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Full text of "Art : Ontario teachers' manuals"

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 Gradœ, 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 comœearison 
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 str