrSl,cclive t]wre is no such prol,lem as the drawing of au ohject alone to
lhe ]«.ft or rihl «,f lhe «,l,serer in parallol perspeclivc.
Whil«. a kn-wledge af the foreToin principles of perspeclive is nocesarv, in
,,rder lhal l, ni»ils lmlv delect errors in convergence and foresh«,rlenin in l;eir
drawins, those princil,le s shou]d ],o considcred as a nwans f-r this purposo rather
(ban as ruh: a('cordin fo which the drawings are fo he nmdo.
It makitlZuse of the laws of perspective te» test thc aceuracy of drawines, it
will h. round m'('essarv to imaeinc vanishing [«,ints beyond the limils of lhe paper
atd make the lines convcre/oward these poinfs.
('.,41 (»F DI SIETER. AND DI.C.O\I,.S
Whon reprosentin:z ro«taneular objects, the drawin,,., of dianwter and diaeonal.*
ill ],e found of reat assislallce in the aceurate placing of details.
I'/f'TI-I;E STUIY
THE GOLDEN STAIR,q--SII EDWARD Iq, URNE-JONES
Tho sueffstive lossons Oll l'ieture Studv in the 1,1"ecedinff FoI'IlI. contain
nl«,lhods and ideas lllat mav be used in tllis'Form. S;c,nlo law or laws of com-
position xero dwelt upon in eaell lesson. As a result, pupils when thev reaeh
Fornl IV. should be al»le to discover and enjoy the proportion, balance, h'arnlonr
«,f line. arranffenlent ¢,f dark and light, and other prineiples I,v the observance o'f
which the artist bas produced fhe effect he desired.
Fronl Fo,ml III up tlle picture studiod and tlle artist who paintod it mav
',,nstituIe the llenle of an essay to be written subsequêntly bv êach pupil.
TIIE ARTIST
Edward P, ur,w-Jn,ms, ],orn in the vear 1833 at Bir,ninehan. Enland. was the
son of a small t,'adosman of W«lsh d.«.ont, llis nmthor died af his hirlh. The
loneh- child was brought up with great strictness bv lais rigid parenf, who would
PICTURE TUDY 309
hot allow him to read poetry or story-books. P6ssessing, without doubt, even in
his childhood, a rare imagilmtion, he must hae starved for beauty in his un-
attractive Bil'lnilghanl honle.
IIis fafller desired hinl lo become a clel'gyman of thc Church of England and.
with that end in view. sent hinl af the age of eIevell to a good school, llere the
Wol'ld of books, esl»ecially of l»,etry, in whi«'h he round iltellSe 1,h'asure. was olelwd
Io him. Later. }le '[.lll fO xfol'd I'ltivcrsity. wlwr«, ho. met William [,»rris. whose
fastes and aspirations Wel'e o silnilar fo his «,xw lhat thev beeame lifelong frieuds.
Together at txford thoy }»Ol'ed over tlle two I,ooks lhat se, greally influeuo:d file
future of holll. Ruskin's Modern Paint,'r.¢ and Mall-l'V'S M.rte d'.l rthur.
While af xford Burne-J,,leS saw some of Rossetli's pictures, and whon
dawned on hinl that this man. actually livilg in the l,l'esent, was doin what
l«,nged to do. ho" determined fo l»e a painter.
In 155 ho mol ossetli. who re«.ovnized his rare gifts and urcd hiln
the serious stu,lv of Art at once. Without waitin to take }li deree ho s«.tt}od in
London. whore ho was soon followed bv his xford friend. Willialn Morris. The
two were constautlv with Rossetti. who warnflv eommend«.d lhe l-,etry of [orl'is
and the desivns of lurne-J,,nes.
Burne-Jones owes mueh of his earlv success fo the friendship of
Ruskin. who l.»fl put opl,ortunities for advancement in his wav.
Not hainz had anv early trainin in drawing, if was ineumbent on him fo
overeome this defect, which he did with such success that everv detail in his best
pictures is exquisite]y drawu. Il,_ wa an indefatiyalfie w,,rker, produein, l,esides
his paintings in oils and water-colour, eat numbers of desins for stained-glass
windows and «flher malterq iii çonnet-ii«,u with ]l,,llSe deeoration and the ornanlen-
talion of fnrniture.
IIis earlv Wol-k show the infltwn¢-e of R,»ssetli, but later he doveh,ped a stylo
peculiarly Iris own. thou.h traee of the illflUvll(e of lho ohl masters, el»,«ially of
Botticelli and )[aldefflm. tan i,e deteeted iii his pictures. ]I t«,ok great delight
mosaies, of which he ruade manv: even his pictures partake of t]ae nature of these,
oaeh appearing to ho desied as a beautiful pattern into whi«.h the separate parts
are fitted with exquisite faste. One critic claires that thev are ]aekin iii e«,herent
structure, but fo others no sueh fault is discernible. Ho wa a thorouzh idealist:
the present had no attraction for him as a painter, and almost invariablv his
pictures were of pure romance and wondel']and. There is reat power and heautv
in the arranment and quality of his lines and in tire portraya] of ]li fa«'«,, in
which eontinually recurs the saine wistful but alwavs interesting exl,ression.
310
ART
llis mamwr of 1,aintin/z has been critieised as morbid and often imitative.
is l»oi,t.d out with eesure that in many o1" his pietures light and shade is laeking
ad that his ligures arc. umlaturally tall and slemler and his heads hunffry-eyed.
h,,llm-chceked, a.l w«m: but. in spire of all these mamerisms, he was ono of the
most «'reative arlisls «,1" the nimh.enth tenture, and possesscd ffreat power and
«,ri7imlity.
31ay artist die mreco7dzed : Imt Burne-J mes. in his lire. was thoroughly
,ITre'ia/ed. I1,, was the n., i],iot ,f ]11«11" hon«,rarv degroes and was ruade an
a.s,,(.ialo of/he l/,«'al A'ademv. The {'r,,ss of the Legion of llonour and, finallv, a
barom.tev were bestood ul,o, him. llis pieturos were alwavs popular, and'the
l;r,,semr lalh.rv where thev wero exhihiled was thron«ed hv a erowd of
worshil,i,ors.
lh. as ai work Ul,Cm hi htst l,icuro. TIa Slcep of King Arthur. in Aralon. a
few hours belote hs death, whieh took/,lace in London in ] 98.
TII I.: PI('TUItE
The 1,i(.ture is now in the p,ssession of Lord Battersea. It was desied in
lî. a('tuallv l»om, it 1;. and fi,ishod i ]s. The naine was chaned from
ils first tille. The A'ing II'edding to Mu..'ic on the .qtafrs. and finallv to The Golden
Stairs.
Ih,rne-.lone had Sl,t«t sixteen years at the work he ]oved when /his dream
h,.za, l. take shapo i hi mind. For eighl years it was },ci,ff formed and per-
f,.et,.d h«q',,re if fina]lv apl,earod o, canvas, fil the word of M,mkhouse : "" A picture
alm.t as swoet and dolicate i ifs eol,,ur as a white lih'"
,,n,o mossaze full of nwaninff he nmst ]mve desirod to c, mvev fo those who
w,.ro fo I..hohl it. Tho lhreo sue«.ossie filles zive us a elue and sh,,w lais effort fo
mal.,, his n,,.a,,i,:z cl,.ar. The King's II'edding. What IÇilg? That aseetic mind
,,f his. m,«ddod l,r the simi,h, pioty of his ausloro father t- I,o eol,,urod later by his
lrai,i,,z f,,r lh,. ('hurch. mizht I,e exl,oced l. fro fo H¢,ly WriI for inspiration.
Wa it tho 1,arahle of /he nmrria,z «,f lhe lçi's son of which he was thinking?
,,mothi,g i, hi thouht mav bave linked tho picture fo the l,arable, yet this title
he feared mizht hot e,,nvev his message. Mu.:ic on the , tmrs. But how could
sm.h a tilh. serve hon. alll.,u:zh s, far a we «an lell ea.h maidon earries a musical
i,slrmm.nl, ver «mlv thr,.o make anv effort to l,la3-, and thcv in a half-hearled wav
a.l wilh,mt roff,'d to e.h olher. The Golden Shtb.... lle must bave desired
l'a,'li««,larl 3 l,, 'all -ur alhmtio to the stairway, si,,«e il appears in the rejeeted
PICTURE STUDY 311
second title, subordinate fo the music, and heo,mes the glorified Golden Stairs (,f
the final title. What is this stairway that begils af that mxterious d,»,,rway
beyond which out eves canlmt pierre and ends af the pillarcd «-ham]»er. hesidc thr
entrance to which a laurcl grows? I;«,wn this imrrow siairway of marhlc, besi,h.
which no railiug ruus to guard the fret of tho»c who ire.ad it. inds a
without beghming and without end.
Burne-.h»nes was eharged with heing a p,.ssimist: he lnUA bave desired to give
to this picture in which no gladness is expressrd, one optiluitic louch ilt lhat last
title, Tlte Golden Stairs.
tlenrv Turner Bailev's interpretatiol of if in 7"le ,'cl,,,,l If/.,- B,,ok for
April. 19t9, is a revelation fo us. tI,. eonq»al'e it with Elners«»n':
Daughters of lime. lhe hyp«,crite Days,
Mued and dumb like barefoot derishes
And marching single in an endless file,
ring diadems and faggots in their hamls.
To each they «»fier gifts after his will;
]read, Kingdoms, stars, and sky that h«,hls them ail.
I. in my pleached garden, watehed thc
Forgot m F morning wishes hastily
T«,ok a few hefl,s and ai, pies. and the Day
Tued and deparle«l silent. I. too late
Under.her solenm fillet saw the sco.
lle speaks of the piclure as another poem divineiv hoautifu] in whieh the daughlers
«»f Tirer. the lays, marching in single file. f«rm a l»ro«ession of memorirs
hc stairwav of lire. Thus we iew the davs. hatcnin eag.rly f«wward ai the tir»t.
as in childhood we. 10ng for the lime when we hall be gro n up and drcam of the
thiuT we shail do then. Later thev crowd fast ont up,»n the other a lhc wift
xears do when we hae (-rosed the m«.ridian «f lift. We know h,)w l»rofie tho ohl
are te» lie in lhe past and le» cxagerate the importance of
when thev were younz loul,tles wiih l]ds fimugt in lfi mind. the art]st has
ruade his fiTl'es af the last ali look hack and. without regard fo persl.ctive, bas
ruade those where the proeesion hegins lo«»m as large as Chose ai ho end.
So similar are the fires ?hev seem almost like units ropeated ?o form a
border : ver no to are quite alike in dress or app.armce, and se»me are garlamled
with fl«»wers, some with ]caves, and some woar hauds of (.ral*o. Strauz«dy enough
the fa«e of the last nmideus are freh and f;dr ;ms ih,»,«, af 1ho. hcTimdng, and fo
312 ART
Every day is a fresh beginning,
Every morn is the world ruade new.
You who are weary of sorrow and sinning,
llere is a beautiful hope for you;
A ]l«q«. for nie and a hope f,l' you.
Something. of this the artist rimant te c-nvey te us. Those dreany faces
.11ge.t the hol»es Ulffultilh.d. the yeal'nilZ. that iwver found fruition in effort,
the ideals ever beVt, lld oui" reach, the be.t of which we are cal»al»le never quite
aecoml,li.hed, while the fl'eS| loveline.s of each maidel iii the procession suggests
t]le olq«,rtunity te redeem the past that each lleW dav offers te u..
A. we conielnl»late the picture, we canllOt fail te be impressed bv the great
«.urves that ferre a structural part of if. Trace the curve beginning with the
arch of the stairs and rulmin Zthrouz thc margins ,f the maidens' roi»es, another
which passes throug their .houh]er.q. and still another pa..¢ing through the heads
[,f lhe u|q»er lnaidens t» |», earried out throug] the outer ede of the steps below.
'['he.e crves hclp te bind the picture t«,Tther and add greatly te ifs beauty, but
thev al:o hint at hizh [»urpc:e.. b,n here t» be carried out sonmwhere beyond
our ken. Mav thev net a],o signify the unfini:hed curves of our existence and
iml»ly that somewhere in h,d's vast plan these sha]| meet their alsweril.,._, curves
ald |,e rt, ulidcd t, ut in all the beautv of foreordained completeness ?
('IIAPTER XVII
f'OL PI
EIIE GREATEIt part of thc w«,rk in e,,h,ur a.sigued te lhis I;rade has alread S hoen
laken up. Ïhe makiug «,f seales «,t" hm'. value, aid iutensilv I,v lhc l,Ul,ils of this
Ferre wiIl" test tlv kuow]de of thc l,ro],erties of eulour that should ]rave t,een
gaiued in the precedin
COLOUR CHART
A eo]«mr eharl for which tho diagram i given mav be ruade bv eo-operaiive
work «,u tho part of I,«,th teaeher aud c]ass, al'let lhe inauuer suggested for
scale of balanced values (page 13). lnslead «,f foll,»wing tho direetious gien in
Ferre 111. Nenior I;rade, for the I,ainting of lhe e«,h»ur circlc, whore oue et,leur
floated over au«,ther te l,roduce the requirod hue, a sucieut quautily of wash of
the desired colour te eover a rectangle at least three iuches square should ho mixed
in the lid of the box. se that a tircle of the right se nmv I»e eut frein the best part
of the rectangle when the wash is dry, aud pasted lu place on the chart, the diagram
for which should I,e in readiness.
Each group «,f pupils should be required te draw rive rectangles, three inches
square or larffer. The first rectangle should he 1,aintcd with a wash ¢,f «me colour
af full streufflh. The fifth rectangle should contain the eomplementary colour at full
stronh. The third reetangle is for middle gray, while the s«.t.ond and fourth
should ho painted with washes showing the apl»earanee of eaeh of the eoml»lÇmontary
eolours after it has heen half neutralized hv the olher.
It will require six groups of l, upils te paint tho chart in this way. and the work
may ho done quiekly aud satisfat-torily if the f,llowing method is followod:
1. Make a little more flmn twice the quantity of wash of one colour required te
«.oer a rectaugleyellow, for examplo.
2. Apply this wash evenlv te tho first rectangle, squeezinff the brush out
afterwards iuto the pool of vellow wash. te save the colour if contains.
3. Clean the brush thoroughly and make tho required amouut of wash of the
COml»lementary colour (violet in this case) in the opposite end of the lid
of the box.
313
COI'DUR- ç.., .H A R.T
Y½
314
COL(}UR CHART 315
4. Put this wash over the fifth rectangle, saving the colour left as before.
5. Mix cqual quantities of the two washes in the middh, d«.prc:simt lu thc lid.
Test the remdting col-re" on a piece of ,lrawing lml.'r te sec if lniddle
gray bas ])een produced. If n,,t. add the ce,leur {)f which it
hae toc little, and l,aint the lhird rectangh, middle gray.
6. Wil,e out the 1,,,-1 .r gray that remains in the midd}¢ of the lid and mix
che part of lhe i.let with three parts .f thc velh,w wash. le l,rodu¢c
the balf-neutralizcd vellow ash for the s«.¢«md rectangle. Test the
result, se as te, have it correct hefore applyin t.
7. Wipe out the r««naining 1,o«,1 of parlly-nmtralized v.}}.w ami mix
parts of violet with che of yelh,w for the [ourlh r,.«-lan:2h'. Test it and
make if correct before aPldying it.
Anv further infornmtiol r,.quired for the mixinz .f th«. c,,l-urs iii be f.und
in the text for the prec«»dinz Ferres.
When the chart is de,ne, both the inner and curer eirele of et,leurs sh-ul,l show
a related nmvement in hue frein yell,w th,'ough ail the oth,'r e,,h,urs I,aek t« vellow.
A related movement in value shouhl also ho ,pparent. frein v«.ll,,w whi,.h is lligh
Light, throuh vell,,w-orane and y«*h.w-reen (Lizht}. ,,ranze and grem
Lizht). red ora£e and bhw-zreen Middl,'l. red and l»]uo (llizh lark), red- i,let
and blue-violet (Dark}. t,-, vioh.t whi«.h is Low Dark.
Two different intmities of ca. h «.,,leur are also arraned r,,r. nnd
colours, red-ormge and I,ltt«*-gre«,n. heing middle in value, slmuhl each show a seale
from full inten«ity te no intensity, in three step.
Dh-eetions for makin thediagram for lhe e,,l,mr ehart are gi«m hel,,w.
larder size is desired, the lnoastlrelnents mav l»e lnu]lip]ie,l hv che and env hall.
or a larger nulnber, te give the re, luired size.
MAklNG TIIE DIt.GRAM
Take a piece of thi«k drawin. papor .r card],«ard, size 11" ],v 1:". Draw a
vertical line upward throuzh the centre «,f the shoet.
At the middle ,.f this line l,lace a p.int which shall he lhe ecnlre -f lhe whole
cirenlar diagram.
With tis p.int as centre, draw three «irelcs. with radii «f ', I". an.l 4"
respect ively.
Keepill/the compass af lhe last radius, tha is, 4". and be/inninzat le 1.-west
pr.int .f the lar¢- cire'h-, di ide ils eir..tlmferenoe int« six «.quai paris, lime ivhlg
316 ART
the centres of the six circles, marked red (R), orange (0), yellow (Y), green (G),
Mue (B), violet (V). Iraw these circles with a radius of ".
Bi.ect each sixth part of lhe circumference of the large circle, gi'ing the centres
(,f the circles for the inter»tediate h ues, red-orangc, yellow-oranze, etc.
lrw 1hc six eircles at these points with a radius of ".
l,»in ail tw,qxe l»oits through t]ic centre of the diagram.
Where thee lines interseet the circle havi a radius of 21". draw cire]e with
a " radius.
I,otter the ehart aecording te the diagram, lIub out the t'onstruetim liws net
nceded.
ANALOGOçS t'OLOVRS
A group of any two. flree, or four colours which are side bv side in the colour
,.irclo ar caHcd ana]ogos eolour, becaue a certain amount of îme hue is common
1«, «]1. ["or eXalnp]e, in each of the analogous eolours, v«qlow, vellow-reen, .reen.
aml blue-r«en, yellow is l»rosent : and in the aalogous «»lours.'red-vioh,t. red. red-
,,ran,}e. and orange, red is the e«,ninmn ingredient. Anv three or four noighbour-
in c,,lours «hosen l'rem lhe inner «'ire]e of the ehart would f,,rm an analoous
]lrDlollV. '
'oLOUR ]IARMON'IFS
Pupi]s of thi (Irade mav use anv of the eolour harmonies tauzht in the
],reeedin Ferres. They mav also choose eolour sehemes frein nature or frein
t,.xtih.s, when t]iese are g,,od examples of eomp]ementary or anal,,zous harnmnv or
ehibit eolours whieh are all of l,»w intensitv.
Whe a colonr se]mme ha been ehosen for a desi, tire largest area should be
.overed with the tone which is lowest in intensitv. The brightet tone shouhl be
,-hosen f-r t]e smallest aroa, which should ho earried ri¢ht throuzh the desi.n
rat]mr than massed in one place. The medium tone in the ce]out seheme should be
manazed in tho saine way. se as le ]»ring about a balance of attractions. The size
of l]e dull areas makes up for the greater brilliance of lhe small areas.
DESIGN"
Verv little Desizn [bat i. in advanee of what bas been taken up in Ferre IV,
unior ç[rade. should be atemped in this C,rade. The prineiple. tiret have been
l,resented alreadv shonld ho studied frein as nmnv si,les as p,»ssible, wifl a view te
iml,r,'ssin.(_ [hem ,, that thev wi]l ,ot I,e forgotien. Manv things are manufactured
DESIGN 317
te attract the eye that are net good in design, and this fact mu¢t be reckoned with
when the pupil's jud,,.qaaent is I,eing trained. We tire of seine things long hefore
they are worn out. hecause for one reason or anothcr, thev are net suited te thc
purpo.e for which they are used. On the other hand, things which ma S net have
attracted us at first :ometimes prove se well fitted f(:r the purpose te which they
are put that they continue te please as lc, ng as the parts hold tc,gether. It is a
great advantage te a purchaser te he able te judge wh.thor an article will I»e('ome a
weariness te the co in a shc, rt time or will retain its v,wer te charm te 1ho end.
The supply will alwas nwet the dmand and. when the avoraTe pureha.er prefers
what is ¢zood in I,.sign te what is merely shc, wy, a trenwndous irai»elles will
gien te At. Eeh individual who seêks te eultivate his c, wn taste and refuses te
I»e satisfied with what is fal:e te thê prineil,les of good design is a potent factor in
the raising of the standard of good faste in his generation and in his country.
The pietorial is out of place in deeoratixe design. The verv faet that a design
is a close imitation of nature is ifs own eondêmnation, and the skill that m,qde if
has bêen skill misapplied. Anv dêcc, rati,m is in had taste that makes a surfa('e
appear te be what would be objeetionalde if it were rêal. An exc,.llent method for
training the pupil's vve te diseriminate hetwêen what is ,.-ood and what is.had
i te encourage the (.,dleeting of illustrations of furniture, dishês, costumes, etc.,
frc, m catalogues, advertisemênts, ma/sazines, and c, ther sc, urees. Thee shc, uld
elassified hv the l,upils as exhibiting gc, c,d or bad desia in strm.turc and deec, ration.
IefiniIe rc.on. should he given in eaeh case for cc, ndemnation or apl,roval.
A comparison of two different types of the saine thing might ho ruade a
profitable theme for an essay te be illusIrated bv clippin.,..,s collected I» the pupil.
UNITS OF DESIGN
In the preceding Forms the pupil has been taught te desiffn a unit and then
modify if in such a wav that it will fit or rather oecupy a given spat-e agreêaldy.
The lmpil in this Grade should aeeomplish a satisfactory unit of de,iTn hv a
-LD ORGHID
Il | Il i II I il
IMTERESTIIN'G BORDFRS DEVELOPED FROM THE "WILD ORCHID
318
UNITS (IF DESIN 31'3
reversal of this pr.cess. The particular tyl,c «,f unit that is to be emphasized here
is ruade l,y the breaking up of a giron space into l,arts that may suggest natural.
gelnctrie, or abstract ferres. I,ut must be in are«m.nt with thc laws of g,,od
design. In almost every article that is te he adorned if is desiral,lo that the
decoration should «ccupy a shape the contour of whieh is govcrned by the article
TE PrSlqNl OF UNIT3
Fom P'LnNT LFE.
itself. This shapc may be broken up agreeably in as many diffornt wavs as there
are individual desi«ners. Il is often triangular in contour, as when thc corners of
a square surface arc fo I)e emphasized, or in the case of (.ollar points, ]apels, ctc. It
mav l)e rectangular, kite-shaped, or circular. In fact a grcat manv shapes different-
in proportion and outline mav corne up for considrafion. The dcsigner who bas
learned fo manage two or threc «f these satisfactorily ought o he aide o dea]
successfally with any of them. ()ne or two diffrent lriangles, the square, and
320 ART
l,ossi],ly the cirde, will be a wide enoug'h range fo ho dealt with in class. Other
shapes may corne u 1, ic the home l»roblems that are plauned iu school by the pupils.
The illustration shows the steps that were takeu lu breaking up an oblong
nmss iuto a unit of dcsigu ruade up of abstract shapes. In anv case tbe first step
should be lhe l,laciug of wlmt might be callcd a root shape, fron which the different
l,arts of the design will radiale or appear te, .ffrow. This root shape might be
],]at.c(l almost auywhere within the mnss bv an exp(.rieuced designer. I,ut Fm'm IV
Impils sh«mld be reqircd « l,]aco if somewhore «m tho vertical axis of the whole
mass, so as o aroid irreu]ar balance wiIh whi«h they have hot yet had o deal in
lhe nmkin of a nnit of design. ]1 is a .r.,.d rule for t]ae be.inner
dimensions of this shalm a liIlle loss than one third of the dimensions of tbe whole
mass. Vrom this rowth-eeutre, lines radiating to tbe outside of the whole mas
should ho drawn in 1.airs. ()u tlme lines should ho built the shape that, with the
¢'outral shal,e ` are «, form tlw unit of desizu. Tbe shapes mav ail be sparate or
ail ('onn«.ced in line, or s,,me mav be soparate and ohers "conneeted, but the
houndarios of all should eonform to, or flow in mison with, adjacent boundaries.
Thero nmst also ho a rhyflmie relation from small to large tu the size of the shapee.
The elass desizns should ho put up for eritieism after the first trial sketehes
have beeu ruade. Tho designs thaf are doficient in the saine points should be
rouped toze?her, and su7gestions for their improvement ruade bv elass and teaeher.
Aller flis eriticism, the pupils should redraw their destins, eorÇeeting and improv-
in7 thom before flev are applied or finished in anv of the wavs suggested in
detailed Course of Studv.
DESIGNS THJkT MAY BE APPLIED AT HO:IE
Iu this Grade. girls are af an age whcn thev are deeplv interested in fancv work.
Thov like fo make liltle embroidered or braidéd accessori'es for their own costumes.
Tho decoration of cushions, lai)le mais. aud a]l the other borne belonzing. that lend
then)seh'es to enflellishment appeal. to them. A twofold intere.t attaches itself to
il)ose problom. when both design aud workmanship are original. The teacher
shonld take advantage of these lhin.. aud have sonm of the designs ruade in class
ldanned for sonm dofinite home problcm. The saine type of nuit can be put fo
nmnv differont usos, and the adju.linz of the unit of design in size, sbape, and
dmr.cter ¢0 lho parti«u]ar article of which if is to form a part, is a proposition
c,lculafed to brin.c out the ver), ])est of which each pupil is capable. An intro-
ductory lesson should be given, to set lhe class thinking and conferriuz on
DESI(;NS API'LIED AT II(}ME 321
subject. Much of the enlbroidering and other ornamentation that is donc nowadays
is so indiscriminately applied that it tends to emphasize the commonplace. Any
decoration that is ton clal»Ol'ate or is in any other way out -f harmony with the article
fo which if is fo be applied will chcapcn, instead of enriching it. For these reas«m.
great care should he takcn to give the class the impul.e fo plan for a decoratioll
that shall appear fo be an ou|growth of the shape and character of the article which
it is to adorn. The particular kind of stitch or othcr means bv which the design
is fo be worked out should I»«. decided bv the pupil before the lesson period in which
the dcsigns are fo be ruade, and each should c-me t,» the class with a diagram Che
exact shape and size of tlw article, or part «,f it. that she wishes in decorate. The
articles should he hrought to school when thev bave heen completed, in order that
they may be put up for exhibition. In this wav each pupil i. given a chance in
measure, bv comparison with the work «f others, the dcgree of success he or she bas
achieved and fo discover in case of failure what has I)cen its cause.
Notwithstanding that our most succes.ful designers have heen men. and that
I)oys usuallv take a pride in ldalming something for nmthcr or sister, if is quite
possihle that in some classes the bovs nmv bave a noti«,n that thc making of de.i7ns
for such things as collars, cuffs, and cushions is an unmanlv occupation. Undt,r
such circumstances if would I,c well-nigh uselcss to expect thcm in do even pass-
able work. Something that is of equal intercst and s vahlahle an exercise as tlat
in which the girls, are engazed must be devised for them. It would be hard to
imagine a b(,v who would not ho interested in designing a monogram or a hot, k-plate
hv means of whieb he could mark everv I)o«,k in his possession and thus mak if
distinctively his own. Therefore tbe bms might I)e ali-wed in design a stencil or a
wood-block for one of these, while the girls are absorhed in their embroidcrv
designs.
S«,metimes the women of a distri¢'t arc deeply interested in pat«hw«,rk quilts or
hooked mats. Is there anv reason whv these things should be less worthv of
consideration in sch«ol than the makinz of dosions for inlaid floors or for tiles?
The tea«her who strives fo ct, rr«,late thc work of the school with the needs and
interests nf the neighb«,urhood will he astonishêd at the inspiration that can b
given and received as a resnlt of this community of interests.
STENCII.LINO
This rapid and effective method of repeating a unit of design is very generally
used af present both in thc interior dccoration of buildings and in thc applicati«)n
ART
STENCILS--DE.SIGNED AND CUT BY FOI,M IV PUPILS
«f path.rns to fabrics of difh.rcut kinds for various pnrp«ses. Stcncils are fre-
quent]v ruade from flfin sheet metal or from celluloid, but any stiff, rather tough
I,aper Ibat will «nf with a smo-th cdge is eqmdly scrviceablc. If a wet nledium
is lo bc aiq,licd bv mcans of the steneil, a mueh oil as the pair will absorb should
I,,. rubl«.d in on bcth sides of it wi/h a 1)ioce of cloth and allowed Io drv before the
i,:per is usod. This will make tbe pal)er eut more easilv and will prevent the
,.,,louer sotkinz into tbe edges. A coating of shellac will add fo flae durabi]ity of
lhe steu<.il if it is a]q, lied «romtd tho edgcs of the design after it is eut.
Thc s/en«il must fie fiat against lhe surface to be stencil]ed, therefore it is well
le, bave it verv siml,le and wilh as few p+inis as possible that will require pinning
d,wn. Tho wh«,]c design is held toge/ber bv a series of ries or uncut strips of
],aper, which add verv nmch to ifs heauiv when thev are planned so as fo seem a
I,art <,f tbe desi/n. These lies are usuallv ruade narr«,wer than the eut-out parts
«,f tho desi/n but. if thov are less flmn one eighfl of an inch in width, they mav
break boforo the steneil bas been used many limes. The paris cut out may form
the design or the ba«kground for the desi.n. 3en a unit «f desi lhaf fulfils
tho requircd c<,nditions bas beon nmde and lesied, if should be traced on he stencil
I,aper with a sbarp poncil. The lracin/should then be placed on a smoofl, hard
surface, and the shapos cut oui witl he sharp point of a penknife. en the
],atterri is being rel>oatod, care must be faken fo ge+ lhe units proper]y spaced. A
se«<,nd uniC «,r pari of il. is sometimes cnt in lhe steneil paper to ensure lhe correct
pla<.ing of the units, and lhis is fited over the last unit painied and kepf in place
un/il tbe nexi is finished.
Wator-e«]ours may he nsed in sfenci]ling when thev are applied fo the surface
of anv article thai will hot require washing, such as the cover of a book. programme,
STENCILL[NG 323
or portfolio. If cloIh for a curtain, tahle-cloth,
couch-cover, cushion-top, or any other l»Ul'l «»se
that will necessitate its having te he washed,
is te he stencilled, somo medium that will
stand washing nlust I»e used. Se»me varieies
of crayons will serve Ihe plll'l,OSe, if lhe «l«,signs
aoe pressed wilh a h«,l iroll ai'ter th,. Slvlmi} bas
been renmved. ])res aise nl;IV ho llSOd, ]»111 «»il
colours thilmed with turpentille till they are of
the c«msistency of rich cre«lIH are lhc most
satisfaclorv medium. More than one colour
mav he uscd on a slen«.il: if is hctt«,r, however,
te limit the pupil te the use of one colour.
For a rhin, light-coloured fahric, it mav be neeessary te mix a good deal of whitê
with the colour. Before heinning llle actual stencilling, ênough colour te complete
it should be mixed up in a small saucer or similar dish.
The clolh te he stencilled should |,. stretchêd out on a padded |,q,al'd or on a
kitchen tahle or a work tahle over whi(.h a hlanket has l,«,en smoothlv fastened. A
carpeted fl««»r also off%fs a good elasliç surface and simplifies the preliminar.v
preparations. A large piece of e|ean hlollin.-paper s]loll]d he placed immediatclv
under the part of lhe malerial that is
that otherwise mi.,_dt spread in lhe malerial or soil the surface hOlleath if.
The hesf hrush for the purpose bas short rather stiff hristles. A clean
mucilage hrush can he u.ed with ood resulls. When lle s|onçil ]la hoen pinned
firmly in place on the stretched cloth, the hrush should ho fill«,d with colour and
then presscd out till it is alnmst drv bef,,re it is applied
colour spreads, the brush i. net
vertical positi9n se that onlv the
painf is rub],cd in with a rapid.
distrihutêd over lle whole shape.
that thê edges are clear and sharp
drv enouT. The hrush should he held in a
end¢ corne in contact with the cloth, whilo the
stipp]in.,_, movemcflt until the colour is cvcn]v
Olle COl'lier of ||le si¢qwi] should he lift¢,d te sec
hefore the stcncil iv ronmved. All paint should
be wiped from the steneil before if is p]aced in position for the paintin;z of lhe next
unit. The stencilled material should he hun up te drv for a few davs hefore if is
pressed. If a thiek, damp t.]oth is laid on top of the d¢,si, with a drv c]oth over
if, and the material is pressed with a hot iron through this until if is dry, the
eolours will be more permanent. Stencilled materials require as ._¢q'eat eare in
washing as eoloured embroideries.
324 ART
An effective finish is given a stencilled pattern by outlining if with eoloured
floss, which is darned into lhe nmtcrial se as te have the appearance of a woven
thread. Ïhe use of this embroidered line wi]l give ihe pupils an Opl»ortunity te
introduce a contra.ting colour into lheir design..
fui, ils in this Forln are cxpected te km,w h-w te make and use a steneil, but
ris a],p]it.ation te woven material is optional. Explicit instruclions in the art bave
heon iven lwre, that the desire te make the home attractive may be encouraffed in
the pupil.
tther wavs in whieh the stenci] nmv be applied in school if if is deemed
desirahh, are: Idack-lmard dec'orations in cha]k: hlack-board curtains of denim,
factory cotton, or unbleached linen, etc. ; sash curtains of cheesecloth or cotton voile
1o regulatê the light.
BLO('K-PRI NTI NG
Block-printing, like stencillin, is an easy
and covenient melhod of repeating a pattern
but, unlikc slenei]linv., if is the background that
is usually eut away, leaving the pattern in
relief.
The most interesting way of making the
bloek is to carre the design on tlae face of a
pieee of sort. close-v, rained wood. such as pine.
The wood shou]d be ïrom.one te two inches in
lhickness. The aceompanyinff bock-plate was
printcd frein a h]ock of this kind. Wood
carvinff is difficult, however, and requires a
vcll-.harpened knife and plenty.of time, there-
fore an casier method of producing the block is
desirahle for use in .ehool. When the cutting
and prinfin are fo he done the saine dav. the unit of design mav l,e h'aced and
earved on tlw fiat secti-n of a potato. The surface patterns facing p. 274: were
ruade in thi. wav 1,v lhe bovs of F-rm IV. Junior Grade. A hetter and more
durable substilule for the wood-bioek may be ruade bv ,-lueing a pieee of heavv
iinoleum or cork earpet of he right size and shape te a snmoth bloek of wood anal
«arvinzif as desired, or a desi_ffn may be cut front hard felt and glued te a bloek
of wood.
BLOCK- RI NT I N_
325
After the design is prepared, if may be traced with carbon paper on the surface
to be cut. In the case of the wood-block, the design might first Ira drawn or painte.d
in India ink on rhin, nearly transparent paper, and then pastcd face down upon
the block. Where thc two sides of a pattcrn are unlike, if is uecessary
on the block, or the printed pattern will al,pear turned in thc Ol,posite direction.
When the Imper is quile dry, if lnay be oih*d fo lnake lhe I,altern (.h.arvr. "l'he part
surrounding the pattern may then be eut away with a shal'l» knife having a rallier
i,ointed blade. The b]ade, in eutting, shouhl be hcld with the edgv slantinff a
little awav from the l,attern so as te» produee a trong oullinc and prenent umler-
cutting. The bh,ek should be eut away se» as ot fo exteml l,«'«,ml lhe l,«»undal'ies
of the design. When the pattern is af least an eizlh of an inch in relief and ail
the edes are clear and sharp, it
print evenly, the I,lock nlav I,e rul,l,ed down tu an exen surîace ,n a piece «,f line
sand-paper.
o ¢«,lour desired nmv I,e mixed wilh water te, the c.nsislem'y «,f cream and.
as if should I,e slightly sticky, a drop of mucilage
added to it : it may then I,o i[ainted on the surfa,.e of the I,hwk f,,r each iml,rint lhat
is ruade, or a pari ruade from a pieee of fclt or from
blottilag-pal,er mav be laid «,n n plate or anv similar fiat surface and saturaWd xx ith
the prepared e¢,lour.
The paper to l,e printed should l,e laid on seveal thi«knessos «,f smoothlv-f«,lded
newspaper, and tho l,l«,ek should then be pressed first upon the pad und then upon
the paper for eaeh iml,rint. A sharl, tap on the l»lock with a hammer will nmke
the imprint clearer.
The l,ook-plate offer a faseinatingthough rather diffieult l,rol,h«n in w,,od-
block earving that shoubl appeal to Form IV pupil.
gueh materials as ass linen, serim, and eotton voile, lend tht«nselxes h, vood-
l,loek priuting. For printing on these materials, oil «,,l«,urs are l,rel,ared in the
saine wav as for steneilling, and the material fo l,e printed mav first l,e dampened
evenly and then stretched on a smooth, elastie pad ruade of sexeral thickmesses of
flannelette or ('anton flannel.
OPTIOn*AL PROBLEM IX APPLIED DESIGN
BOOK ('oVER
A semeeable and attractive book eover that ean I,e ruade of any desired slze
differs ve little in eonstru,'ti-n fr,,m ('lil,ping-ease No. 2. whieh i handled in tho
ext for orm IV. Junior (Irade, exeel,t that if requires f.ur pieces ,,f mill-l,oard
326 ART
instcad of wo. Thc paper which is to form the leaves of the book must be chosen
bcfre a covcr can be plmmcd o fit them. The paper for looscleaf note-books,
whieh COllleS in ¢lifferenl sizes in paekages, will be fouud eonvenient for an ordinary-
sized l«,ok. N,,té-pal,er may bê used if a smaller book is dêsirêd. Thê following
materia]s arc, required to eonsruet a eover that will fit a leaf 6" by 8}" in sizê:
N
P,)OK WITII IIINGED COVER
. ltead.v to havc tire laps past«,l; 2. rea,]v for {|m lining papcrs: 3, with lining papers pasted
in position; 4, fnmt of cover of fiishe,l ],-«,k; 5, hack of covcr of finished book
A pieee of eover eloh 15" x ln¼"
A pieee of eoxer el,,th 4" x ,q"
Two l,ieees of mill-l,oard 5:]" x ,4 a"
Two pieces af mill-lmnrd " x g'"
Tw«, pieces «,f li,i,.,_,_l,al,, r 5.t" x 8.".
BOOK COVER 32ï
Aise a ruler, a well-sharpened pencil, a pair of scissors, a newspaper te protect
the desk, paste, a damp cloth, and a dry one for wiping paste frein the fingers.
The steps te be followed in making the book coer arc gien below:
l. When cverything is in readiness, place the 15." by l" picce of cl«,lh
h,ng wav aeross alld wrong side ttp Oll thvdesk.
"2. La 3" the " ],y 8:]" stril,s of lnill-]»oard one-half inch ai»art d,xn tho mi,hllo
of the eloth, se as te all«»w a three-quarter inch margin at top and
|»2IIUlll. t'are nmst be taken te keep them the saine distance al,art for
their full lenh.
3. Plat.e one of the 5]" by 8 a" pieces of mill-board .ne-quarter ineh te» the
left. and the other one-quarter im-h te the rigbt of the ll,» ltarrow
.trips of mill-board, keel»in the space betw«.«.n ,,f the sain- width for
lhe full length, and allowing " mar¢ilts at te»l» and
4. II,,Id the f«»ur pieces of mill-hoard firmlv in position and in a straizht line
at t.l» and ho»Item, while the eloth marin. are fohh-d up aml erva:ed
all artmnd.
5. Rem,ve the nlill-boards and measure lhe two sides of the creased im.l,,suro,
also the top and bottera, te sec that thev mah.h properly and are e,,rreet
iii lengIh.
6. Paste the lwo larffer pieces of mill-board in the places ereased f«*r them.
keel,il,g the space hetween them even al top and l,ottom.
. l'a:te the narrow strips of mill-b«»ard «me-quarter im.h in frein the larger
pieces, keeping the space between even frein top fo I,»ttom.
8. ('ut across the four corners of ihe (.loih c,ne ei7hlh of an in(.h beoml lhe
ouier eorners of lhe mill-l,oard.
9. Pa.¢te ihe long laps firmlv and smgly up «,n lhe mill-l«,ard, keel.ing
edges between the l,oards even with ill«.m.
ln. Paste the .]mrl lap. firm]v in place, hwkin,,Z he corners in well wflh l,h.nty
of paste.
11. Paste the 4" hv " strip of el,.h in place down ihe cenire of he inside of
t]e eover, se as te conceal the narr«»w boards and lap over the inside
ed.,_«,s of the larder ones. ,nmoth il well Iwween he board. wifl phmty
of paste, .o that the two thiekne.se. of e]ofl wi]] adhere
and make a firm back and nea hin,__,e. for the
12. Pa.¢te the lininz papers in place, se as o eover the lap. te witlin one eighh
of an inch of ihe ou?er ed7es of the cover.
13. Lav the eover fla un«]er a heavv pressure unti] if i.¢ quite drv.
328 ART
When the design is being planned for the book eover, the pupil should net be
allowêd te lose sight of the fact that good spacing and a wêll-lettered title have
more te de with making the cover attraetie than any amomt of decoration.
Beeause of this faet, the nmrgin and the sze and pIaeflg of the title are the first
things te, he considered. The marginal line may by ,h.veloi,ed into a simple border
or mav i,,, wide,ed into a slrai,, whi«.h mav i,e left ],]ail, or mav have the corllers
strengthenod I,v a uni/ whi(.h shouhl he a naturai deveiol,nwn / (f the SIl'ap and in
harmonr with it. Frequently the marginal line is discarded after it has helped te
determine thc placing (,f the tit]o.
Any decoration that is added shouid ],e of su,.h a nature and se ],laced as te be
subordina/e t,, the fille. It is net necessarv that the decoration should indicate the
nature of tho su],ject lrealed wiflfin t]e ]«,,,k. ],ut il should net 1,« at variante with
il. We might with porfect 1,r,l,riety have a ]andscal,e or a figre composition in
fiat t,,nos on a Ro«k of Addresses or on a l'est-tard Album. A fruit compoAtion or
a c,,ml,osi/ion of u/ensiis or dishes suggosting a l)antry sho]f wouhl be suitah]e on a
I:-ok of R,.cil,es ; while a Sketch B,,,,k w,,uld have a wider range of possibilities
in this sort of decoration. The use ,,f a m-re conventionai decorati,,n is caiculated
to produce a more sedate cover desim which wili lmt he likeiv te be out of harmonv
with the COldOds of anv h,,ok. The ideal cover is one which awakens a desire on
the pari of the observer te investigate the h,,ok and leaes with him no suhsequent
se,se of having boom, imposed ui,,n. The inutructi,,ns eoncerning book covers that
have 1,een given in pl'evious Ferres should be read for furlher suggestions.
The designs shou]d be planned on paper the exact size of the cover, after a
number ,f sma]] tria] sketches have been lnade, and should be criticized by the
elass and corrected bv the individual pupil hefore thev are traced on the covers.
The colours te be used shou]d 1,e tested on a piece of the c-ver cloth, te sec that thev
are in harm,)nv wilh it and ver of suflieient briilianev to enhance the desiq. Black
ith o,e ('oiour is the eombination that is most generaily round satisfactory.
The leaves may be iaced into the bo-k as the enveiopês were in Clipping-case
No. 1 in F,»rm IV. Junior [rade. or bras paper fasteners with rounded points mav
i,e 1,assed through small cr,,sswiso s]its in the narrow boards af the back of tffe
cover and through the leaves between thom te hoid them in position. Snmll brass
discs nmv be ol,tailwd that wili koep the ends of the paper fasteners firmlv in
place on the under side of the cover.
BASKETS MA.DE BY NOIMAL SCHOOL STZDENTS
329
331) ART
WASTE-PAI'ER BASKET
The illustrations show a basket that ma), be ruade te fill various uses. Its
dimen.,.'ions will depcnd largely on the purl, ose for whieh it is intended. The larger
it is, the heavier should be tire mill-board oï which it is eonstrueted. Seven inehes
high, bv ,ew,n im-iws w/de at lhe t,»p aad rive inches wide at the bottera, is a eon-
»ni.nt .ize f-r a ,mall waste-papcr basket or for a serap basket for use on a .wing
labh.. The IJa.k«.t mav be ruade with slightly more or less spread than this at
the top, or it may he ruade of lhe saine .ize at top and botom. ('are should be
lakcn Io use din,,asions that will result in a basket that is both useful and of
ph,asing proportion.. Any rhin, rather .trn eotlon or linen fabric, even in
texture, of a plain e«d«Jur that is of l««v inten.ity, and light enough in value te take
paient nmv L, us«.d i «overing tie mill-I»ard. A verv li.ht-weight linen eanva. oï
lhe kimi used for stiffening lhe eollars and lapels f eoatsi. a verv satisfaetorv
mI«,rial l'w the l,Urpose, as it is serviceable and agreeable both la texture aud
co]ollr.
"WATE-PAPFR BASKET
l. Mill-],oad f,w one «»f lhe four si,les of tl,e basket; 2, mill-board fo," the l,oltom of the
baske! : :. «»c si,h, wilh lining ready te» l,e pas/ed down (eover elo/h eut double) ; 4, side
and end ready o be laced ogeher
The mi}}-I«Jard plot.es are eovered separately and mav he lined with paper as
lhe tw¢. ]Ji(.(.(.s cal lhê ('lip|dn-ea.e were on page 279. ()n]v the ]ap.% however, need
pa.çing If there is sufficicnç maçerial te make lining and cgver alike, the cloth should
he eut double, .¢o th,qt the fold wil] et»me t tbe top of the hasket. Te cut the c]oçh
double, lav tw«J of the mi]l-hoard .ides on it, top edge agin.t top edge, and mark
around them. Allow t]aree quarters of an inch ail around for laps and cut Otl? four
LETTERING 331
pieces of the saine size. The square bottera of the basket may be covered with the
cloth in a similar way or with paper of the saine colour. The laps should be well
and exactly creased, the corners cut as explained in previous lessons, and a
V-shaped piece cut out of the laps at the middle fold. .k. the laps only are te be
pasted, the mill-board should bc fitted in place very accurately and kept with its
top edge snugly against the middle fold while lhe bottera and side laps are pasted
upon it. The laps of the ul,per hall for the lining should be well flattened down
against the lining with l»aste belote it is brou,,_,ht smoothlv down «»ver the mill-
board, se as te fit it exactlv. The edges should then be pasted firmly in place. ,o
.hat the inside of the ba.*ket will be as neat as the out.¢ide. When the four sides
and the bottera of the basket have been covered, they should I» put uudo pre.:urc
till thev are drv. The decoration .¢hould then be applied. The ba:ket is lace«l
togethe" by mea'n of evelet holes which are punched at re,,_alar interval: fl,,n ail
except the top edzes of the ba.ket. ,ilk cord. narr,»w braid, or brown .*hoe-lace.
mav be u.ed f«,r the lacin.,..,. ,no or two lndian bead of go,»d ce»leur on tho fried ends of the lacing eord. will give a pl«,a:ing toueh of «olour te the ba:kt.
The dec,,ration of the ba:kot mav 1,e d,»ne iu water-eol,»urs and mav I»e in the
ferre of a border se l,laeed as te divide the heiht of the basket into wll relate«l
spaces, or in the forln of a panel that will allow undecorated margius of g««»d
proportions.
LETTERIN'I
The letering for Ferre IV. Sonior Grade. need net differ frein that in the
Junior Grade. but. aq the pupil .hould be able bv this rime te leIter with a certain
amount of facilitv, a elas.q that a« a whole is able te de good lottering might »e
permitted te u:e ioman capitals and the small, or 1,»wer case. alphabet.
EF HILTT
AKMN
VWXYZ
BCDGJO
P O.__RSu
33?
LETTERING 333
,,:'llii'«
IIIII ... ..
Initial letters, such as are shown
r ,llllll' "
in the illustration., may be planned as
probltans in Do.ign and ued with letterod nlottoes.
When an essay is written, if may be desirablo to add fo ifs attractiveness by
using a decorative initial. A decorative initial used with script should be in
harmony with if, and must
therefore be s«.nli-formal in
character and readilv drawn
with the pen. It mav ho in
black «»r cob»ur and may 1)e
outlincd with the saine or a
contra.ting colour, or a row of
evenly-spaced dors mav take
the place of the outline.
The designin._" of a simph" monogram is not difficult, and the average Form IV
class is keenly intorestcd in working out such a prohlenL ,qomo examples of the kind
of m«»nograna that mi._-ht he attempted in this class are gix»n in the ilhlstrations.
334
335
