A
NTARIO
ERS' MANUALS
T
AUTIORmËI) BY
HE NISTEn-:O-EIUCAT!ON
. EATON
TORORTO CANADA
ART MANUAL
ONTARIO
TEACHERS" MANUALS
ART
AUTHORIZED BY THF_, MINISTER OF EDUCATION
TORONTO
O
»T. EATC) N C .... ,,,
1-'28
('OPYRIGIIT, CAX'ADA, 191, BY
TUE --'[INI.'-;TER OF FDUCATIO.N" Foui: ONTAFdO
FIRST EDITIO., 1913
REPmNTE), 1918
] .I-'PRI NTED. 1921
IEPRI.NTED, 1923
REPI I.X'TED, 1924
REPII2X'TED, 1926
RçPllXTE), 1928
CONTENTS
PAG E
PUBLIC A,N'D SEPARATE CHOOI, COURSE OF STUDY ....................................
Details of the Cuse ........................................................ 4
Dêtails of the ('ou]se Arranged According tu Season ............................
{'OURSE FOR .'NGRADED Ç'LASSES ................................................... "14
l»etails of the Comse ........................................................ 14
Course of Study Arranged According to Season ................................. 15
('IIAPTER [
(;crierai Introduction ........................................................ 17
Three .ides fo Art Educati-n ............................................. 17
The Course of Study .................................................... 17
tb»w enironment may affect the Course ............................... 18
Advantages of using different mediams ................................ 19
Use fo be ruade of the Manual ........................................ 19
The illustrations .................................................... 19
Use and care of materials ........................................... 20
C]iticism of work ................................................... 22
IIelps .............................................................. 22
Illust rative Drawing ..................................................... _°3
Representation .......................................................... _°4
Plant specimens; fruits and vegetal»les; trees; landscapes; animais;
children; manufactured ol»jects ..................................... 25
Composition ........................................................ 31
Use of finder ................................................... 31
Picture Study .......................................................... 34
Colour ................................................................. 35
Design ................................................................. 37
Aire of the Course .................................................. 38
Applied Design ..................................................... 40
Optional problems ............................................... 40
Home problems ................................................. 41
Lettering ............................................................... 41
Corr'lations ............................................................. 42
Manual Training .................................................... 43
Nature Study ....................................................... 43
tIousehold Science ................................................... 43
V
ri ART
('IIAPTER I--Conlinueà AGE
Order and Method in Teaching an Art Lesson .............................. 43
l'rcxious I,tCpalation |,y the tcachcr ................................... 43
3Ic/hod ............................................................. 44
Ilecipes--A,lhcsixe l,as/e; a tLxative ....................................... 45
'IIAPTFR II. FORM I: ,JUNIOR GRADE
lllust rative Dla il ......................................................... 46
Soat l:xoels«, for ]},'v«'lopmolt of ,qclf-expression ........................... 46
Suitahle Sul,jects for Illustratip Drawing
M«.thod ,,f 1,o:4iIlllillg tlw I¢'sson .....
Type Lpsson .............
Mcth«,d .......................
;amcs and' Sl-,,,rts-- .n exanq,lo ..
.N ursely rhy mes ...............
Rcprescntat ion ..............
Plant .ql udy ............................
................... 47
.................. 4S
.................. 50
................. 30
................. 50
I»awing c,f a Spra.v of Grass in C-lour .................................... 50
Matcrials ; mc/hod ; suggestions ; lela/ol exerciscs ........................ 50
Spi,lerooE in ('oloutcd Crayons ........................................... 52
1im ; ma/orials ; mc/hod ; rela/ol exceiscs .............................. 52
Trees and Landscapcs .................................................... 54
l,rawing flom T«,vs
Aire: nm/erials: moth««|; drainfffrom /ho modcl ...................... 54
I'II.PTFR III. FORM I: Ju-<on GRADr (C,mtinued)
'-Iour ...................................................... 57
I »,.si,m ..................................................................... 57
ppliod :lh.sin--Tol with boder .................................... 59
,im; mate.riais; mcthnd
Ail-over pat tcrns ................................................... 61
{ ';IAPTER IV. FORM I: SEX;Or, GRADE
Illuslrative Drawing ........................................................ 63
Little Miss Muffot
List of Xmsery Rh-rnp« Suital,lo for Illustration in Form I .................. 64
Silverloek and the Three P, oars
'tire; materials; method
ReDrospntatin
Drawin fmm Plwers ................................................... 66
Daffodi| in Colour ...............
Aire: matorials; melhod
Trces ................................................................... 6.q
CONTENTS vii
ÇHAPTER IV. FOR.M I: E.'N'IOR GP.ADE--Continued PAGE
The Poplar Tree in Chareoal ..............................................
Aire; preparation; maIorials; meIhod .................................
The Poplar Tree in Colour . ............................................... 70
Aire; materials; method ............................................. 7o
Lan,lsenpo Drnwin ...................................................... 71
Vinter Sunset Lan,]seai»e with ('oloured ('rayons ............................ 72
Materials : method
Animal Study . .....................................................
O],je«.t Drawing ................................ 7
From memory: from the model .............................. 71;
Picture Study . .............................................. 7;
Vonmn Çhurning--Millot ........................................
The artist
['IIAP'I'ER V. :FoRM I: ,qEXIoR RXDE (Continue.l)
'ulour ..................................................................... o
Enjoying the Six C, dours in th,. pectrum .................................. R0
Learning to Recoizo Ro,I in any of ils T, mes ... 1
Light Red and Dark Rod ...................................... 1
Making Orange fronl R.,I and Yellow ................................ h2
Materials; method ; modifying coh,ulS ........................... N
Design .......................................................... 83
ApI,]içd I}esign ....................................
Figured muslins; stripes; other pr,,1,loms ........................... 4
Lettering ................................................................. 8
{"IIAPTER VI. For,/ II: JI'NlOR GRADE
]llustrative I)rawing ......................................................... .q9
Ropresentation ............................................................ q0
I)rawing from Flowers ................................................... q0
Purple Aster in Colour ................................................... 91
Aire; materials; method ........................................... 91
The use of wet paper .............................................. 92
:Fruit on the P, ranch ..................................................... 93
Fuit in eoloured crayons ............................................ 94
Trees .................................................................. 9t
Maple Tree in Coloured Çrayons ......................................... 95
Aire; proparation: materials: method ................................. 95
Vïinter Appearanee of the E]m Tree ...................................... 96
Landseapo Drawing .................................................... 9,q
A Summer Landseape in Ç-]our«.d Crayons ................................ 9q
Aire; materials; method ............................................. 9. °,
o .
I'IIAPTER VI. FORt II: JUNIOR GRADE--Continued PAGE
Animal Study ........................................................... 99
Draing ïrom the Figure ................................................ 100
OI,ject Dra ing ......................................................... 100
Fom memory; ïrom the model ....................................... 100
Picture ,qt udy .............................................................. 101
The Shepherdess--Lerolle ................................................ 101
The atist; the picture .............................................. 101
('IIAPTER VII. F, Jrt II: JVNIOR RADE (Coniinucd)
{'olour ................................................................... 103
Tinls aad ,qhadcs of ¢'«,lour ............................................... 10.3
Design ................................................................ 104
Leavcs and FI«,wers in Dosign ....................................... 104
'onstructive Plans ............................................. 106
{'olouring of Desions .................................................... 107
Prol,loms in Applied Design .............................................. 107
Handkerchief borders; circular mats or doilics; valentincs .............. 107
Lettering ................................................................... 110
('IIAPTER VIII. For,! II: SENIOR GRXDg
Illustrative Drauing ................................................... 11î
lcpresentation .............................................................. 114
Drawing from Flowes ................................................... 114
Drill in making hrush strokes ......................................... 114
Grasses in Silhouette .................................................... 114
Materials ; method
Exercises in Handling Colours ............................................ 116
Fist exercise; second exercise ........................................ 116
Autumn Maple Leaf in Water-colours ..................................... lî0
Pumpkin in Water-colours ................................................ 121
Materials ; method .................................................. 121
'I'rees
Winter appearance of trees ......................................... 123
Landseapes ............................................................. lî t
Landscape in ink
Drawing from Animais ................................................... lo6
Drawing from the Figure ................................................. 126
Ink Paintings, or ilhouettes, of Children .................................. lî6
Preparation : materials ; method ....................................... 127
Objeet Drawing ......................................................... 128
Picture Study ............................................................... 131
The gistine Madonna--Raphael ........................................... 1.9.1
The artist; the picture .............................................. 131
CI tNTENTS ix
CIIAPTER IX. FOEM II: 8ENIOr, ÇADE (Continued) PAGE
(_'olour ...................................................................... 134
Primary ami Secondary ('olours ........................................... 134
tIues of Cohmr ..................................................... 134
The Flat Wash ............................................... 135
The appl.ving of a fiat ash ................................ 135
The Drt»pped and Floated Va.h .... .. ............................... 17,6
Tints and Shadcs of ('olour .............................................. 137
Design .................................
An Exereise in Dcsigfing ................
To Finish tllo Surface Patterus .....
Interesting Pro,lems ................
Margins--Problems involving margins .
Units of Dsign .....................
Calendars--Making the ealen,lar .
Lettering ....................................
CI:IAPTER X. IORM III: Ju.x-ior, GRADE
Illustrative Drau ing ............................................ 149
Rcpresentation ............................................................. 151
Ink Tones ..........................
Handling of Water-colours ............
Nasturfium in Vater-eolours ..........
Materials; preparation; metho,l ..
Fruits and Vt, getal,les ...............
Trees ...................................
Trees in silhouette ....................
Landscapes .........................
.......... 138
........... 138
........... 1.-39
........... 142
..................... 144
............... 146
........... 146
........... 147
Animal Drawing ................................................. ]59
Lessons on P.irds ................................... ]59
Materials ; metho«l ........................................... 159
Drawing fro'm the Figure ................................. 161
Drawing from Manufactured Objccts ...................................... 161
Pencil mcasurcment .................................................. 162
Bloeking n ....................................................... 163
Table line ..................................................... 16
Drill in drawing poneil lines ......................................... 164
Foroshortened erc|c ................................................ 164
Cv]indor
" ........................................................... 166
A G|ass nr Tumb|er in Poneil Out]ine ..................................... 167
Mothod ............................................................. 167
Picture Studv
.............................................................. 168
Tho Fighting Téméraire--Turnor ......................................... 168
The artist; the pieturo ...............................................
................ 151
.................... 151
............ 152
............... 152
.................... 154
..................... ]54
................. 156
.................... 156
x .ART
('IIAPTER XI. FOR},! III: JUNIOR GRADE (C.ntinucd) PAGE
(',»lour ...................................................................... 173
Values ................................................................. 173
(raying of colours .................................................. 175
('onff, lementnry eo]nurs ............................................... 1"/'5
-Making of |,1"o$$'ll .............................................. 176
lhdaneing of three values ............................................. 176
I »esign .................................................................... 176
Measureme||ts ................................................ 176
Constructive Plans ................................................. 177
l',dts of Design ........................................... 177
Tile i,at t,.rns .........................................
-Margins ............................................. 1.ql
';t' i l'es .............................................................
l:orders ....................................................... 183
XVnlll»:ff'er I mtterns ................................................. 183
A pl-died Design ...............
('a|cn,la|'s .................................................... 1,q4
Ionk|ct eovcrs ...................................................... 155
()l,tionnl Prohlms in Apidiod Ih.sign ................................. 186
Table rnnts .........................................................
I 'en-wipers--Materiais ; method ....................................... 186
Lettering ................................................................... 155
¢'IIAPTER XII. F'ont III: SE'IOR RADE
I lh,st,-ative Drawinz ......................................................... 191
M'tho,l ............................................................. 194
lbiii in Drahtg ],rllsh Lines ............................................. 194
Will«,w Çatkins. or " Puss 3- 3,Villos ", in Watcr-eolours ..................... 195
l'rel,arntion ; mcthod ................................................ 195
q'hc I)rnw[ng nf vuit ................................................. 196
Aeecnted «mtline .................................................... 199
Cnaeeente,] -utline .................................................. 199
Tree. and Lnn,].eapes .................................................... 199
Lan«l.enpe in ink or ncutrai values ..................................... -'200
lXlnteriais : n,eth«.l ............................................... _'200
,":.u n set landseapes ................................................... '2-02
I),'awinff f, nrn the Figare ................................................. _'203
Quiek peneii sketehcs ................................................. _004
Plneinff of spots ..................................................... 905
IIeads aml faces
Fcct and hands
C(INTENïS x[
CHAI'TER XII. FORM III: ,ENIOR Gl,ADE--Continu«d PAGE
Drawing frorn Manufacturcd Objects ...................................... 207
A rose or ginger jar in outlinc ........................................ 208
]Iandles and spouts .................................................. 09
Grouping of objccts ............................................... 2(9
Picturc Study .............................................................. 212
Thc Artist's Mothcr ................................................... 21ï
The artist; thc picturc .................................... 212
CIIAPTErt XIII. lVO.M III: SENIOR GRADE (Continue,l)
Colour ..................................................................... 215
Ncutral Value ,qealc ..................................................... 215
P, alaneed toiles in graycd ct,l«,ur ....................................... 217
Colour Cirele ............................................................ 217
5iatcria]s; stcps to bc followcd; colt,uring tho t'hart; value sealos in co]our;
complcrnentar 5 colours ............................. ïlq
Design ........
lIcasurernents .: .............................................. 221
Çonst ructivc Plans ................................. 1
Units of D«.sign ............ 221
Squarcd dcsiffns .............................. 22:1
Modification of units .......................... 224
Wall-papcr pattcrns ................................................. 2îI
Plaids .................................................
Applied Dcsig-a .......................................................... 2"27
Optional i,rol,lems
Mateh-seratchers ; I,Iotters ........................................ q
Lettering ............................................................. 2.".1
CIIAPTE XIV. lVo.Xt IV: Ju.',ou GRADE
IIIust rative Dl'awing ................................
Roprcsentation ................................
Flowcrs in Peneil ..........................
Decorativc Composition ............
Trecs and Landscapes ..................
Drawing frorn thc Figure .........................
Heads and faces; fcet and hands ....
Objcct Drawing .......................
Pieture plane .....................
.............. 2.q6
................... 2.".6
.............. 240
......... 21:;
.............. 244
................... 2 t6
........ 246
........... 21(;
Drawing frnrn Manufacturcd Objects ...................................... 2t7
Foreshortcning and convergence ....................................... 24q
Light and shade ..................................................... 251
An Aven,le of Trecs ...................................................... _'257
xii ART
ÇIIAPTER X[V. FORM IV: ,Jr-,x-lon GP.ADE--Cotinucd PAGE
Picture Study ............................................................... 262
The Avenue of Middelharnis--Hohbcma ................................... 262
The artist; the pictuc ............................................... 262
CHAPTER XV. FORI IV: JI:,x-lOR GRADE (Continued)
Colour ................................................................... 264
The Propeties of C, dour .............................................. 264
Reducing the Intonsity of Colours ......................................... .0.64
Se.aie frein hIue te orange through neutral gray ......................... 264
Seales nf intensity . .................................................. .2065
Çolour harmon.x ............... ." ................................ 266
Çolour schcmcs ........................................ 267
Design ..................................................... 267
Position ............................................................... 269
Size .................................................................... 270
Shape .............................................................. 270
Value .................................... .. .................... ')70
Çolour ............................................................ _o71
Measuremcnts ...................................................... 271
Constructive Plans ..................................... 271
Units of Design ........................................................ _072
Principles of Dosin Rolatod to Life Proldems .............................. 274
Applicd Dc.iffn ................................................ 276
Posters : steneilling .................................................. 276
f)ptional prol,lcms---Clipping-case -o. 1", clipping-case 'o. 2 ............. 279
Lottering ................................................................... 2._ql
['HAPTER XI. FoP, M /V." SEIIOR GRADE
Illustratve Drawing ......................................................... .0.83
Hopresentation ............................................... 285
Flowers
Vhite flowers in poneil ............................................... 286
Flnuers in uater-colour ............................................... 2S6
Trees and Landseapos ................................................... 290
Painting of a landscapo in water-colours ............................... .0.92
Wind«w Skotchos ....................................................... 294
Drawing of a window skeIeh .......................................... 294
Colçuring a window skeeh ....................................... ,2095
Drawing frein the FiL,-ure ................................................. .095
I/ads and faces
llands nd fret
P«v ,qe,ut. in poneil valuos ...........................................
CONTENTS xiii
CH&PTER xvi. For,,t IV: SENIOR GRADE--Cottitucd PAGE
Series of Lessons in Freehand Perspective .................................. 301
Some principlcs of perspective ........................................ 307
Use of diameters and diagonals ....................................... 308
Picture Study ............................................................... 308
The Gohlen Stairs--Sir Edward Burne-Jones ................................ 308
Thc artist; thc picture ............................................... 308
CLIAPTER XVII. For..[ IV: 8EIglOR GRADE (Continucd)
Colour ...................................................................... 313
Çolour Chart ............................................................ 313
lIaking the diagram: analogous colours; colour harmonics ................ 31.5
Desiffn ..................................................................... 316
Units of Desi,-n ......................................................... 317
DesiL'ns that may be applie,l ,t home; steneilling; block-printing ......... 320
Optional Plohlems in Applied Desi,n ...................................... 3o5
Book eover; waste-paper Basket ....................................... 3o5
Lettering .................................................................. 331
PUBLIC AND SEPARATE SCllO[}L
COURSE OF STUDY
FORM I: JUNIOR GRADE
Freearm drawing with chareoal, eoloured chalks, black and coloured crayons, in
illustrative drawings and in the representation of natural forms, toys, and
interesting objects.
Recognition of the six colours--red, orange, yellow, green, blue, violet.
Simple decoration of constructed objects.
FORM I: SENIOR GRADE
Freearm drawing with charcoal, coloured chalks, black and coloured crayons, in
illustrative drawings and in the representation of natural forms, toys, and
interesting objects.
Picture Study.
The six standard colours.
Simple design, applied where practicable, fo constructed objects.
Single line capital letters.
FORM II: JUNIOR GRADE
Freearm drawing with (.harcoal, brush and ink, and colourod crayons or water-
colours, in illustrative drawing and in the representation of natural forms, other
common objeets, and simple landscapes.
Drawing of animals and children.
Picture Study.
Tinis and shades of colour.
imple design, applied where practicable, fo consiructed objects.
Lettering.
FORM II: SENIOR GRADE
Freearm drawing with charcoal, brush and ink, water-colours or coloured crayons.
and pencils with large, soft leads, in illustrative drawings and in the repre-
sentation of natural forms, other common objects, and simple landscapes.
2 ART
Drawing of animais and children.
Picture Study.
Hues of colour.
Simple design, applied where pracfieablo, te constructed objects.
Lettering.
F(RM ]lI: .I['NI(R (;RADE
Irawing wih charcoal, pencil, brush and ink, and water-colours (,r coloured
(.rayons), of plants, trees, landseapes, and eolnmon objeets involving the fc, re-
shortening of the eirelê.
Illustrative Drawing.
Irawing frein the figure and frein animals.
Pieture Studv.
('omplemêntary eolonrs, graying of colours, three balanced tones of gray.
Simple design, applied where pra«.tical,lo, ira conneetion with constructive worl,'.
F(}RM III: SENI(}R [;RAIRE
Drawing wflh charcoal, lwncil, hrush and ink. and waer-colours (or coh,ured
crayons), of plants, troes, landseapes, animals, birds or insêOs, and eommon
ohjeets involving the foreshortening of the eirelê and the studv of handles.
Grouping of two objects.
]llustrativê Drawing
Drawing frein thê figure and frein animals.
Pieture Studv.
Scalês of rive halanced values (nêutral or eolour).
Simple design, applied where pra(.tical)le, ira conneOion with constructive wc, rk.
Lettering.
Fç)RM IV: JI'Nlç)R (;RADE
Drawing with port(il, charcoal, bru.h and ink, and wator-colours (or coloured
crayons), of plants, trees, landscapes, objects, and animals.
lllustrative Drawinz.
Drawing frein the fire.
Freehand drawing of simple reetandar objeets.
Grouping of objeets.
Pieure Study.
C(}URSE [}F STUDY 3
Scales of intensity, complementary harmonies.
Simple design.
Lettering.
FOR_[ IV: SENI(R (;RADE
Drawing with peneil, ehareoal, lwush and ink, and water-colours (or coloured
crayons), of plants, trees, landseapcs, ohjoets, and animal.% bird., or inseets.
lllustrative Drawing.
Drawing from the figure.
Freehand perspective.
Interesting rectan|lar objects.
Grouping of objects.
Picture Studv.
Making of colour daarts and scales of hue, value, and intensity; analogous
harmonies.
Simple desi.__-m.
Lettering.
NOTE.--In graded sch«ols where the Ferres are net subdivided into Sonior and Junior
the teacher must use jud¢-ment in comhining the work of the grades se as te simplify it as te
quantity and at the saine tixae cover the prhaciplcs that are inoled,
4
ART
DETA1LS OF TtIE COURSE
FORM I: JUINIOR GRADE
ILLUSTRATIVE DRAwING :
Sentenccs cxprcssing action, gaines, sports, holiday experiences, special celebrations,
nursery rhymcs, and simple stories.
RErRESENTATION :
Simple floers, twigs, grasses, sedges, and trees, paying partieular attention te direction
and position of masses. Toys and other objeets interesting te ehildren.
COLOUR :
The rccognition of thc six colours--red, orange, yellow, green, blue, and violet.
In Design, the use of one colour with black.
DESIGN :
imple horders and ail-over patterns for the decoration of Christm:Ls work, etc.
.[EDiI'M S :
Charcoal, c«doured chalks, black and colourcd crayons.
FORM I: SENIOR C, RADE
ILLI'STRATIVE DRWING :
.entenees expressing action, gaines, sports, holiday experiences, special celebrations,
nursevy rh.vmes, simple falr.v raies, lessons in Readers.
REPRESENTATION :
SimI.]e floers, twig's, grasses, sedg'es, trees, landseapes. Birds, animals, children, toys
and other objeets.
In this Ferre partieular attention shou]d be paid te direction, relative position, size, and
shape of masses.
PICTURE ,QTUDY: (Sllggestive List)
Tc M«dona of tc Cair--Raphael; lVornan Churinç, Feediç te Hen, or The First
A'tcp--]l'illet; Tc ,qo.o of te Lark--Breton ; Prince BalthazarVe]asquez ;
The
1)irine Ecperd--Murillo.
COLOUR :
The reeognition of the six standard co]ours--red, orange, ye]low, green, blue, and
violet; the making of orange by the overlapping of red and yelIow; green bv the
ovcrlapping of ycllow and blue; and violet by the overIapping of bIue and'red;
matching colours.
In Design, the use of one coIour with black and white.
DETAILS OF THE COURSE 5
DESIGN :
Repetition in borders and aH-over patterns of simple geometric and flower shapes and
othcr suitable units. The application of thÇse to objects constructed for some
definite useful purpose. In patterns, orderly arrangement may be obtained by fold-
ing and creasing paper.
LETTERING :
Sing]e line capital letters.
EDrCM S :
Chareoal, coloured ehalk, black and eoloured crayons.
FORM II: JUNIOR GRADE
ILLUSTRATD,'E DRAWING :
Gaines, sports, events, experiences, stories.
Illustrative Drawing should be correlated with other school subjects.
REPRESENTATION :
Plants, flowers, budding or leafy twigs, fruit on the branch, with special attention paid
to direction, relative position, size and shape of masses, and to character of growth;
trees and simple landscapes; animals, children; toys, objects uscd in the home,
vehicles.
PICTURE STUDY: (Suggestive List)
The ,qistinc Madonna--Ra[,hael; The D«chess of Drvoshirc d Ilcr Boby--Reynolds;
The ,qanctuary--Landseer; The Shepherdess--Lerolle; Fecding IIer Birds--Millet.
COLOUR -"
Tints and shades of colour.
In Design, the use of one colour with gray, white, or black.
DESIGN :
The making of units from natural, geometric, and other forms, aml thcir repetition in
borders and all-over patterns; measrements involving the use of inches in planning
for the repetition of units in patterns. AIl designs to 1,e planned with the intention
of using them for some deflnite purpose and of applying them, wherever possible, to
construeted forms.
LETTERING ."
Single line capital letters.
IIEDIUMS ."
Chareoal, black crayons, brush and ink, coloured crayons or water-c«dours.
6 ART
FORM [[: SElX:IOR GRADE
ILLUSTRATIVE DRAV«ING :
(;ames, sp«,rts, events, cxperiences. Illustrative Drawing should l,e correlated with othex
sehool subjccts.
REPRESENTATION "-
Plants, floers, budding or leafy twigs, stalks wilh sccd packs, fruit on the branch, with
speeial attention paid to dirccti.n, elative l«»sition, sizo. and shapc of masses, and
to chara«.ter t»f gvowih; tre«.s and |amls«-al«.s ; aninmls; «.hiblron; interesting objects;
vchicles.
DICTURE TUIY : (SugPstivo List)
Thc ,çisti.c .ll«do.»o--Raphaol; Thc D«chess of Dcro.sbrc o.d H«r B,b?Rcynohls;
Tbc ,%«,ct,ory--Landseer; Thc ,ç'hcpberdvss--Lorol]«.: Fcvdinq Her BirdsMillet.
ÇOLOUR
IIues of cdvr, fiat washcs, dltTpcd and floatcd uashcs.
lu Design, the us. of 1o toncs of one c«dour wiih gray, whitc, or black.
DESIGN :
The makillg of units from nalural, goonmtic, aad othcr fnrms, aih] thcir repctition i
],orders and all«»v.r pat('rns; lncasurcmcnts ivolving the use of whole or half-inches
in l,lanning for the ro],etiti,n of mdts in ],atteins.
All dosigns te, 1,o planned wiflz thr' intentioxz of using t]wm for somc definite purpose and
of al,l,l)ing tbcm, whcreer possil,lc to constructcd forms.
LETTERING :
Singlo line capital ]ctters.
[EDII" M S :
Water-cd(,urs or c«,l»ure«i ,'rayons. «-harc.al, ]»rush and ink, or sort pcncil.
F()RM III: .IUNIç)R GRADE
ILLI-'STRATIVE DRAWING :
(;amcs and si,«»ts. Illustrafive Dmwing sh.uhl l,e «'nrrelatcd ith other school subjects.
REPRESENTATION :
Twigs or sprays with fruit or fl-wers, ith speeial altcnti«,n paid to proportion and
foroslmrt«.ning of parts ; toes and landscapes; aninmls, insects, or |drds ; f'hildren.
Ol,jetts in c,.ronron use, such as pottery, kitchen utensils, etc., chicfly in pencil outline,
ith careful attention to proportion and foresh,rtening; Japanese lanterns.
COMPOSITION :
AI,propriate siz«. a,,] i,r,q,,»rli,»n of s],o.t, suita|de n,argins, t],e use of " findors "
DETAILS OF THE COURSE 7
PICTURE STUDY: (Suggestive List)
The Night tVatch--Rembrandt ; The Fighting Téméraire--Turner ; The Gleaners--
Millet ; Sheep--Mauve ; Spring ( Paysage)Corot ; The Artist 's Mother--Whistler.
Coeur:
Complementary colours and aying of colou bv coplementaries; thr balanced tones
of gray.
DESIGN :
Units derived from nature or gmetry; also stripes, repeated in borders or ail-over
patterns. Squares, oblongs, diamonds, drop squares, and drop oblongs used in
constctive plans; measurements to include inches and half-inches. The colourg
in these desis tobe two ton of gray or two tones of a ayed colour.
Desis to be applied, where possible, to constructed objects.
LEERING :
Single line capital letters and numerals, of broad or narrow stroke according to the
purpooe for which the lettering is intended.
M IUM s:
Charcoal, brush and ink, water-colours (or coloured crayons), pencil.
FORM III: SENIOR GRADE
ILLUSTRATIVE DRAWING :
Gaines, sports, descriptive poetry. Illustrative Drawing should be correlated with other
school subjects, especially history and literature.
REPRESENTATION :
Plants or any parts of plants, twigs or sprays with fruit or flowers, or vegetables, with
particular attention paid fo proportion and foreshortening of parts; trees and
landscapes ; animais, insects, or birds ; children.
Objects in common use, such as potteD- , kitchen utensiis, etc., singly and in groups of
two. These objects should be rendered chiefly in pencil outline. Special attention
should be paid to foreshortened circles at wrious heights, both when seen as ellipses
and as parts of ellipses, handles also should receive careful study.
COMPOSITION :
The study of space divisions an,] margins and the use of ' « finders "
PICTURE STUDY .- (Suggestive List)
The Night Watch--Rembrandt ; The Fighting Tíméraire--Turner ; The Gleaners--
Millet ; 8heep--Mauve ; 8pring ( Paysage)---Corot ; The Artist 's Mother--Whistler.
COLOUR :
Scales of colour, sc.]es of neutral values. 'ive balanced tones in gTayed colour.
8 ART
:DESIGN :
Bilateral units, derived from nature or from geometry, to be used alone or repeated in
borders and ail-over patterns, and adapted to corners. The conventionalization and
squaring of natural forms. For constructive plans, use squares, oblongs, drop
squares, and drop oldongs. Colouring in these designs to be two or three values of a
grayed colour. Designs to be applied, where possible.
LEqVrERING :
Plain capitals and numerals with the width planned in pencil outline, to be fmished in
ink, colour, or a tonc of gray.
MEDIUMS :
Charcoal, brush and ink, water-colours (or coloured crayons), pencil.
FORM IV: JUNIOR GRADE
ILLUSTRATIVE DRA'ING :
Descriptive poetry. Seasons.
REPRESENTATION :
Careful study of details of structure and texture in plants, flower and fruit sprays,
trees and landscapes.
Drawing from the figure and from animais.
Interesting rectangular objects in various positions, studying foreshortening and con-
vergence with the help of peneil measurements and the comparison of slants with
the pencil held vertieally or horizontally, level with the eye. Vanishing points
are hot tobe used here.
An avenue of trees or a railway track, noticing that all receding horizontal lines seem
to meet af a point on a level with the eyes.
Groups of interesting objects.
COMPOSITION -"
The composing of suitable drawings from the above list in rectangular areas, so as to
exhibit well-related spaces. These should be planned in pencil outline and finished
in fiat washes, using tones of gray, gray with black, grayed colour, or one colour
and black.
PICTURE
The
STv»v: (Suggestive List)
,çower--Millet; The Avenue of Middelharnis--Hobbema ; any interesting landscapes;
,qaint Barbara--Palma Vecchio; Ulysses Deriding Polyphemts--Turner; The Golden
Stairs--Burne-Jones.
COLOUR :
Colour circle, scales
harmonies.
of intensity, eolour
schemes of ]ow intensity, complementary
DETA1LS OF THE COURSE 9
DESIGN ."
Units of design derived from nature, from geometry, and from abstract shapes. The use
of these singly, in borders, and in all-over patterns.
The study of Balance, Rhythm, and Harmony in Design.
The use of oblongs, drop oblongs, diamonds, circles, and semicircles in constructive plans
for the repetition of patterns. The colours used in these designs to be com-
plementary harmonies of low intensity or closely related values in grayed colour.
Suitable problems in Applied Design, such as book covers, programme covers, etc.
LETTERING :
Plain capitals vith the width planned in pencil outline and finished in black or colour,
for titles and initiais. Thc use of the single line alphabet in quotations mottoes,
etc., arranged in two or more lines of lettering. Numerals.
]EDIUMS :
Charcoal, ])rush and ink, vater-colours, pencil.
FORM IV: SENIOR GRADE
]LLUSTRATIVE DRAWING :
Descriptive poetry; subjects suitable for school posters.
REPRESENTATION :
Careful study of details of structure and texture in plants; landscapcs or vindow
sketches; drawing from the figure or from animais, birds, or insects; rapid sketchcs
nf children.
The study of foreshortening and convergence as seen in landscapes, in the lines of a
room or house, and in rectangular objects. The horizon line and vanishing points
should be discovered by actual observation. Axes, diagonals, and invisible edges
should be used as aids to correct drawing.
Interesting objects, such as baskcts and books; the appropriate grouping of manu-
factured objects, or of one of these with fruit, flowers, or vegetables.
COMPOSITION :
The composing of suitable drawings from the above list in rectangular areas, so as to
exhibit well-related spaces. These compositions should be planned in pencil outline
and finished in fiat washes, using neutral values, analogous colours, or two com-
plementary colours with a neutral.
PICTURE STUDY : (Suggestive List)
The 8ower--Millet ; The 4venue of Middelharni--Hobbema; any interesting landscapes ;
Saint Barbara--Palma Vecchio; Ulysses Deriding PolyphemuTurner ; The Golden
Etairs--Burne-Jones.
COLOUR:
Making of colour charts, scales of hue, value, and intensity; analogous harmonies ; colour
schemes from nature and from textiles.
10 ART
DESIGN :
Units derived from nature, from geometry, and ïrom abstract; shapcs. The use of thesc
singly and in borders and all-over patterns applicable to stcncilling and wood-block
printing.
Balance, Rhythm, and tIarmony, in Design. The use of squares, oblongs, diamonds, and
('ircles or their parts in constructive plans for patterns. The colouring in Design
to be chiefly tones of grayed colour, complementary and analogous harmonies, or
colour sclwmes from nature which exhibit these harmonies.
Suitable problems in Applied Design, such as book covers, programme covers, posters, etc.
LETTFRING :
Plain eapitals, x-ith the width planned in peneil outline and flnishe,1 in black or eohmr,
for titles and iuitials. The use of the sinv, le line all,habet in quotations, mottocs,
etc., arranged in two or more lines of lettering. Numerals. Roman eapitals and
small letters optional.
I EDIUM.q :
Chareoal, brush and ink, ater-eolours, peneil.
DETAILS OF THE (2t)UISE
DETAILS ARRANGED ACCORDING Te SEASON
11
Form I
Junior Grade
SEPTEMBER AND OCTOBER 'OVEMBER AND DECEMBER
Illuslrative drawing.
Flowers, grasses, and trees in colour.
Lessons in colour.
Illustrat ix e dra ing.
Trees and sul,jects suitable
Christmas work.
Designs for Christmas work.
for
Form I
Senior Grade
lllust rative ,lrawing.
Flowers, grasses, and trees in colour
Six standard coloura.
Lettering.
Illustrative dra ing.
Trees and landscapes.
Picture study.
Border and all-ovor patterus for
Christmas and New Year designs.
Lettering.
Form lI
Junior Grade
Ferre II
Senior Grade
Illust rative drawing.
Flowers, grasses, troes, fruits, or
vegotal,les in colour or in ink.
Picture study.
Tints an[] shades of colour.
Lettering of naine on drawings.
Fall flowers, fruit on the branch, or
vegeta]-des with leaves.
Trees in ink or in ce}out.
Pieture study.
Çolour washes. Hues of colour.
Lettering of naine on drawings.
Illustrati e draxx ing.
Landseapes with t,are trees.
Chaistmas and New Year work.
Lettering.
Illustrative drawing, using trees an,1
figures.
Desi.ql. ehiefly frein natur, applied
in Christmas and _N'ow Year work.
sueh as h«,oklets and ca]ondars.
Single line alphal)et and its appli-
cation.
Form III
Junior Grade
I
F]owers, fruit on the braneh, or I
vegetahles.
I
Trees and landseapes in colour or in
ink tones.
Complementary eolours.
8cales of three vahms.
Trees without f,liage.
Winter lamlseapes.
Pieturo study.
Calendars, etc.
Lettering.
Ferre III
Senior Grade
Flowers, fruit on the hraneh, or
vegetables, trees, and landseapes,
in peneil, eolour, or ink values.
Seales of rive values in neutral tone»
or ce]out.
Colour eirele.
Graying of eolours.
Five 1,alanee,1 tones of grayed eolour.
Dosis related te work for Christ-
mas and the New Year.
Booklets or calendars, etc.
Lettering.
12 ART
SEPTEMBER AND OCTOBER NTOVEMBER AID DECEMBER
Form IV
Junior Grade
Details of plant structure in pencil
outline.
Flower or fruit, and landscape com-
positions in tones of grayed
colour.
Colour circle.
Properties of colour.
f',)lour schemes of low intensiy.
Decorative panels or units ruade
from drawings donc in September
and October, to be used in such
problems of Applied Design as
book eovers, programme covers,
portfolios, initial letters, etc.
Lettering of mottoes, versea, ol
quotations.
Form IV
Senior Grade
Drawings from flower or fruit
sprays.
Details of plant structure in pencil
outline.
Compositions from studies of
flowers, fruits, or vegetables in
suitable schemes of eolour.
Landscape compositions.
Çolour circle.
Properties of colour--hue, value, and
intensity.
Analogous harmonies.
Decorative panels or units ruade
from drawings donc in Septembet
and October, to be used in sueh
problems of Applied Desig-n as
magazine covers and pages, title-
pages, tail-pieces, and book-
plates.
Lettering.
Decorative initiais.
Form I
Junior Grade
JANUARY, FEBRUARY, AND *IARCH APRIL, *IAY, AND JUNE
Illustrative drawing.
Toys or other interesting objects.
Bordera, ail-over patterns, and
single units, o 1,e used in the
making of Valentines and Easter
cards.
lqlust rative drawing.
Budding twigs and 8pring flowers.
Flower forms in simple designs.
Form I
Senior Grade
Illustrative drawing. I
Winter trees and landscapes.
Tors.
Animal study.
Pieture study.
Simple designs for Valentine and
Easter cards.
Yllustrative drawing.
Budding twigs and Spring flowers.
Flower forma in simple designa.
Designs applied.
Form II
Junior Grade
Illustrative drawing.
Toys and other interesting objecIs.
Animals and children.
Trees and winter landseapes.
Picture study.
Valentine and Easter designs.
Illustrative drawing.
Budding twigs and Spring flowers.
Tints and shades of colour.
Bordera and all-over patterns.
DETAILS ARRANGED ACCORDI G TO SEASON 13
Form II
Senior Gracie
JANUARY, FEBUARY, AND ]ARCH APRIL» ]AY, AND JUNE
Interesting objects on a level with
the eye.
Animais and chih]ren.
Trees and wintcr ]andscapes.
Picture study.
Easter cards or Valcntincs.
Colour washes. Hues of colour.
Silhouettes of children.
Budding twigs and Spring flowers.
Units of design derived from nature,
repeated in borders and all-over
patterns.
Designs app]ied.
Illustrative drawing.
'orm III
Junior Grade
Drawing from the figure and front
animals.
Illustrative drawing.
Objeets in eommon use, such as
pottery, kitehen utensils, etc..
above or below the eye ]evel.
Japanese ]anterns.
Pieture study.
Flower sprays in colour or in ink
tones, composed in suitffl,le
oblongs.
Charts of flower forms in pencil
outline.
Borders and all-over patterns.
Complementary colours.
Graying of colours.
Form III
Senior Grade
Drawing from the figure and from
animais.
Illustrative drawing.
Objects in eommon use, such as
pottery, kitchen utensils, etc., hav-
ing handles.
Japanese lanterns.
Grouping.
Pieture study.
Flower or figure compositions.
.qpring landscapes.
Insects.
Charts of flower forms in pencil
outline.
Borders and all-over patterns.
Form IV
Junior Grade
I
Drawing from the figure, and ani-[
ma]s, birds, or inseets.
I
IIlustrative drawing.
Reetangular objeets.
Grouping of objeets.
Pieture study.
Avenue of trees.
Seales of intensity.
çomplemntary harmnnies.
Single units, borders, and Ml-over
patterns.
Applied design.
Form IV
Senior Grade
Drawing from the figure, to be
finished as posters or used in
illustrative drawing.
Interesting reetangular objects (free-
hand perspective).
Grouping of objects.
Picture study.
Window sketeh or landscape com-
position.
Single units, horders, and all-over
patterns, using ither ahstraet
motives or motives derived from
nature, planned for stencilling or
block-printing.
14 ART
CO['RSE FOR UNGRADED CLASSES
Freehand expression wi0 charcoal, coloured chalk, black crayons, coloured
crayons or water-co]ours, and pcuci]s, in illustrative drawings and in the repre-
sentation of natur«fl forlns and COmlnon ,bjects and land.¢capes; the six standard
(.olour., properties of colour, finis, sha,le.% aud hues of colour, matching of colours,
complementary (.o]ours, gl'a)inz of colours, neutral values; the appropriate decora-
tion of constructed objects; lcttering.
DETAILS OF TIIE COURSE
ILLUSTRATIVE ]-}RAWING :
(;ames, sports, evcnts, expcriences. Illustrative Drawing should be eorrelated with other
school subjccts.
REPRESENTATION :
Plants, flowers, bud,ling or leafy tuig, stalks with seed paeks, and vegetables, in suit-
al,le mediums, pa.ving attention in Ferre I. te» dilection of growth and position of
nmsses; in F«»rm II. te relatixe size and shapo of masses; and in Forms III and
IV, te foreshnrtoning of parts and dotails of structure.
Ferres II. III, and IX': Treos and simple landseapes.
Ferres I and II: To.vs and other intoresting objeets.
Ferres II, III, and IX': Animals and ehildren.
Ferres III and IX': OI,jeets in eommon use, sueh as pottery, kitehen utensils, etc.,
singly and in groups. Speeial attention should ho pad te foreshortened eireles at
Val'inus heights, imth when soen as ellipses and as i,arts of ellipses. Pencil measure-
ments should be usod in dotermining prnpol'tions, and handles should be earefully
studicd. nteresti»g roctangular objeets, sueh as books, baskets, boxes, etc., in
various [«»sitions. The studv of foreshortoning and convergence with the help of
pcneil measurements, and eomparis«,n of slants with the peneii held vcrtieaily or
horizontally, lcvcl -ith the eye. It is net expeeted that vanishing points are te bc
used bore.
]OTE.--The drawing frein rectangular objects is optional in Ferre III.
COLOUR :
Form I: Tlm six standard colours.
Ferre II: Tints, shades, and hues of eolour, matehing of eolours.
Ferres III and IV: Propcrties of eolour eomplcmentary eolours» graving of eolours,
nontra] vahms. "
COURSE FOR UNGRADED CLASSES 15
DESIGN :
Forms I and II: The making of units from natural, geometric» and other forms, and
their repetition in borders and all-over patterns for the furnishinçs of dolls' bouses
and for the decoration of simple sewn or constructed objects, using one colour with
ldack, white, or gray.
]?orms III and IV: P, ilateral units derived from nature or from geometr.v, repeated
for borders, corners, and ail-over patterns; the conveniohalizing and squaring of
natural forms; squares, ohlongs, drop ohlons, circles0 and semieireles, are o be
used in constructive plans for the repeilion of patterns. These dcsigns are fo be
finished in two or three values of a çra.ved colour.
Forms I and II: Designs suited fo çhrismas or New Year problems in construction.
Forms III and IX': Calcndars» book covers, etc.
LETTERING ."
Plain eapitals in single line adapted to the ability of the elass and fo the purpose for
hieh the lettering is intended.
.IEDII'MS *_
Form I: Chareoal, coloured chalks, black and eoloured crayons.
Form II: Carcoal, black and coloured crayons, sort lead-pencils, water-eolours
(optional).
Forms III and IV: Pencil, ehareoal, brush and ink, water-colours.
COU2%qE OF STUDY ARRANGED ACCORDI.XG TO SEASON
EPTEMBER AND OCTOBER
OVE3IBER AND ]-IECE'IBER
Plants, fruits, vegetables
Trees and landscapes
Six standard colours; tints,
hues of colour
_Matehing of colours
Properties of colour
shades, and
Lettering
Designs rclated to Christmas and the New
Year
Calendars, book covers, etc.
,l..nu.tn¥, Fnr, n'.xnv. AN'D M.«nCH
APP, IL, [.y, AXD JVXE
Drawing from the figure, or drawing from
animais
Toys, cylindrical objects, and rectangular
objects.
P, udding twigs, flowers, Spring landscapes
I nsects
Border and all-over patterns
Çomplementary colours
Graying of colours.
-N't)TE.ll-]]ustrative Drawlng may Le taken st any rime that is most convenient.
ART
CHAPTER I
GENERAL INTRODUCTION
THREE SIDES TO ART EDUCATION
AT, F.VF.N in ifs relation to elementary edu«.ation, i.q a subject so comprehensive
that if is impossible to treat if exhatstivelv iii a S,.h-ol Manual. The wavs of
teaching if are many, and the lessons outlined in the f«:iiowing pages are intènded
fo be largely suggestive. But, though melhods may xary with the individuality of
the teacher, the underlying principles fo be taught must be the saine in all cases.
In order tbat the best results may be obtained from tbe teaching of this
subject, its ethical, cultural, and industrial bearing on tbe pupil's cducation must
be recognized.
]ts etbical value depends, among other things, upon the truthfuiness of
expression required and the just discrimination between contending interests that
manv of the exereises demand. Not the least of the benefits that corne fo the pupil
through the studv of the subject is the vision that if gives him of the dignity of
labour, in that the lowliest work well done may, through the workman's attitude
toward it, corne fo rank as a veritable work of art.
Ifs cultural value is fo be found in the refininginfluence that the studv and
the appreciation of the beautiful have upon the individual, especially when'these
«tre coupled with the effort fo produce if.
The industrial side, however, must hot be lost sight of, for although ail the
pupils who pass through the elementarv schools do hot join the ranks of the
industrial army, ail are ruade more capable and efficient bv a training which
develops the creative facultv and chai,les the eve and hand to work in nnison witb
the brain. For the sake of the pupils who must make their living bv their hands,
the teacher with breadth of vision will study the industries of the ;eighbourhood
and shape many of the school lesson, fo meet their needs.
THE COURSE OF STUDY
In the pages that follow, the Course of Studv is expanded and interpreted
under six heads, namelv: Illustrative Drawing. Representation, Picture Study,
Colour, Design, and Lettering. If is hot fo be understood that these divisions are
17
18 ART
scl, aratc and distinct ner that they must necessarily be taken up in the order
indicated. Thev have heen arranged in this manner for greater convenience in
handling, and in order that the.subject may be more clearly apprehended.
A I,are statclnent of what is te I«_- taught is given in the Course of Study.
This is amplified ad ruade more definite in the Detailed Course which follows it.
Te anv one who observes tho n,anner iu which the work for each Form is built
cm lhe knowlcd7e and power that should have been gained in lhe pre«eding Form.,
the ('ourse, as sot ïm'lb in the Manual, must comnlend itself as l)eing simple and
casilv covered, l'ndcr ideal conditions the teacher cannot fail te find if se. Ai
tho saine rime it bas bceu rocoffized that seine school. are affccted by conditions
whi(.h sori«n.lv haml,er art .tudy, while other schools more f6rtunatelv situated
have Sldendid ïacilitios for this w«,rk. Accordin-ly, an effort has been ruade te
framo tho f'mlr.c wilh suflicient olasticitv te give scope te ail. The teacher's aire
in followin.,: if should he, net se much te cover all the work prescribed, as te teach
ail tho winciples throu.,_'h such exer«.ises as are best fitted te the class and the
environment. The principles should be se tau,-ht that the pupil will be in a
position te apply thom with intellince in exer«.ises that are entirely new te him,
as well as in tho.e with which he is alreadv familiar.
IIOW ENVIRONMENT MAY AFFEf'T THE COURSE
The lines f«,llowod in ea(.h particular scho,,1 must der)end largely upon environ-
mont. Otç school nmv he surrounded bv fine old trees, another by gardens filled
with an ahundall«e of fl«,wers suitable îor study. In one localitv vegetables or
ftuits may be easily pro,cul'Cal. Near anothêr school there may be an old house or
a l,ridge that the finger of tilue has softened se that it takes its place as a natural
atd harmonious i, art of a landscape. Quaint old jars without decoration; antique
vesscls of iron, COl,per. or hrass; «,r old-fashioned furniture of plain and simple
f,,rm are te ho ohtaino,l, possihly, in one nei,.-hbourhood; while pet animals or
birds and interestinff costumes for poses are te be had in another. The window
.kci,.h in flw citv mav take the place of the landscape in the country ; while in seine
localitics the pl'OSClWe of a lake or river in the neihhourhood may net only invest
iat,.dscape study with more than ordinary interest, but also afford opportunities
f«,r the skct(.hing of boats. Thero are more ways than one of eomplying faithfully
wlth the l'ourse of Studv. The good material that lies at hand must inspire and
mark ou! he lines that may. with best results, be chosen.
USE OF THE MANUAL 19
ADVANTAGES OF USING DIFFERENT IEDIUIS
Variety adds interest, and it is well to ])car in mind that learning te sketch
anything in the proper way gives the power to sketch sinfilar things, and learnin 8
fo handle one medium helps in the handling of ail mediums of kindred nature.
Thus every step gained in one direction is a help in all.
As the pencil is the most eonvenient medium for ordinarv use in anv occu-
pation, th ability fo use it well is of great importance. ]t is, however, the most
difficult medium to handle, and the other mediums, especially charcoal, should lead
up fo its use.
USE TO BE IADE OF TIIE MN-VAL
The lessons from Form to Form in the Manual are planned fo suit the grow-
ing powers of observation, appreciation, and expression in lhe pupils as they
advance; but with the exception of the increasing difficulCy of the problems given,
lhe change of emphasis from one particular fo another, and the difference in the
langage used for pupils of various azes, there is great similarity in the teaching
of drawing in the different Forms. For this reason, the teacher of a Prima
class mav find, in a lesson intended for Form III or IV, points ihat mav be
ruade use of in a Primarv class, ile the teacher of a Form IV class mav make
excellent use of ideas gleaned from Form I lessons.
]t is not intended that the Manual should put the w«rds in the ieacheds
mouth; rather if is intended that these lessons should offer one wav of inculcating
ceain principles that must be tauht, in order that each teacher may, after a
similar manner, develop an individual style of teaching. I¢ is just as dcsirable
that the instructods individuality in teachinff shou]d be cultivated as if is hat the
pupil's individuality of expression in the different mediums should be developed.
THE ILLUSTIIATIONS
A number of the drawings in the Manual are reproductions, much reduced in
size, of the actual work of pupils, and show what should be expected of a good
average pupil in each Form. The remaining illustrations are intended to present
good handling and different methods of using the mediums. Except in the case
of alphabets, the illustrations are not intended fo he copied. It is alwavs an
advantage to have good examples for reference, that pupils mav learn how fo
handle things in a similar way, but copying tends to cripple effort.
ART
ITSE AND CARE OF IIATERIALS
A frêquent cause of poor work is fo be found in the improper use, and the
laek of care, of maierials.
The loavcs in [le },lank drawing books are perforated so that one af a rime
nmv },e deiached. Thê prac[ice of using leaves without removigg them from the
I,.«,k. hesides restrieting expression, lends fo destroy the edges of the unused sheets,
and mars their freshness.
The OWler's naine should he lettered on eaeh drawing in a uniform way.
The drawings nmde hy eaeh pupil should be kept in a portfolio large enough
1, ht,hl H(.ln and the hlank drawing book. The owner's naine should be on the
,»utside of eaeh l««tfolio. AIl I,orf«,lios should be eolteeted at the end of the
less«,n and keI, in a elosed eupboard or in a eoxered box.
Time may be saved by adopting a systematie plan for the distribution and
collection of nmterials. The hings fo be used bv the pupils of eaeh row should
1,e plaeed on tbe frt,nt desk and passed back in an orderly way.
Paint-hoxes sll,uld I,e eleaned ai the end of the lesson, and eaeh brush washed
and I,rou¢,_,ht to a point. .q«,metimes hoxes and bmlshes are kept in the portfolios.
When this is done the hrushes should be put in with the handle end down. Eaeh
impil sht,uld I,e pr¢vided with a sballew pan or a low. wide-mouthed bottle for
water. A clean pieee of old eotton eloth will be found preferable fo blotting-paper
for le use of he pnpils in water-eolour lessons.
At he dose of the lesson all materials to be eolle«ted should be passed up fo
he fron desks, fo be put awav hv monitors.
I:ef«,re the summer vacation, brushes should be put where moths eannot get at
hem.
NO. 7 .IErRIAN F'ITCH, Ac'rUAL
The brush used should not be smaller than 2¢o. 7. :It should be full and firm.
and should corne fo a good point wben moistened.
The best chareoal for school purposes is verv inexpensive. If cornes in boxes
,,f fiftv sticks, whi(.h may be broken in two, as from four fo six inches is a con-
renient lenh for lhe pupils fo handle. Charcoal should be held loosely under
the hand about the middlc of the stick or farther back. :It should not be slarpened
for general work.
DRAWING PENCILS 21
The regular drawing pencil should be quite soft, not ]tarder than F, nor
much softer than B B. The teacher should test a pencil before recommending it
to the pupils. One firm stroke of a pencil that is too hard will hot produce a
mark sufficiently dark for accents; while instead of the smooth, gTay line that is
desirable in a sketch, too soft a pencil will produee one that is woolly in al.l,earance
and easily blurred.
Drawing pencils should be sharIned with a long slant of wood, and hot more
than a quarter of an inch of lead need be exposed. The lead .houhl hot be
sharpened, but slightly rounded bv rubbing if lightly on a I, iece of pal,er. Tbe
side of the point should produee the line in drawing. When the pencil is worn
down so that the line becomes too broad, the point of the lead should be nipped off.
It will be found that greater freedom of expression is secured in sketching by
holding the pencil far from the point and under the hand, so that all the tips of
the fingers touch if lightly. Care should be taken that a pupil receives the saine
pencil each rime one is used. A pencil case for each row will be found con«
renient. These cases nlay be nmde of pieces of felt or heavv cloth nine in('he.¢ bv
22 ART
twelve inches in size. Four inches of the lenh should be turned up, divided into
as many pockets as there are pupils in a row, and stitched on the divisions. If a
piece of white tape is basted along the upper edge of the fold before the pockets are
stitched up, the compartments may be numbered on it in ink.
If there are so few pupils in a row that the pockets prove too wide to hold
the pencil securely, this defect may be overcome by an extra row of stitching at one
end of each division. A quarter of a yard of felt will make six cases, as this
material is two yards wide. The pencils should be put in the cases with points up,
so that it may be seen at a glance whether or hot they are in proper condition for
the next lesson.
The ruler should be used tu Desigu, from Form ]I upwards, for measurements
and for drawing construction lines, excepting when an exercise is ven fo test the
l»upil's power fo judge distances and draw light freehand lines. With the exception
of occasional construction lines, all other drawing should be freehand. A ruled
line has a mechanical appearance and is noticeablv out of harmonv with the curved
lines that cannot be ruled in a drawing. Good pencil rendering demands that all
the lines be freehand even in the representation of rectangular objects.
During the lesson the attention of the class as a whole should be called fo
the comnmn errors that are I)eing ruade, and the method of correcting theoe
should be demonstrated. Assistance nmy be ven to the individual pupil when
it i. deemed advisable, but the eacher's work should hot form a part of the pupil's
drawing. All finished drawings should have their good points approved and their
defects pointed out by the teacher.
HELPS
Manv beautiful illustrations are fo be found in magazines and periodicals. The
pupils should be encouraged fo make collections of helpful reference materials of
all kinds. These mav be arranged according fo subject or medium in a large
l«ose-leaf scrap-b'ook or in folios, to be brought out by the teacher as occasion
requires.
A bulletin board ai least rive feet l«ng bv two feet high will be found verv
convenient for the display of good drawings and reference materials of differen't
kinds for studv. The board should be covered with burlap or some similar material
ILLUSTRATIVE DRAWING 23
of a subdued tone ealculated to harmonize with the surroundings and wilh any
samples that may be pinned upon it. A bulletin board should be so plaeed that
anything exhibited upon it will be only slightly above the eye of the average pupil.
Oeeasional publie exhibitions of pupils' drawings, when well mounted and
tastefully arranged, have an educational force and assist in arousing goneral
interest. They are also an ineentive to the pupils to make greater efl.ort. These
exhibitions may be held at school elosings or at local Autumn Faits.
The benefieial effeet of beautiful surroundings on tbe growing child can bardlv
be estimated. Teachers should use what influence they have iii seeing that the
school-house and garden are ruade as beautiful as possible and kept in good con-
dition. The walls of the school-room should be soft iii colour, the del,th of tone
depending on the anaount and quality of light the room receives. A few good
pictures or plaster casts representing suhjoets of iuterest to the pupils will exercise
a constant influence on the occupants of the room and are more desirable than many
pictures or ornaments of indifferent quality.
]LLUSTRATIVE DRAWING
Long before the chi]d tan express himse]f throu/zh writing, he tan te]l stomes
bv means of pictures. Given a pencil and a piece of piper, a three-vear-old chi]d
will make a sertes of marks which, unintelligible as thev mav seem lo tbe observer,
are fu]l of meaning fo himse]f. ]t is hot necessarv fo teach him to express him-
self in this way, he does it n,turally ; but at first his pictures are sm|)«,l.¢ significant
on]v fo himself. It is the province of the teacher to he]p him to express him.¢elf
more c]early, not by imposing readv-made ideas upon-him, but bv he]ping him to
get e]earer mental images and encouraging him fo advance from smbols to pictures
that rea]lv look ]ike the thing he wishes to represent.
In Form I classes the II]ustrative Drawing shou]d be spontaneous, the aire
being fo get the pupil to express himself with perfoct freedom. In eacb succeeding
Form greater accuracy should be expected, but accuracv must not take the place
of vivid life and action.
In taking up Illustrative Drawing the teacher should look first for life and
action, next for better form, then for proportion and composition, fi_nally, for
perspective. Not until Form I need these drawings be criticised for perspective.
although ver 3, young pupils mav be taught to observe differences in appearance due
fo change of position or fo distance and thev often represent them surprisingly well.
24 ART
The study of good pictures may be of great assistance fo the pupil in express-
ing his thoughts, if he is made fo realize that the artist in his picture is trying
to tell us a story in the simplest and nmst beautiful way possible fo him.
No hard and fast rule can be given as fo what mediums fo use in Illustrative
Drawing. Charcoal, being the most responsive, is undoubtedly the best medium
with which fo bcgin this work in any Forln. ]t is desirable, however, fo aire af
having the pupils' most finished illustrations donc in black or coloured crayous in
Form ] : in brush and ink or water-colours iii Forms I I and I I I ; and in fiat washes
of water-colour oxer l»cncil in Form IV.
In Form I classes illnstrative and imaTinative drawing should be used con-
stantly, not nece.¢sarily in the drawing period, but in conneetion with everything
the pupil is tau,zht. It is a mcans bv which he inlpresses the knowledge he is
gaining everv dav tbrouTh hi. lan,-uage, reading, and number lessons and is also
an evidence as to whether his concepts have been correct or otherwi.
Later on in lhe pupi]'s school life, as his power over language develops, lllus-
trative Irawing becomc. less and less a necessarv means of lf-expression; but if
never ceases fo be fo him a valuable mental training, because it tends to crvstallize
his thoughts into definite and sv:tenlatic shape, and therefore should not be
eglected af any period of his school life.
IEPRESENTATION
The terre Representation, as it is used here, is fo be understood as meaning
the delineation of things as they appear fo the eye. The delineation may be in
mass, in outline, in values, or in light and .hade. Black, neutral tones, or colours
mav be the means bv which it is expres.¢ed, and the mediums through which this
expression is ruade possible are charcoal, chalk, crayons, ink, water-colours, and
pencil. Other mediums that might be used are, for various reasons, hot suitable
for school purposes.
In this Manual the drawing and painting of the following things are handled
nnder the head of Representation: plant specimen., fruit and vegetables, trees,
landscapes, animals, children, and manufactured objects. In the delineation of
these things, vigilant attention mu.et be paid fo Composition which, on that
accourir, is explained in connection with Representation, although its application
is bv no means confined to this division of the subject.
REPRESENTATION 25
The success of every lesson in Representation depends on the previous prepara-
tion ruade by the teacher and pupils and on the sincerity of the work done in the
class. Careful study is necessary, and pupils must be taught, as they work, to
observe, draw, and compare again and again, looking for the large truths first and
adding only enough detail to make their representation of the object true to its
appearance.
PLAN'T SPE('IM ENS
The first requisite for good plant drawing is a suffieient supply of good
specimens. If these are pieked lhe evening I,efore they are fo I,e used and kept
overnight in deep water, they will then remain fresh throughout the lesson. Wilted
sprays make poor studies and are most uninspiring. .'t first, the wise toacher
gathers his own sUl,ply or arranges fo have some pupils up,,n wh«,m he ean depend
do it for him. Later, the whole elass may bring specimens, and a seleclion may he
ruade from these. Bv this method the judgment of lho elass will I»o trained. A
a fuie. one good specimen on eaeh alternate desk is quite sufiîcient. Where the
flower is large, as the iris or the tulip, eight or ten will I,e enough f,Jr an ordinarv
sehool-room, if thev are arranged in an upright p,»sition on model stands or in
jars of moist Sand on boards l, laeed aeross lhe aisles so that eaeh pupil has a g,J,d
view of one. Two should be placed somewhere in front, one at either side, f,,r
those who sit in the first row of seats. In the case of speeimens whieh would m,t
grow in an upright position naturally, such as certain fruit sprays and vines,
another method of placing mu:t be u:ed. Pieces of heavv eardboard, nine inches
by twelve inches, or larger, mav be eovered with cheesecloth and placed leaning
against the jars of sand on the boards across the ai:les. The speeimens mav be
pinned in a natural position to these sheets of covered cardboard. When grasses,
sedges, or sprays of small flowers are to be drawn, a specimen mav be laid on each
pupil's desk on a sheet of drawing paper of the saine size as that on which the
drawing is to be ruade. This nethod is partieularly satisfactory in Form I. as
the pupil can glanee readilv from his drawing fo the specimen fo sec that he is
making it oceupy the saine spaee on his sheet of paper that it does on tho
similar sheet on whieh it lies, and bv so doing overcome the natural tendeney in
beginners fo make their drawings too small.
Where gardening is a feature of the sehool work, the teaeher should have
those plants cultivated whieh are suitable for ropreentation and should also plan
fo have a succession of plants in bloom. The garden can supply crocus, seilla,
26 ART
hyacinth, daffodil, tulip, iris, orange lily, polyanthus, primrose, bleeding-heart,
poppy, phlox, nasturtium, spiderwort, salvia, aster, sunflower, petunia, coxcomb,
cosmos, ageratum, and the old-fashioned marigold, all of which make excellent
studies. From early Spring to late Fall the woods, roadsides, and vacant lots are
overrun with a wealth of suitable material--pussy willows and other catkins, spring
beauties, hepaticas, anemones, dog-tooth violets, marsh marigolds, trillium., clover.
dandelions, meadow phlox, wild mustard, buttercups, thistles, wild mints, mulleins,
teasel, harebells, pink yarrow, musk rotes, toad-flax, golden-rod, wild asters, many
varieties of grasses, sedges, and weeds, and a host of other flowers.
FRUITS AND VEGETABLES
A single specimen of fruit without stem and leaves is not, as a rule, a desirable
subject for drawing; but fruits or vegetables mav be studied and drawn in this
wav in the upper Forms. when this studv is preparatory fo a more finished drawing
in which tle sI,ecimen if to be shown with its natural complement of stem and
leaves, or in a composition ruade up of two or three of its kind grouped with some
appropriate uten:il.
Among the fruits that make good studies when thev are left on the twig or
small branch, are «herries. currant, plums, peaches, pears, apples, and wild or
uncultivated grapes. Other interesting studies are a head of corn with the husk
parted so that some of the kernels are exposed fo view. small or medium-sized
tomatoes attached fo a portion of the vine, and squashes or similar vegetables fo
tle stalk of which a leaf or two still adheres.
TIIEES
Trees must l,e observed out-of-door. and drawn afterwards from memorv.
At first, thev should be studied and drawn a]one; later, the height in relation fo
the horizon should be noted, that they mav be used in landscape composition.
The trees selected for study should be true fo type and comnmn fo the neighbour-
hood.
LAN-DSCAPES
The first landscape. drawn by young pupils must necessarilv be ruade up with
the tea(-her's help. Form I pupils learn fo observe the appearance of earth, trees,
and slv in a landseape through their drawings. Later. the process is reversed and,
REPRESENTATION 27
in the succeeding Forms, the pupils endeavour fo represent what they observe in
nature.. .
&NIMALS
AnimMs and birds may be studied out of school and dràwn .from momory
afterwards, but better results follow careful study b i the class mder the direction
of the teaO'ter. A pet aninial, such as a dog, cat, rabbit, white rat, or squirrel; or
a pet bird, such as a eanary, parrot, pigeon, or bantanl rooster, may be brought
by the owner after sehool is ealled and posed on a table in front, of the class.
is better fo have only one model af a rime, that the attention may be eoncentrated
and that there mav be no confusion. A cow, a pony, or a goat mav be tethered
in thê sehool yard, while the pupils sit on the steps of the school with a sheet of
paper fastened by rubber bands fo some large book and make rapid charcoal
sketehes. After an exereise of this kind, each pupil should make, from memory.
a drawing of the animal in some one of the positions in whieh the class has
observed if.
CHILDREN"
Figure drawing or drawing from the pose is practically begun in the illustra-
rive work in Form I, but not before Form II should anv attempt be ruade to
separate the figure from the story, to draw it by itself.
Care should be take.n in the choice of a model. A well-shaped child whose
clothing is ruade on simple lines is the best mode|. In no case should the abnormal
be chosên.
The model should be placed on a bench or table in a corner of the room af the
front, so that each member of the class will have a similar view; or two nlav
plaeed, one at each side, af the front. As far as possible, a different pupil should
be seleeted for each pose, aud no pupil should be al|owed to pose more than five
minutes at a time (seldom that long) unless in a sitting posture.
ZIANUFACTURED OBJECTS
Object drawing cannot be ruade either interesting or profitable withouî a
sufficient number of suitable objects that appeal to children. Fortunately it is
hot difficult fo get things that do interest them. Little brown tea-pots, jugs, tea-
kettles, jars, coffee-pots, saucepans, and other pieces of kitchenware, are hailed
with the joy with which one meets old friends in new places. Ju.t as welcome fo
SUGGESTIU IN GE, UUPIG
AN ADJUSTABLE MOI}EL STANI} 20
the school-room aro gardening tools and utensils, and most wclcolue of all perhaI,s
fo the younger pupils, are favourites from toyland.
Objects that bave lost their original usefulness may be brought fo the school
by the pupils. A cracked tea-pot or leaky saucepan, that would otherwise corne to
an inglorious end in the garbage can, may be rescued from its fate to form with
berry-baskets, lunch boxes, small suit-ca.es, and other articles already mentioned,
an interesting collection that may be kcpt in some unused cupboard or store-room
of the school ready for drawing lcssons.
FROITI"
30 ART
When money is supplied for the purchase of drawing models, if is unwise fo
spend it ail on Art pottery. A visit to an ordinary shop where such things as
utensils and toys are kept will often result in a collection of good models for a
mall outlay.
Whatever is selected should be chosen for ifs beauty of form or colour and
should have little or no decoratiol. Simple, useful objects are best. That which
is fantastic is rarely beautiful.
A single large objoct will suflïce for a lesson if if can be so placed that every
nember of the class will have an interesting, natural, and unobstructed view of if.
This cannot be contrived when objects are fo be drawn below the level of the eye
and, in that case, some means nmst be devised by which six or eight objects mav
be placed so that everv member of the class will have a good view of one. For this
[«rpose adjustable model stands like the one shown on page 29 may be
used, or boards may be placed resting on opposite desks in every other aisle, one
at the front of the ai.le and one half-wav back. These boards should have a
cleat fastened under one edge, fo overcome the slant of the desks and provide a
level surface for the object fo rest upon. Another wav in which a level surface
may be secured i. fo have a support for the boards fastened af each side of these
desks, parallel fo the floor and af the proper distance from if, fo permit every one
who is fo draw from the object fo see the top of if slightly helow his eve level.
In the Forms al)ove Form II. ,enior Grade, the greater numher of ol)jects
drawn should he placed below the level of the eye, in which case some suggestion
of the supporting surface must be made in the drawing. For this purpose a line
called the table line is drawn. If stands for the back edge of the supporting
surface and should be ruade less distinct than the outlines of the object, fo which if
should he subordinate in the drawing. If should not be placed ahove the object
nor in any position that would call undue attention fo if, but should be represented
as farther hack than the base of the object or of anv ohject in a group. The
placing of if is a marrer of good composition, but the classes that are fo use if
should experiment with an ohject placed on a book, raising and lowerin.g the book
fo see that the baek line of the supporting surface is not a fixed thing, but depends
on the level of the supporting surface. They should also more the object from
near the front edge of the book fo near the hack edge and should turn the book
with ifs «reatest len.h receding front them, fo note the changes in the position of
the back edge in relation fo the ohject, due fo the width of the supporting surface
and fo the position of the object on if.
COMPOSITION 31
COMPOSITIO:N
Composition in Art deals with the choiee and arrangement of things to be
drawn, the seleetion of the size and proportion of the paper to be used, and the
plaeing of the drawing so that it will oeeupy suitably the spaee ehosen. The
results aehieved should be pleasing and should exhibit thoughtful eonsideration for
variety in the division of spaees.
Composition is fundamental in the development of good taste and raises what
otherwise would be a mere statement of the appearanee of things fo the plane where
individual ereative power has sway and aesthetic jud-maent is trained.
USE OF FINDER
The selection of the shape
and size of the drawing mav
be determined by using a
finder, which can be ruade of
cardboard or heavv paper in
two pieces, as shown in the
accompanying illustrations.
The inner long edges of the
finder should be about ten
inches and carefullv marked
in inches and half-inches be-
ginnin zaf the angle, which
should be a perfect right angle.
The divisions will serve as
'uides for equal lenhs on
opposite sides of the "picture"
which is seeu framed bv the
finder.
If the sketch is fo be
ruade from nature, if will be
necessarv to determine what
part of the view will make the
most satisfaetorv picture and
what proportions in a rectangle
will best inclose if. The
32 ART
accompanying illustrations will show how, in a single view, a number of different
pictures, each a well-balanced composition, may be found. Four of these, if will be
seen, are animal subjects, and four are simple landscapes, each a study in itself.
No. 1, a hillside pasture with four shecp, shows the two white sheep at the loft
balanced in thc c.mposition by thc two black ones at the right; they are at different
levels and of diffcrent sizes, and thcir heads'are not in the saine position.
In No. 2, thc two dark masses of black sheep at the left are balanced by the
masses of tbc trccs af lbe right. The line of the pasture does not cut the picture
cxactly in hall; ils downward sh,pe to the lcft is opposed by the downward slant fo
tbc ri-ht of thc wooded distance.
In No. 3, thcre i. a panel in whieh the main lines of thc landscape give areas
of different shapes, thc light masses of the sheep in the forcground being necessary
lo balance the liht areas of skv and lake in tbe upper part of the picture. The sky
and earth spaces are in pleasing proportion, and the two trees and the distant bill
at the left bcyond the lake oppose the mass ¢,f trecs to the right. Rhythm of line,
mass, and value are vcry apparent in this picture.
In No. 4, the dark sheep at the left finds a balance in the tree group at the
right, while he bright sky has a balance spot of light in the foreground. The
ground lines do not eut the landscape in hall horizontally.
In No. 5, there is quite a different-shaped inelosure, in whieh the light spaces
of skv and water are about equal in area fo the dark earth spaces and yet are s0
shapèd that there is variety coupled with excellent balance. The landscape.com-
position needs the two trees af the left fo balance the dark masses of irees at the
right.
In No. 6, there is an upright panel where the trees fise across the long,
horizontal water-line, and the light areas above require the light boulders in the
foreground to balance the composition, while two small sheep in the meadow give a
little lire.
In No. 7, the shape is somewhat similar fo No. 3 Imt withont the sbeep, and
he two small tir trees are ruade prominent, aiding in a new foreground fo give
distance in the composition.
In No. 8, the three great requisites fo give depth, foreg-round, middle distance,
and background, are very clearly defined. The masses of dark, though of varied
shapes, balance each other and, as a whole, balance the areas of light occupied by
lake and sky. The long shore-line on the other side of the lake is hot allowed to eut
the oblong exactly in hall.
I I "1 " Il I" ïll
I I
34 ART
The principles of Composition, although here illustrated more partieularly in
eonneetion with Representation, are equally applicable fo Illustration and Design,
as will be seen in the lessons on these subjeets.
PICTURE STUDY
A suggestive iist of pictures f.r study in the different Forms is given in the
detailed Course of Studv. The teacher may choose two, or possibly more, pictures
for study during the year. fr.m this ii,t, or may substitute others of equai
excellence that are as suitable for the purpose.
The attentive consideration of a fcw beautiful pictures painted by artists whose
claire fo greatness is acknow]edged by the world, wili give the pupil a taste for
what is best in Art and will also aid him in giving expression to his own ideas.
Apart from this, it will be found that the concentration of the attention on the
thought expre..ed by the artist in his picturc and on the form in which he bas
expresscd it. wi]l bave an elevating effect on the mind similar fo that experienced
throug}l the study of good literature.
A I, icture lo I,c studied hv a class should I,e large enough fo be seen by every
pupil. Whcre it is not possilde to obtain one suflïeiently large for this purpose,
three or f-ur medium-sized prints of the saine pieture may be plaeed around tbe
room so tbat each pupil mav havê a good view of one; or one may be fastened up,
a day or two hefore ihe lesson, where evêry pupil will have an opportunity for
studying if s-me rime during the day, and eaeh member of the elass should be
cneouraged to discox»r all that tan be round oui about this pieture by dose
«,bservati-n. A print that is smaller than seven by ten inehes is hot of mueh use
for this purpose.
A picture that bas been studied should be left up afterwards for a few days,
in order tbat the pupi}s mav enjoy if through the light that the lesson bas brought
to bear up-n if and also that their impressions concerning if may be deepened.
The mothod of teaching this subject, as demonstrated in the Manual, con-
centrales the attention on a single picture and the artist who painted if. A
different metbod, bv whi«h several pictures that deal with the mme subject are
tndied t«,gether withont being in any wav connected with the artists who painted
them, may be taken occasionally. This method is particularly adapted for use
with young pupils, who may be encouraged fo bring pictures of children for study
af one rime and pictures of animais at another.
COLOUI 35
Pictures representing a season, such as Spring or Autumn, or some particular
rime of the day, as Evening, may be studied in Forms III and IV in connection
with landscape composition. The study of pictures that are applicable to any of
the drawing lessons that are being taken at the rime will stimulate the observation
of the pupils and strenhen their powers of expression.
COLOUR
During recent years many theories concerning colour have been advanced.
Some of these theories have established principles which can be incorporated
advantageously into the system used in teaching colour to children. Others, which
establish standards of undeniable value in the industrial world, are of too elaborate
a character for elementary school purposes, or are possessed of features that
render their use inexpedient in such schools. In dealing with children simple
materials and processes mu.¢t be used if logical developmellt i. to he achieved.
Again, it must be remembered that itis not the scientific but the practical side
of colour with which we are concerned, and whether the three colours, red. yellow,
and blue are, or are not, the three primary colours of the spectrum need hot
trouble us so long as we are able to produce with these three colours all the
variations of colour that are required in our school art work; and no other colour
elements in pi-nnents have been found that produce sati.factorv results.
The Course in Clour has been prepared in accordance with the principle that
education along anv line should proceed as far as possible from the known to the
unknown. Throughout the Manual the pupil's mental development has been kept
in view as of first importance.
The aire in the colour lessons is to cultivate the power fo observe, appreciate,
and express colour and colour harmonies; also to develop an appreciation of
harmony in the relationship of things, and the desire and ability to bring about
8uch harmony.
The Course covers the study of Colour in itself, the methods of applying if,
and the study and use of Colour Harmonies.
In Form I, Junior Grade, if is sufficient fo expect the reconition of colours
as belonging fo the red, orange, yellow, green, blue, or violet families and their
classification accordingly; and it is recommended that the pupils in this Form be
given a comparatively wide range of colvurs from which to select what thev require
for their work in Representation.
36 ART
In thc succeeding Forms, the pupils lcarn to modify one colour with another,
and in Form 11, Seni,r I irade, and Forms II I and 1V they should be restricted to
lhe use of be tbree colours, red, ye]low, and blue tu their water-colour work from
,aturo and should be requircd fo make from these all the colours they need. The
c«,lour-box should also contain black for use in Design and tu the making of neutral
values. The following water-(.olours are recommeuded: for the red cake, crimson
lako. or alizarine ; for the b]ue. ultramarine ; fol" the yellow, gamboge ; for the black,
(.barcoal gray. A Immher of satisfactory three-colour boxes are on the market,
snpl,liod wih (.akes of colour which produce simi]al" results although they are
called I,v different nanles. Tbe tea(.her should test the paints in a colour-box before
ree,,mmendin,,,, it te his elass.
It will t,e round that the work donc witll a three-eolour box is less hard and
crude flmn that wbieh resulls ïrom the use of a six-colour box; and even when
l,upils are not al,le o produce lo exact eolour tbat thev require, the effort te de se
t,.a,-bes them t analyse nd COmlare colours and develops a habit of thoughtful
w¢,rk wlli«h is most de.iral,le. Wb«.n pupils who bave beeu thoroughly trained in
llw use ¢,f a flree-col¢,ur box in tlw elenlentary sehools reaeh the high sehool., the
range «,ï et,leurs permitted them mav I,e enlarzed.
('olmr is eonsidcred in the Manual throuzh ifs three properties--Ilue, Value,
and lnlensilv.
In deseril,in a colour, wo mav speak of it as red or hlue, or blue-green or
vMct. cie., and tbi. property bv wbich we distinguish one eolour frein another is
«-allcd I ue.
We mav sav also that a eolour is li/zht or dark, and this property by whieh we
nleasure tho dislalwe «,f a e,,Iour frein white or black is called it. ralue.
Tho third I,r¢,perty. intensity, is mder eonsideration when we speak of a
«olour as I,right ,,r dull. If wo ean imagine a colour gradually losing ail its hue
without I,ee-minI lizter or darker, until nothing remains but a gray tone, we
imalzine it as passill fr¢,m full brilliance te neutrality; and if we represented the
stazs throuz whieb if wou!d pass, we would be sealin if frein full intensity te no
inten.ity. This third property is sometimes ealled f!hronla. Elementary Sehool
I,upils are expeeled te make scales of hue, value, and intensitv. Time spent in
workin over and over at tllese scales te produee aecurate re£ults would net be
profitably spent. ,s their chier efficaey lies in the faet that the eonseientious effort
te make a seal,.._-ives the pupil the power te analyse a given eolour and tell what
must be doue te produee it. It also helps him te discover where he bas ruade
DESIGN 37
mistakes in trying fo match colours and what must be done fo correct such
mistakes.
It is through the study of these properties of colour that the pupil is led to
understand what is meant by colour harmonies and to endeavour to produee them
in the different colour schemes he chooses for use in Design.
DESIGN
Design in the broad sense of the terre may be aid tobe the expression of a
thought or plan by drawing or in some tangihle materia]. We may have l'ictoria]
Design, whieh is involved in Ropresentatiou and IHutration- Constructive lesig*n.
which deals with the form and proportion of things, sueh as furniture, machinery,
and buildings of ail kinds, as well as with tbe simple probles carried out in the
Manual Training classes; and Decorative lesign, whit.h has for its ultimate aire
the enriching of things ruade for some purpose apart from the docoration. It ix
with Decorative Design that we are ehieflv coneerned here, altbough it must be
understood that the saine laws govern ail good design whether pictoria], con-
structive, or deeorative.
From the standpoint of deeoration or ornament, we may think of Design a
the order]y arrangement of lines or shapes and spaces, exprêssed in neutral tones or
in colour. ]t should have for ifs highest intentiou the effort to produce beautv.
]t is on]y through obedience fo the laws that produce order that we mav hope to
achieve beauty. There are manv different principles which nlst he observed to
bring about beautv in ornament; for example, unity, variety, contrast, repose,
subordination, restraint. It wi]l be found that these are inc]uded under the three
great laws of Balance, Rhythm, aud Harmonv.
Ba]_____ance ma), be said fo he produced in a design when no part of it attracts
undue attention to itse]f on aceount of its size, shape, position, or colour.
Rhythm may be said fo he produced when all the parts of a desigm are so
related to each other that the eye is led smooth]v and agreeably from one part to
another throughout the design.
Harrnony means visible unity, or accord. Onlv those things which have
something in common may be said to harmonize. T,, exhibit harmony, a design
must be fitted to the purpose for which it is intended.
38 ART
AIM OF THE COURIE
The Course in Design in the Manual has been prepared wth the intention of
cultivating the judtnent of the pupil and putting him in possession of kmowledge
tbat will enable him to appreciate what is good and lead him fo demand it when
the rime cornes for him to exercise cboice. Itis in this way rather than through
the l»reparing of professional designers that the School Course should affect the
indu.trial world, altbough tbe exercises in Design will no doubt be the means of
influencing those best fitted for the work to take it up later, professionally.
The Course in De.ign is so arranged that the attention of a Form I class is
directed ahnost altogether fo the repetition of a line or shape af regular intervals.
This i. ruade po.¢sible by the folding and creasing of the paper. 0nly in work for
.pecial purposes, and after some experience, should a Forn I class be required fo
n.qe a ruler for luea.uremeut.q.
Provision is ruade for a wider ehoice in Form II classes, and the help given
bv the teacher should be less direct and more suggestive. The side or top view of
a flower nlav be simplified as mucb as possible and repeated to forma border or an
ail-over pattern. Geolnetric and otber shapes may also be used. In Form II,
lunior (rade, incb measurements should be used fo prepare a plan to ensuro
rcgularity of repetition, and in Form II, Senior Grade, measurements in both
inches and balf-illches are required. In Form II, a feeling for balance is cultivated,
throu/zh the determining of the size of unit best fitted to oceupy the space prepared
for if.
In Form III, Junior C,rade. two constructive plans new fo the pupil are added,
and increasillg attention is paid to 1be unit of Desix. Tbe idea of Rhythm, as if
may be exhibited in the relation of a number of spaces fo each other, is developed,
and vavs in whicb the knowledge gained lu the lessons in Design may be made use
of out of .ehool are brought to the pupil's notice. In Form III, Senior Grad, the
saine type of unit i.q used, after if has been simplified, refined, and if necessary,
reconstructed so that if may be used with good effect alone, or in a border or an
ail-over pattern. The pupils in this Form are also expeeted fo be able fo modify a
unit so that if will fit any given one of the constructive plans that are fo be used
in Form III. The eonsideration of the rhvthnlie relation of spaees is eontinued,
and problem.q in Desi.o-n that interest the pupil through home or person are dis-
cussed in this Form and studied more fullv in the sueeeeding Forms. In Form
IV, a elearer understanding of Balance, Rhythm, and Harmony is established. In
DESIGN 39
the Junior Grade, the pupil is expected to make intelligent use of these principles
in constructing a unit from two or more abstract shapes; while the pupil ha the
Senior Grade must bring the saine principles to bear on the problem of breaking
up a given area into shapes that will be so related to each other as to make a
pleasing and consistent unit of" Design.
The above interpretation of the Course in ])esiga is given fo show the teacher
how the work of each succeeding Form grows out of, and is a .tep in advance of, the
work arranged for the Form immediatelv bêlow if. There if no reason whv a class
should not occasionally use, for special purposes, types of Design learned in previous
Forms when these seem fo be particularly well suited to the purpose in hand.
The use of squared paper, though not necessary fo the planning of designs, is
of great assistance in some problem. ; and it i. suggested that a supply of iuexpen-
sire paper marked in quarter-inch squares be kept for use, especially in the upper
Forms.
For use in Design an It B pencil sharpened fo a fine point is prefêrable fo the
regular drawing pencil.
Design develops the creative faculty, but in the elementarv school the develop-
ment of creative power should be brought about bv nmdif.ving and adapting natural
or other forms which mav be so treated by each pupil that the result is the outcome
of his own individuality.
A generous quantity of illustrative materia! should be kept on hand. ]1 mav
consist of borders, surface patterns, book "covers, title-pages, and other designs pro-
cured from magazines, drawing books, or other sources, su«h as historic ornament.
The work of some of the pupils in a class may be sufficientlv wêll done fo be
preserved for the help or inspiration of the other membêr.. Among discarded
samples of manufactured rnaterials of different kinds, the teacher mav be able to
find some that are good in faste and sufficientlv simple fo be_ of use in the lessons
in Design.
There are manv more possible types and arrangements than tho.e suggested
in the Manual which would no be too diffieult for êlementarv school pupils: but
limitations are neeessary, hot tnlv on accourir of the meagre amount of time that
may be ven,up to the subjeet, but also that all faneifnl, meaninless deeorations
may be avoided, and that the exereises chosen mav he those whieh will best develop
an understanding of the prineiples which underlie all good Design.
At the first, too great insistenee on aeeuraey would be fatal to the devêlopment
of power in Representation and Illustration, but in Design it is of the greatest
40 ART
importance and, when once a unit has been chosen and the manner and method of
repetition determiucd upon, thc greatest possible accuracy of which the pupils are
capable should he required of them. On this account the use of very intricate
patterns and those which necessitate manifold repetitions of a diflïcult-unit should
be discouraged.
W|mn there arc two or more classes in a room, designs which have been begun
in class may I»e finished as seat exercises, lu any Form, the completing of un-
fini.¢hed designs will be round t» nmke ideaI seat work, profitable from both
teacher's and pupil's siandpoint, and of ai»sorbing iuterest fo the average child.
APPLIED DESIGN
The greater part of he work in Design donc in the elementary school should
he I»lalmed from lhe first wih a vicw fo the ultimae purpose for which it is
intended aigri, whrevcr it is l»ossil,le, the designs should be actually applied fo the
articles for which they were plauned. In this way interest in the subject is greatly
increased, and he defiuitelmSS given fo each problcm is conducive to though[ful
work aud to a more iutelligent understanding of the pul'pose of Design.
OPTIONAL PROBLEMS
A number of optional lrohh.ms are suggested, which call for materials hot
generally f»uud in schools. The pride of owner.¢hip that tire pupil feels in some-
thing ruade hy his owu hands and the deeoration of which has been planned by his
own hraius, is ilden.¢ified whell the article ruade is hot only serviceable but also
suflïcientlv durahle o retain its usefulness alld charm for yêars, or possibly with
proper eare, for a lifetime.
]n no case are exl)ensive material.¢ required, and suitable remnants that the
owners would be glad o have used in sch«,ol in the wavs suggested are probably
fo be round in manv of ihe pul,il.' bornes. ,o fascinated are the bovs and girls
with this work lhat the teacher will be surprised af their timely suggestions with
regard fo matel'ials that may be substituted for those that are hot fo be obtained
in the neighbourhood. Butter paper (hot waxed paper) makes a good substitute
for transparent tracing paper, and a sheet of foolscap fo one side of which a coating
of stove polish has been applied mav be used instead of carbon paper. Straw-
board, or pasteboard, though hot quite so solid as mill-board, may be used in its
place for some things.
LETTERING 41
When an article is te be constructed and decorated, the teacher should make
one before fle class undertakes it, net only that an e.xample may be on haad for
reference, but that difiïculties may be anticipated and mistakes prevented.
HOME PROBLEMS
The planning of designs in school for home problems in which the pupils are
interested will help them fo realize that ornament must be thouht of from ihe
standpoint of the thing fo be adorned and will awaken in /hem a distaste for the
commonplace embroidery patterns and other cheap designs which corne in packets
for indiscriminate use on ail sorts of materials. In manv cases it will doubtless
arouse a talent that might otherwise lie dormant.
Good faste forbids the use of- ornament in connection with seine things, and
over-decoration is always te be avoided; therefore the points te be decided in a
problem in Applied Desia before lhe actual work begins, are as follows:
1. Does the article or surface te be decorated adroit of decoration?
2. Will it be improved by decoration?
3. What form of decoration will most enhance its appearance--border, corners, all-
over pattern, or single central unit ?
4. What proportion of the surface should bê occupied bv the.ornamênt ?
]n Forms I. II, and probably III, ail of these questions should be decided bv
the class under the guidance of the teacher. In Form IV, the third and fourth
points, as a rule, may be oettled bv the pupils individually.
LETTERING
It is of more importan«e that the pupil in the elementarv sehools should learn
fo letter one simple alphabet well and acquire the power fo adjust the spa(es
between the letters in such a wav that a consistent uniformitv is apparent, than
that he should have a superficial knowledge of many alphabets without a feeling for
that consistent relation of one letter or group of letters fo another which makes
lettering for any particular purpo a problem in Design.
As soon as the pupil has gained sufficient control of the pencil, he should
letter his naine and the date on each drawin when-it is donc. From the very
first, he should make the effort fo keep his lettêrs upright, of thê saine hêight, and
groupêd in words, so as fo be rêadily discêrnêd.
ART
The alphabet which is used by the class should be kept on the black-board, so
that if can be referred fo at any rime. If a piece of unglazed chalk be soaked in
mucilage till itis saturated and then used, while if is still dalnp, for drawing the
alphabet on the black-board, the letters when dry will not be likely fo blur or rub
off, but nmy be washed off when if is necessary to bave theln relnoved.
Practice brings increasing facility in lettering and a better grasp of its
decorative possibilitie., and thus gradually purs the pupil in a better position to
adapt the principles of good lettering fo accolnpanying conditions, so that in each
succeeding Form he is able to bring his lettering Inore and Inore into conforlnity
with fhe laws by which it Inu.t be governed when it is used in connection with
Design. On this account, the Course outlined in the Manual is arranged so that
proficiency in lettering may be attained through easy steps. A Forln I class is
expected to learn to use single line capitals so as to Inake theln fairly legible,
vertical, and regular. The placing of the lettering is to be considered carefully in
Form ]I. The ability fo control the light or dark value of the lettering due to the
weight of stroke used, is the development expected in Form III; while a Forln IV
class should be capable of a finer conception of the characteristics of good lettering
and should show gTeater abilitv in exelnplifying them. The use of Rolnan capitals,
and snmll (lower case) letters is permitted, but not required, in Form IV, Senior
Grade.
Alphabets are copied and, as the same general rules apply to ail, there is no
reason why a class that has gained the power fo letter one alphabet well should
find it difficult to use any silnilar alphabet, and a certain latitude Inight be per-
mitted when the lettering is required for solne speeial design, such as the title of a
book; a slant alphabet, however, should not be used. Examples of good lettering
suitahle for such purposes are fo be found in different sertes of drawing books of
recent publication.
The tendency to spend too nmch tilne on one division of a subject fo the neglect
of another Inust be guarded against sedulously.
CORRELATIONS
Art may be eorrelated advantageously with probably every subjeet that i,
taught in school, but it is in the teaching of Manual Training, Nature Study, and
Household Science that it is of thê Inost vital ilnportance. Some of the ways in
which it may be of use in connection with these subjects are given below.
CORRELATIONS 43
[ANUAL TRAINING
Art may be correlated with 3Ianual Training through the choice of îorm and
proportion in constructed articles and the selection of suitabie materials and colour
schemes for these ; through the use of borders, ail-over patterns, and single decora-
tive units for the adornment of various constructed objects; in the choice and
placing of lettering and decoration on book covers; in the making of book-plates,
wood-blocks, and stencils; i]l the furnishings of constructed plav-houses or dolls'
bouses.
NATURE STUDY
Art may be correlated with Nature Study in the arrangement of specimens
and collections; in the drawing of plants, trees, animal.,_-, and insects, and in the
illustration of oeils and other structural parts of these; in the illustration of oeed
germination and seed equipment for disperl; in the appropriate decoration of
covers for note-books or porffolios for mounted specimens.
IIOUSEHOLD SCIENCE
Art may be correlated with Household Science in the choice of china used on
the table; in the arranging of deeorations for the table and elsewhere; in the ehoiee
of eolour and eolour sehemes for house furnishings; il the ehoiee and arrangement
of furniture; and by the exereise of judgment in the selection of garments that are
beeoming in colour and fashion.
ORDER AND METHOD
IN TEACHING AN ART LESSON
The following outline, which is intended particularly for Representation. will
be round helpful in ail Art lessons. If should be adapted fo suit circumstances
and particular cases.
PREVIOCS PREPARATION BY THE TEACHER
1. Aire established, that is, a definite idea formed of what is fo be taught in the
lesson
2. Instructions given the pupils concerning preparations fo be ruade by them
previous fo the lesson, when such preparation is necessary
44 ART
3. Securing of the materia]s that will be required for demonstration
4. l'reparation of the materials that will be required by the class
5. Placing of the specimens or models.
No'rE.--Where paints are te I,e used, the paint-boxes should be opened and plaeed in
position and the eakes moistened by the pupils previous te the demonstration by the teaeher.
METIIOD
A I,proim«te Time:
2 te 5 rein. 1. A rapid demonstration by the teacher of the method and
order of atlack, while the class «bserves.
1 te 5 rein. 2. The distribution of materials.
2 nain. 3. The study of the particular ol,joct or speeimen by each
pupil, while Ihe general order te be followed is obtained
frein the class by questioning.
5 te 10 rein. 4. The class begins the work, while the teacher passes quietly
around noting every important mistake that is being
ruade.
2 rein. 5. The (.lass stol,s w-rk, and each drawing is held off and com-
pared with lhe model, while the teacher mentions the
mistakes he has ohserved and asks those who have ruade
these errors te, raise their hands. The drawing of any
l,upil who does net recognize his mistake should be
1,rouht forward se that he mav sec if beside the model,
with which he may then compare if at a better distance.
5 te 10 nain. 6. The pupils correct the drawings where if is possible or ben
a fresh drawing on the other side of the paper.
2 nain. 7. The drawins approved of for effort or d%ree of progress.
2 rein. 8. The best drawings brought forward te show the class.
Attention callod te merits, such as good placing, truth
of shape, colour, growth, etc., as the case may be.
9. When rime permits and interest is still fresh, another sketch
may be ruade.
IECIPES 45
ADHESIVE PASTE
To make one gallon of paste, use four level cups of flour, one rounded table-
spoonïul of powdered gum-tragacanth, two rounded teaspoonfuls of powdered
a|UlXlo
Mix the powdered gum-tragacanth in the flour, stir in water to make a smooth
paste, add sufiïcient boiling water and the alum, and stir while it cooks.
A FIXATIVE
Charcoal drawings that are fo lJe preserved should be sprayod with a fixative
fo prevent their being rubbed. Such a fixative is ruade of rive parts of wood
alcohol and one of white liquid shellac.
CHAPTER II
FORM I, JUNIOR GRADE
ILLUSTRATIVE DRAWING
SEAT EXERCIE FOR DEVELOPMENT OF SELF-EXPRESSION
In Fomi I, Junior tirade, the new pupils may be allowed certain periods in the
seats during the day in which fo make pictures telling stories. These should hot
be criticised, but each pupil should be able fo tell the teacher what his pictures
mean, and he should be given credit for them unless they consist of aimless marks.
Af this point a great deal of help may be given the pupil, without destroying
his individuality. A few strokes may make his indefinite figures take shape and, as
he is hot critical, no teacher fearing his own inability need hesitate to help.
Pictures on cards or around the room or sketches on the 1)lack-board will give
the pupil terres with which to express himself; but fo set him copying a picture
limits, rather than develops, his power of expression.
Let us suppose that the storv he is telling calls for trees. He bas hot yet
thought of a tree, excepting as a pole with cross-beams upon which apples or other
fruits bang. The relation of each part to the whole has hot troubled him ; therefore
his drawing bears little resemblance fo a tree. IIe will, however, recoguize the
photograph or picture of a tree and will adroit that it is more like a tree than his
drawing is; his struggle fo express things as they appear has begun.
SUITABLE SUBJECTS FOR ILLUSTRATIVE DRAWING
The illustrative, or imaginative, drawing in class in Form I may be begun with
short sentences expressing action, such as:
Mary pushed the chair across he floor.
Sam ran across the room.
The cat jumped fo catch the mouse.
Afterwards short stories within he pupil's experience mav be given, as:
The baby was so ill that mother called fo Robbie t'o run quickly for the
doctor.
46
TYPE LESSON 47
Advantage aise should be taken of the things in which the pupils are interested
and of events that happen in the neighbourhood.
Other suitable subjects for illustration are nursery rhymes; holiday happen-
ings; special days, as, Ilall«,we'en, Thank.giving Day, Empire I)ay, Circus Day;
any childish activity, as sweeping, dusting, raking, weeding; gaines and sports of
ail kinds.
lllustrative Drawing should aise be correlated with reading, number work, and
other school lessons, both in the class periods and for seat work.
5IETHOD OF BEGINNING TIIE LESSON
The teacher may open the lesson by making on the black-board a rapid sketch
representing seine action quite different fronl the one he intends te have the pupils
draw; for example, a boy climbing a ladder. Then he may put the question te the
class: " What is Johnny doing?" Every pupil in the class is ready te answer
immediatelv. The picture on the board is then removed, and the teacher proceeds
as suggested in the type lesson. If he sketches readily, this method of beginning
acts as an inspiration te the pupils. They may be led te sec that a story can be
told in three ways; it may be spoken, written, or pictured. The pictured method
appeals te them, because ail can understand it. The method of begnning must be
varied, however, and it is net necessary that the teacher should make drawings
every time a lesson of this kind is taught.
TYPE LESSON
SUBJ ECT
Mary pushed the chair across tbe flonr.
METHoD
When the elass is ]istening attentively, repeaf the sentence, " Mat
chair across the floor", endeavouring te make the action as vivid as possible.
Ask the pupils te close their eyes and think of Mary. " If is a heavy chair
and Mary has te lean forward se that she can push hard. Think how her arms
look. Vhere are her feet? Does her skirt hang lower in the front or in the
back?" After putting these questions, which the pupils answer for themlves,
mentally, ask them te open their eyes and make a picture of Mary pushing the
chair.
48 ART
While Che pupils are working, go about among them quietly, making mental
notes of their mistakes. In from three to rive minutes, no longer, have them sit
back with their drawings held at arm's lenh where they can study them, while
)ou ask questions relating fo the mistakes that you bave observed, such as: " IIow
many bave drawn Mary too slnall for the chair? Too large? With ber feet so
high tbat she appears fo be in the air? IIow manv have the lower ends of the
chair legs higher than Mary's feet, so that she appears to be holding it up? »
Watch fo sec that those who bave marie these mistakes discover their faults. If the
class finds if difficult fo get the action, dramatize the sentence. Call a little girl
forward as far as possible from the ,.lass, so that ail can sec ber, and have ber push
a chair across the rooln. If necessary, let rb-se in the back seats stand or more
quietly forward fo a place from which thev can sec.
As the little girl pushes the chair, call attention fo the relative position of
feet, hands, knees, head, elb,)ws, having the pupils note particularly the points
where mistakes were ruade in their first attempt.
Let the pupils close their eves again and call up the mental picture, then turn
their drawinzs over and try azain on the other side of the paper, or complete the
first drawing if it (.tn be corrected.
Send the pupils with Zo,)d drawinzs to the front, so that those in the seats
may compare their pictures with ones that tell the siory better. Let the class choose
the one which relis Che storv best.
The dramatic element is the tl)ing of vital importance in illustration; and an
illustrative drawinz in which this dramatic element is present, even though the
figures are but poorly drawn, mav be much hetter than one with figures well drawn,
which is lacking in this vital element. The teacher should do little if any criticising
of the drawings in Form :I. lits purpose sbould be fo direct the attention of the
pupils fo those things which he judges by the mitakes in their drawings bave
been overlooked and fo lead them o discover for themselves where their drawings
are faulty, in order that their future efforts may show improvement.
GAMES AND SPORTS
Amon Che manv gaines and sports that may be taken with pupils in Form I,
Junior Grade, are hide-and-seek, football, hockey, building a snow man or a Teddy
bear or a snow fort, snowbaliing, skipping, sliding, and skafing.
Certain games and sports seem to be popular in some localities and almost
GAMES AND SPORTS 49
unknown in others. The tca,-hcr must choose for illustration those that are
familiar te the class, and he should make use of thom ata rime hen interest in
them is at ifs height.
He ma)" begin a lesson bv dcscribing bricfly, but as vividlv as possible, seine
gaine he has scen which is common o lhc localitv.
The pupil. may ihen close lhcir cvcs and lry le ima;zine lhe gaine as dcscribed,
afterwards proceeding with charcoal, black crayons, or coloured crayons, te rcpre-
sent if by a picture or a sertes of picturcs.
AN EXA,I PLE
The tail-piece shown I,olow is a fair examl,lc of what mav be expectcd frein a
Ferre I c}ass. This is a drawing },v a Ferre 1 I»,,y. and has heen greally rcduce(]
in size. The class had |)een giX'el a s]cigh ride, and lhc uext dav lhc pupils marie
pictures describing their oufing. No two drawings XCl'C a}ikc. In the drawig
shown, the bovs are seen .campering te tire s}eigh in which the lwo chaperoncs are
alreadv seated. Marvellous as are the hais of these ladios, they pale in comearison
wiih the iml,ossihle steeds.
It is onlv whcn attempting te dcpict a similar sccne that one realizc: how
much the small hov has accompli.hed in this drawing notwiihstanding his in-
accuracies. He is just emerging frein the sxmbolic stage; the few dota(.hod house.
stand for the terraces in a citv strcet, the lar.,..,cr huildiugr.presents the schoo}-
bouse separated from the other bouses and the street, as the picce of fente indicates.
These are ttnimportant but necessarv dctails. The hurry, the capacious slei.,_*h, t]|e
horses, the interested onlookers, the restrainin chaperones, and that nonchalant
hero of the occasion, the driver--thcse are of conscquence to the b,.v and 1,»oto
large in hi. picture.
50 ART
In ail illustrative work the teaeher must endeavour fo get the pupil's point of
view. 11.. ntay find in the alJsurd pietures a fount of anmsement tobe inwardly
«'tjo3ed, Ira! the l.upil's thought is hot absurd, and fo depreciate or make fun of his
effort may result in the stunting of his development and will most certainly destroy
Sl,,,n|alleily.
Wl.q, lmpils are «, lmve an outin or are fo be iven the opportunfly of seeing
et «ireus ]u'ocession or a parade of any kind. they should know beforehand tbat they
will I,e alh,wed h» nlake lfictures deseril,iug what lhey have seen, when they return
to file class-room.
NCR.";I':RY I/IIYM ES
A |ist of nurscry rhvmcs su]tab]c for illustration is g]ven n the text for
Form I, ,Scnior 1;rade.
IEI'RESENTATION
PLANT STUDY
Pupils in Form I. under flw guidance of tho teaeher, should be able fo make
eroditable pi«turos of file fl«,wers mentioned in tlae General Introduction. If is"
oot alwavs ne,'e.sarv for thê teachor to draw the specimen before he class, Im he
IIIIISt lise |hochalk frequently tf, sllow the nlethod, nexer permitting lais class fo
,,q»y his work. I»ul eOllSlantlv ealling attention lo direction of stem. differenees in
shaI,«', atld 1,osili,,n of masses, lh, nust impress upOll his pupils that thev must
l,,ok ear,.hlllv Io seo wllere ea«h part is and. after havinff drawn any part, they
should compare with the plant to sec if if bas been eorrecfly place&
DRAWIN'ç. OF A SPRA¥ OF C.RASS IN" COLOUR
(Time, twenty fo thirty minutes)
IATFR IA LS
FOR TIIE TEç('IIFR:
f'olourod chalks, a spray of gra.s pinned op ai the front againsf a lizbI back-
zou.d wbore ail tan scc if. and a lare piece of drawing paper fastcned fo the
l.lack-board wilb a dr«, 1, of mucilage or a gummed label.
fin oaeh dosk a box of coloured crayons, two sheets of 6" by 9" paper, and a
specimen of -rass. The latter may be laid upon the sheet of paper on the desk fo
SPRAY OF GRASS IN ('(}L(}UR 51
the left of each pupil. This method of l»lacing the specimens
is particularly helpful fo a class of bcimlers. The teacher
should consult the (;eneral IItroduction for other ways of plac-
ing specinlens.
Each pupil should bave a good @ecimen and, if possible,
but one variety of grass should be used.
I ETI
Teaeher : " How graeefn], ver fd] of lire our rasses seem.
Thev look as inercsWd as vou de, when v<,u arc g,,ing o have
Vollr pic/ures taken. I,,-t us l»e a« fair t«,-dav to our litllo
visitors from the fields as we Wollld cxpoct the I,hotozrapher
be fo us.
What must we 1,e careful to get right? Colour. shape.
and someflfing el»e. m,»st inpol'tant of ail, the dircction of the
store, because it te]ls how the grass grows.
S-nm plants rira al-ng tle ground and clinff to evorv-
thing thev tan reach. Xot so our zay. independent little 7rass.
Others have a stronz ruzzod stalk. Lc.t us trv to draw
ass stem as if grows.
Lo,k ai this spo«inwn, which i not exaetlv ]iko vours.
I shall make a picture of mine whilo you watch, fil'St sweepinu
in, just as the store rew from the earth upward, a line of
green chalk so faint that we mav calI il a whispered line.
Do anv litilo branches show iii t]w head ? Thev corne
and nmst be put in just as thev slant fr«,m the store. N-w for
the head : we must shai,e tho Iitt]e strokes in the wav tho in"
tufts of flowers ow. Tho hlados corne noxt. First a
line is dram where each blade joins the store, to et the right
s]ant: thon eaeh b]ado must ho shapod with lon7 strokes.
wideninz toward the nfiddlc and taporinzfo its sharp point.
Does the sfem look str 
