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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/32781-h.zip b/32781-h.zip Binary files differnew file mode 100644 index 0000000..7e270a3 --- /dev/null +++ b/32781-h.zip diff --git a/32781-h/32781-h.htm b/32781-h/32781-h.htm new file mode 100644 index 0000000..8859fd4 --- /dev/null +++ b/32781-h/32781-h.htm @@ -0,0 +1,963 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Blackboard Drawing, by Frederick Whitney. + </title> + <style type="text/css"> + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + + h1,h2,h3,h4,h5,h6 {text-align: center; clear: both;} + + hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;} + + table {margin-left: auto; margin-right: auto;} + + body {margin-left: 12%; margin-right: 12%;} + + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;} + + .poem {margin-left:15%; margin-right:15%;} + + .right {text-align: right;} + .center {text-align: center;} + + .figcenter {margin: auto; text-align: center;} + + .dropfig {float: left; clear: left; margin: 0 2px 0 0;} + + a:link {color:#0000ff; text-decoration:none} + a:visited {color:#6633cc; text-decoration:none} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Blackboard Drawing, by Frederick Whitney + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Blackboard Drawing + +Author: Frederick Whitney + +Release Date: June 11, 2010 [EBook #32781] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK BLACKBOARD DRAWING *** + + + + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + + + + + +</pre> + + + + +<h1>Blackboard Drawing</h1> +<h3>A MONOGRAPH</h3> +<h4>BY</h4> +<h3>FREDERICK WHITNEY</h3> +<p class="center">OF THE<br />STATE NORMAL SCHOOL<br />SALEM, MASSACHUSETTS</p> +<p> </p> +<div class="figcenter"><img src="images/i001.jpg" alt="" /></div> +<p> </p> +<p class="center">SIXTH EDITION</p> +<p> </p> +<p class="center">PUBLISHED BY<br /> +Atkinson, Mentzer & Company<br /> +Boston New York Chicago Atlanta Dallas</p> +<p> </p><p> </p> +<p class="center">Copyright, <b>1902-1903</b>, by The Davis Press<br />All Rights Reserved</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<h2>Foreword</h2> + +<p>This monograph is a reprint of a series of articles first published in the +second volume of the magazine now known as <i>The School Arts Book</i>. The +articles attracted wide attention on account of their timeliness and their +illustrations. The plates were made from photographs of actual work upon +the blackboard by Mr. Whitney, and are undoubtedly the most attractive +blackboard drawings ever published. The demand for these articles has been +so great that the original editions have been exhausted. They are +republished in this form in the hope that they may influence yet more +strongly the increasing number of teachers who find the blackboard +indispensable in teaching.</p> + +<p class="right">HENRY TURNER BAILEY</p> + +<p>September, 1903</p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> +<h2>BLACKBOARD DRAWING</h2> + +<p><span class="dropfig"><img src="images/i005.jpg" alt="N" /></span>one of the teachers who read “The School Arts Book” from month to month +doubt in the least the value of drawing in our schools, and there is no +need of the slightest argument in its favor. Even in the lowest grades the +teacher appreciates drawing as the natural expression of the thought and +experience of the child; a spontaneous activity, having its relation to +life, not a thing apart from life or an end in itself. Throughout the +grades the teacher should cultivate this spirit of freedom and interest, +remembering that drawing is a language to be used as naturally and freely +as one written or spoken.</p> + +<p>Why should these suggestions not apply to the teacher as well as to the +child? Why should she not express herself, the interests of school life +and of the pupil in the same free, natural way?</p> + +<p>Upon entering a schoolroom the teacher finds the blackboards bare and +dull. There is little in the line of decoration in the room and in order +to relieve this monotony she stencils a border, the picture of some great +hero or well-known author, draws with colored chalk the inevitable flags +crossed at right angles or puts upon the board some design which possibly +may or perhaps may not have relation to the needs of the children, their +life and activities, or the industries of the school.</p> + +<p>When the drawing on the part of the child becomes the natural and free +expression of the activities and interests of<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> every-day life, and the +teacher uses this graphic language in the same manner, the blackboards +will be found constantly in use and upon them an ever changing series of +drawings. These drawings should be illustrations of the geography, +history, literature, nature work or any other line demanding their aid. +Let them be drawings upon which a few moments of time are spent, a free +sketch illustrating the object or topic as a means of making the subject +clearer in the minds of the pupils, not a picture produced by the labored +use of chalk and eraser, to be kept upon the board indefinitely as a bit +of decoration.</p> + +<p><a name="plate1" id="plate1"></a> </p> +<div class="figcenter"><img src="images/i006tmb.jpg" alt="" /><br /> +<a href="images/i006.jpg"><small>Larger Image</small></a></div> +<p><a name="plate2" id="plate2"></a> <span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> +<div class="figcenter"><img src="images/i007tmb.jpg" alt="" /><br /> +<a href="images/i007.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>Let me suggest the practice of the following strokes and later we will try +their application in various drawings recommended by teachers from several +schools. In these illustrations use about two-thirds of a stick of soft +blackboard crayon, using the large end and drawing with the side of the +chalk. This use of the crayon will produce any tone from white to neutral +gray.</p> + +<p>No. 1. Place the chalk in a horizontal position and try a smooth even +stroke one or two feet in length.</p> + +<p><a name="plate3" id="plate3"></a> <span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> +<div class="figcenter"><img src="images/i008tmb.jpg" alt="" /><br /> +<a href="images/i008.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>No. 2. A similar stroke in a graded scale letting the pressure become less +and less toward the lower end of the stroke.</p> + +<p>No. 3. Reverse No. 2 hardly touching the board at first and increasing the +pressure toward the lower end.</p> + +<p>If charcoal is used for the lower tones, a very satisfactory scale may be +produced as in the last illustration on <a href="#plate1">Plate 1</a>.</p> + +<p>No. 4. Combine No. 2 and No. 3 in a single stroke. Try all these strokes +again and again in a vertical, horizontal, oblique, and curving direction +until each can be made in a second or two.</p> + +<p><a name="plate4" id="plate4"></a> <span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> +<div class="figcenter"><img src="images/i009tmb.jpg" alt="" /><br /> +<a href="images/i009.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>No. 5. Place the chalk in a vertical position upon the board, draw +downward, gradually twisting the chalk to a horizontal position.</p> + +<p>No. 6. Place the chalk horizontally and draw downward, twisting the chalk +to a vertical position.</p> + +<p>No. 7. These spots are No. 5 and No. 6 combined. Try them with a short, +quick motion of the chalk.</p> + +<p>No. 8. Combine two spots similar to the first at No. 7. The leaf in +outline requires several lines while the drawing representing the surface +was made with two strokes and one<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> line for the midrib and stem. Try +several leaves of different shapes using the stroke suggested on this +plate. The pond lily is drawn with this same stroke reduced.</p> + +<p>No. 9. Make a scale from left to right by pressure upon one end of the +chalk, while giving a vertical stroke. Try this in various directions. Use +two parallel strokes and with a bit of charcoal for accent try the trunk +of the birch tree.</p> + +<p>No. 10. Use No. 4, <a href="#plate1">Plate 1</a>, in a series of lights and darks. This is made +by quick pressure at short intervals without removing the chalk from the +board. I have seen this used by science teachers to illustrate vibrations +or wave lengths; we shall use it later for pictorial purposes.</p> + +<p>No. 11. Place the chalk upon the board in a horizontal position, move +rapidly back and forth, gradually shortening the stroke, and repeat this +exercise in various positions and directions.</p> + +<p>No. 12. This drawing was made by the use of No. 11. Draw first a few lines +suggesting the growth of the fern, then add the strokes letting the fern +dictate the direction, accenting the lighter values by a stronger +pressure.</p> + +<p>Draw the upper leaf on <a href="#plate4">Plate 4</a> by the use of stroke No. 6, hardly touching +the board for the gray tones, then adding the white tones with a stronger +pressure upon the chalk.</p> + +<p>Are we sure that we have not tried to make drawing an end rather than a +means? Let us remember that there must be a motive prompting the work, an +interest or experience back of the drawing which demands expression. In +the color work, design, and manual work, the influence of this thought has +already<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> been felt. The object needed in the schoolroom or for the +individual use of the pupil is the object designed and made. With this new +motive, there comes a growing appreciation and interest on the part of the +child.</p> + +<p>The blackboard drawing should be governed by the same spirit, the need of +the hour, just as surely as the child’s work at his desk, and when the +teacher realizes this fact, he will never lack a subject for illustration. +For instance, in the fall the class may be studying trees, and drawing +will be found indispensable.</p> + +<p>The children are studying some tree near at hand, comparing trees to +discover their points of likeness and difference, collecting pictures of +trees and mounting these to illustrate their description, and with this +study they are becoming more or less familiar with our common trees. If +the teacher should go to the blackboard to enforce a point in regard to +the general form of the tree, direction of branches or characteristic +details, he will find such sketches a great help. It is the teacher who +does such illustrative drawing who holds and interests his class.</p> + +<p>Let us try a few simple applications of the practice previously suggested, +using the trees as our topic for illustration.</p> + +<p>No. 13. Draw a gray, vertical line suggesting the characteristic line of +growth in the pine tree. Use the stroke given in No. 11 for the foliage. +To represent the foliage in a mass, simply shorten or lengthen the stroke +of the chalk, using a greater pressure here and there. With the side of +the chalk represent the trunk of the tree where visible and with the point +indicate branches.</p> + +<p><a name="plate5" id="plate5"></a> <span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> +<div class="figcenter"><img src="images/i012tmb.jpg" alt="" /><br /> +<a href="images/i012.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>Certain laws govern blackboard work as well as object drawing on paper. A +sketch of the object as a whole must be made first and the massing of the +lights and shades must be done before detail is attempted. The general +outline may often be sketched with charcoal and corrected when the chalk +is used.</p> + +<p><a name="plate6" id="plate6"></a> <span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<div class="figcenter"><img src="images/i013tmb.jpg" alt="" /><br /> +<a href="images/i013.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>No. 14. Try the poplar tree. Again the vertical line is characteristic. +Indicate this. Mass the foliage as before, using a vertical rather than a +horizontal stroke. Do not remove the chalk from the board until the mass +of foliage is represented and remember to give a light pressure for the +grays and a strong one for the whites.</p> + +<p>It is not the greatest quantity of chalk which gives the best drawing any +more than the greatest quantity of pigment in our<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> color work which gives +the best painting. Represent trunk and branches as in No. 13.</p> + +<p><a name="plate7" id="plate7"></a> </p> +<div class="figcenter"><img src="images/i014tmb.jpg" alt="" /><br /> +<a href="images/i014.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>No. 15. A bit of landscape indicated by a few strokes of chalk often +renders the drawing much more pleasing and at the same time suggests the +environment of the tree. The lines used here are those given in No. 1, No. +9 and No. 11, and are easily represented.</p> + +<p><a name="plate8" id="plate8"></a> <span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> +<div class="figcenter"><img src="images/i015tmb.jpg" alt="" /><br /> +<a href="images/i015.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>No. 16. The willow is another interesting tree for study and is drawn in a +similar manner to those previously mentioned. The stroke of the chalk for +foliage is a curving one rather than horizontal as in the evergreen or +vertical as in the poplar.</p> + +<p>No. 17. A suggestion of distance will frequently be found a good +background for a tree, building or other similar<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> foreground. The distance +is treated in exactly the same manner as the foliage in many of the trees, +the side of the chalk giving a gray, uneven surface. In drawing the water +represent the reflections with vertical strokes and the ripples with +horizontal ones.</p> + +<p><a name="plate9" id="plate9"></a> </p> +<div class="figcenter"><img src="images/i016tmb.jpg" alt="" /><br /> +<a href="images/i016.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>No. 18. Make the hillside with two or three gray strokes of No. 1, the +clouds with a similar curving stroke, and the trees with charcoal, using +the same treatment as in the chalk drawings.</p> + +<p><a name="plate10" id="plate10"></a> <span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> +<div class="figcenter"><img src="images/i017tmb.jpg" alt="" /><br /> +<a href="images/i017.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>No. 19. Experiment with a few vegetables, or fruit, using the strokes +which the illustrations will readily suggest. For the grapes use a short +piece of chalk and a quick, curving stroke, the point being used only in +accenting.</p> + +<p>No. 20. The basket is represented by using No. 10, <a href="#plate3">Plate 3</a>, for the +surface and the point for the details. Experiment<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> a while with the +handle, begin at the lower end at the left, draw upward, to the right and +downward.</p> + +<p><a name="plate11" id="plate11"></a> </p> +<div class="figcenter"><img src="images/i018tmb.jpg" alt="" /><br /> +<a href="images/i018.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>The tumbler is represented by using a few gray vertical strokes of the +chalk. Accent with chalk for high lights and a bit of charcoal for darks.</p> + +<p>In the other objects on <a href="#plate8">Plate 8</a> let the surface of the vegetable dictate +the direction of the stroke, keeping the work as<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> simple as possible. See +with how few touches an effect can be obtained. A variety of illustrations +may be attempted, all of which have been suggested by grade teachers as +useful in many lines of school work.</p> + +<p><a name="plate12" id="plate12"></a> </p> +<div class="figcenter"><img src="images/i019tmb.jpg" alt="" /><br /> +<a href="images/i019.jpg"><small>Larger Image</small></a></div> +<p><a name="plate13" id="plate13"></a> <span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p> +<div class="figcenter"><img src="images/i020tmb.jpg" alt="" /><br /> +<a href="images/i020.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>An outline drawing upon the blackboard expresses much, and is often better +than any attempt at light and shade or variety in tone, yet there are +frequent occasions when the representation of solidity or of surface is +better obtained in illustrative work by the use of the side of the chalk +and charcoal. In such cases leave the blackboard for the middle values and +use the charcoal and chalk as in previous sketches.</p> + +<p>For instance, make a drawing of the wigwam and canoe, adding some of the +tree sketches upon which we have previously worked or simply indicating a +few tree trunks.</p> + +<p><a name="plate14" id="plate14"></a> <span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> +<div class="figcenter"><img src="images/i021tmb.jpg" alt="" /><br /> +<a href="images/i021.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>No. 21. Make a light sketch either with chalk or charcoal, indicating the +general form of the objects, or if one has a good idea of form, he may +make the drawing without outlining. A few oblique strokes handled in the +same manner as the gray tones given in No. 1 will produce the wigwam. The +details may be added with chalk or charcoal. A single horizontal stroke +curving a bit at either end gives the general form of the canoe. If a few +minor markings are given, the children will have no doubt of your intent +in the sketch. For the tree trunks<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> use the stroke suggested by No. 9, and +for the water consult No. 17 and No. 18, <a href="#plate7">Plate 7</a>.</p> + +<p>No. 22. The woodland appeals to all children and is frequently the topic +in history, geography, botany, literature, and nature study as well as +drawing. A few broad, gray strokes will give the sky. With a cloth, erase +tree tops for the distance and a few vertical lines for tree trunks. Use +the vertical strokes suggested in No. 9 for the light tones in the trees +and charcoal for the darks to produce the cylindrical effect. Mass the +foliage as in the trees previously drawn and add the necessary markings +for branches.</p> + +<p>No. 23. A landscape with the old house in the foreground gives an +opportunity to put into practice many of the previous suggestions.</p> + +<p>No. 24. This sketch was asked for as an illustration for the study of +colonial history. In both No. 23 and No. 24 the sky is drawn by the use of +the horizontal stroke and the clouds, trees, and distance erased with a +bit of soft cloth. The strokes used in the buildings and fence are evident +and need no interpretation.</p> + +<p><a href="#plate12">Plate No. 12</a> shows two looms made by the children, and the beginning of +the rugs they are weaving from their own designs. The illustration is from +the blackboard drawing made by the teacher to show how the Indians made +and used a loom. This illustration has been used in history, geography, +and manual training.</p> + +<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>Lessons in geography often require quick illustration. The school building +may not be well located for this study, or the teacher is not fortunate +enough to have a good series of pictures for the use of his class. In such +cases, or in any case, even when he has other material, blackboard +illustration will help the children. No. 25, No. 26, and No. 27, <a href="#plate13">Plate 13</a>, +suggests useful sketches.</p> + +<p>Such topics as the clouds, the mountains, the plain, the valley, the +brook, the waterfall, the beach, the ocean, the cliff, and innumerable +others are easily and quickly illustrated in this manner. The teacher who +in a few moments can take advantage of this graphic language finds the +lessons a delight to himself and to the class.</p> + +<p>Animal drawing is an extremely interesting lesson for the children, at the +same time a rather difficult one for many teachers. On <a href="#plate14">Plate 14</a> will be +found a few drawings suggesting how few lines will indicate the general +outline and how few strokes of the side of the chalk will suggest the +surface.</p> + +<p>There are special days, seasons, or occasions when blackboard drawings may +be used to advantage for illustration.</p> + +<p>Thanksgiving stories are anticipated by the children, and Thanksgiving +pictures as well. These old, old scenes, ever new, appeal to us all +whether pupils or teachers. There are the settlement of New England, the +first Thanksgiving, the harvest time, the family gathering, and numerous +events which suggest illustration. In many schools there is the delightful +custom of remembering some unfortunate family. The children bring to the +school gifts of clothing, groceries, vegetables, etc., and assist the +teacher in packing these good things, and great is their joy in giving.</p> + +<p><a name="plate15" id="plate15"></a> <span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p> +<div class="figcenter"><img src="images/i024tmb.jpg" alt="" /><br /> +<a href="images/i024.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p><a href="#plate15">Plate 15</a>. This drawing will answer as an illustration of harvest time, or +perhaps the gift itself to be packed and sent away. Our lesson in object +drawing may be from these or similar objects. In this sketch a few +vertical strokes give the background and box, similar curving strokes the +barrel, and <span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>horizontal strokes the floor. The vegetables are drawn by +using the suggestions found in No. 9, <a href="#plate3">Plate 3</a>. The kernels of corn are +represented by the use of a very small piece of chalk and stroke No. 10, +and the husks by using No. 5, No. 6, and No. 7, <a href="#plate2">Plate 2</a>. The details are +added with the point of the chalk, and charcoal is used in the shadows.</p> + +<p><a name="plate16" id="plate16"></a> </p> +<div class="figcenter"><img src="images/i025tmb.jpg" alt="" /><br /> +<a href="images/i025.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>Christmas time of all seasons in the year is the one the children most +love, and there are innumerable stories and Christmas lessons for the +little ones. Let me give you a few verses I heard in the first grade and +the illustration used.</p> + +<p class="poem">Christmas-day was coming, Christmas-eve drew near;<br /> +Fir-trees they were talking low, at midnight cold and clear,<br /> +And this is what the fir-tree said, all in the pale moonlight,<br /> +“Now which of us shall chosen be to grace the ‘Holy Night’?”<br /> +<br /> +The tall trees and the goodly trees raised each a lofty head,<br /> +In glad and secret confidence, tho’ not a word they said,<br /> +But one, the baby of the band, could not restrain a sigh:<br /> +“You all will be approved,” said he, “but oh, what chance have I?”<br /> +<br /> +“I am so small, so very small, no one will mark or know<br /> +How thick and green my needles are, how true my branches grow;<br /> +Few toys or candles could I hold, but heart and will are free,<br /> +And in my heart of hearts I know I am a Christmas-tree.”</p> + +<p>The children told of the woodman who took his axe and started in search of +a tree for his baby at home; of the delight of the little tree at being +chosen, and of the joy of the little daughter when she saw it arrayed and +holding her Christmas gifts. The accompanying drawing will serve as an +illustration for this story or as a sketch of the forest in winter.</p> + +<p><a href="#plate16">Plate 16</a>. In this sketch use the strokes suggested for illustrations No. +13, Plate 5, and No. 22, <a href="#plate10">Plate 10</a>. Use the side<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> of the chalk, hardly +touching the board and keeping the drawing very gray. Accent with a strong +pressure the parts representing snow.</p> + +<p>This is but one suggestion. There is the inevitable Christmas tree with +the toys and gifts, Santa Claus bearing his bundle of gifts or going down +the chimney, and the fireplace with the stockings, all of which are +quickly drawn in the manner given in previous sketches.</p> + +<p>Washington’s birthday brings to mind the stories of his life, and pictures +may be found illustrating these incidents. One or two which all may see +and discuss will prove valuable.</p> + +<p><a href="#plate17">Plate 17</a> will show a few drawings which have been used to advantage.</p> + +<p><span style="margin-left: 2em;">A. Near Washington’s Birthplace.</span><br /> +<span style="margin-left: 2em;">B. Mt. Vernon.</span><br /> +<span style="margin-left: 2em;">C. An old Stage Coach.</span></p> + +<p>In these sketches the strokes used are evident.</p> + +<p>Again, Patriots’ Day and Memorial Day present many ideas in regard to +blackboard drawing and decoration. Some of these illustrations are +deplorable. I well remember one schoolroom which I visited and the +drawings which were upon the boards. On one side was a sketch of a pyramid +of cannon balls, next, several guns stacked, then two swords crossed at +right angles. On another side was a cannon, a wreath of some sort around +the stenciled portrait of a dead hero, a tombstone with an inscription, +and so on about the room, everything suggesting war, misery, bloodshed, +and death.</p> + +<p>Can we not find something other than such illustrations, and bring to the +thought of the children love of home and<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> country, and a reverence for +those who gave their lives for their protection?</p> + +<p><a name="plate17" id="plate17"></a> </p> +<div class="figcenter"><img src="images/i028tmb.jpg" alt="" /><br /> +<a href="images/i028.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p>I have seen <a href="#plate18">Plate 18</a> used in a schoolroom and feel sure it performed its +mission.</p> + +<p><a name="plate18" id="plate18"></a> <span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> +<div class="figcenter"><img src="images/i029tmb.jpg" alt="" /><br /> +<a href="images/i029.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p><a href="#plate19">Plate 19</a> will perhaps suggest its use. In these drawings the board is +slightly covered with either chalk or charcoal. In A about ten strokes of +the chalk and the charcoal outline finish the drawing of the lantern. B is +done almost entirely with <span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>charcoal, the chalk being used only in a few +gray tones and the touches of light in the distance. C is produced by +using the chalk in horizontal strokes and wiping out the trees with a +cloth. A few touches of charcoal will give the foliage, and the bridge is +added with simple strokes with the side of the chalk.</p> + +<p><a name="plate19" id="plate19"></a> </p> +<div class="figcenter"><img src="images/i030tmb.jpg" alt="" /><br /> +<a href="images/i030.jpg"><small>Larger Image</small></a></div> +<p><a name="plate20" id="plate20"></a> <span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> +<div class="figcenter"><img src="images/i031tmb.jpg" alt="" /><br /> +<a href="images/i031.jpg"><small>Larger Image</small></a></div> +<p> </p> + +<p><a href="#plate20">Plate 20</a>. This was taken from a Kindergarten room in which the children +were celebrating Froebel’s birthday. The drawings upon this plate were +made by the use of the simple strokes given or suggested in the plates +shown in the first part of this article.</p> + +<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>There are other days of local interest which are celebrated in various +localities and the grade teacher will find that the use of illustrations +will appeal to the children, hold their interest and impress upon them a +central thought in the lesson.</p> + +<p>Whether teaching drawing or some other study in the curriculum, the +teacher aims to make his work effective, and if he should once try +blackboard illustration, he will find it an invaluable aid towards making +clear or emphasizing important points.</p> + +<p> </p> +<div class="figcenter"><img src="images/i032.jpg" alt="" /></div> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Blackboard Drawing, by Frederick Whitney + +*** END OF THIS PROJECT GUTENBERG EBOOK BLACKBOARD DRAWING *** + +***** This file should be named 32781-h.htm or 32781-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/2/7/8/32781/ + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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100644 index 0000000..d5c2aaf --- /dev/null +++ b/32781-h/images/i032.jpg diff --git a/32781.txt b/32781.txt new file mode 100644 index 0000000..3424da0 --- /dev/null +++ b/32781.txt @@ -0,0 +1,894 @@ +The Project Gutenberg EBook of Blackboard Drawing, by Frederick Whitney + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Blackboard Drawing + +Author: Frederick Whitney + +Release Date: June 11, 2010 [EBook #32781] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK BLACKBOARD DRAWING *** + + + + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + + + + + + + + + Blackboard Drawing + + A MONOGRAPH + + BY + FREDERICK WHITNEY + + OF THE + STATE NORMAL SCHOOL + SALEM, MASSACHUSETTS + + + SIXTH EDITION + + + PUBLISHED BY + Atkinson, Mentzer & Company + Boston New York Chicago Atlanta Dallas + + + + Copyright, 1902-1903, by The Davis Press + All Rights Reserved + + + + +Foreword + + +This monograph is a reprint of a series of articles first published in the +second volume of the magazine now known as _The School Arts Book_. The +articles attracted wide attention on account of their timeliness and their +illustrations. The plates were made from photographs of actual work upon +the blackboard by Mr. Whitney, and are undoubtedly the most attractive +blackboard drawings ever published. The demand for these articles has been +so great that the original editions have been exhausted. They are +republished in this form in the hope that they may influence yet more +strongly the increasing number of teachers who find the blackboard +indispensable in teaching. + +HENRY TURNER BAILEY + +September, 1903 + + + + +BLACKBOARD DRAWING + + +None of the teachers who read "The School Arts Book" from month to month +doubt in the least the value of drawing in our schools, and there is no +need of the slightest argument in its favor. Even in the lowest grades the +teacher appreciates drawing as the natural expression of the thought and +experience of the child; a spontaneous activity, having its relation to +life, not a thing apart from life or an end in itself. Throughout the +grades the teacher should cultivate this spirit of freedom and interest, +remembering that drawing is a language to be used as naturally and freely +as one written or spoken. + +Why should these suggestions not apply to the teacher as well as to the +child? Why should she not express herself, the interests of school life +and of the pupil in the same free, natural way? + +Upon entering a schoolroom the teacher finds the blackboards bare and +dull. There is little in the line of decoration in the room and in order +to relieve this monotony she stencils a border, the picture of some great +hero or well-known author, draws with colored chalk the inevitable flags +crossed at right angles or puts upon the board some design which possibly +may or perhaps may not have relation to the needs of the children, their +life and activities, or the industries of the school. + +When the drawing on the part of the child becomes the natural and free +expression of the activities and interests of every-day life, and the +teacher uses this graphic language in the same manner, the blackboards +will be found constantly in use and upon them an ever changing series of +drawings. These drawings should be illustrations of the geography, +history, literature, nature work or any other line demanding their aid. +Let them be drawings upon which a few moments of time are spent, a free +sketch illustrating the object or topic as a means of making the subject +clearer in the minds of the pupils, not a picture produced by the labored +use of chalk and eraser, to be kept upon the board indefinitely as a bit +of decoration. + + +[Illustration: Plate 1] + +[Illustration: Plate 2] + + +Let me suggest the practice of the following strokes and later we will try +their application in various drawings recommended by teachers from several +schools. In these illustrations use about two-thirds of a stick of soft +blackboard crayon, using the large end and drawing with the side of the +chalk. This use of the crayon will produce any tone from white to neutral +gray. + +No. 1. Place the chalk in a horizontal position and try a smooth even +stroke one or two feet in length. + + +[Illustration: Plate 3] + + +No. 2. A similar stroke in a graded scale letting the pressure become less +and less toward the lower end of the stroke. + +No. 3. Reverse No. 2 hardly touching the board at first and increasing the +pressure toward the lower end. + +If charcoal is used for the lower tones, a very satisfactory scale may be +produced as in the last illustration on Plate 1. + +No. 4. Combine No. 2 and No. 3 in a single stroke. Try all these strokes +again and again in a vertical, horizontal, oblique, and curving direction +until each can be made in a second or two. + + +[Illustration: Plate 4] + + +No. 5. Place the chalk in a vertical position upon the board, draw +downward, gradually twisting the chalk to a horizontal position. + +No. 6. Place the chalk horizontally and draw downward, twisting the chalk +to a vertical position. + +No. 7. These spots are No. 5 and No. 6 combined. Try them with a short, +quick motion of the chalk. + +No. 8. Combine two spots similar to the first at No. 7. The leaf in +outline requires several lines while the drawing representing the surface +was made with two strokes and one line for the midrib and stem. Try +several leaves of different shapes using the stroke suggested on this +plate. The pond lily is drawn with this same stroke reduced. + +No. 9. Make a scale from left to right by pressure upon one end of the +chalk, while giving a vertical stroke. Try this in various directions. Use +two parallel strokes and with a bit of charcoal for accent try the trunk +of the birch tree. + +No. 10. Use No. 4, Plate 1, in a series of lights and darks. This is made +by quick pressure at short intervals without removing the chalk from the +board. I have seen this used by science teachers to illustrate vibrations +or wave lengths; we shall use it later for pictorial purposes. + +No. 11. Place the chalk upon the board in a horizontal position, move +rapidly back and forth, gradually shortening the stroke, and repeat this +exercise in various positions and directions. + +No. 12. This drawing was made by the use of No. 11. Draw first a few lines +suggesting the growth of the fern, then add the strokes letting the fern +dictate the direction, accenting the lighter values by a stronger +pressure. + +Draw the upper leaf on Plate 4 by the use of stroke No. 6, hardly touching +the board for the gray tones, then adding the white tones with a stronger +pressure upon the chalk. + +Are we sure that we have not tried to make drawing an end rather than a +means? Let us remember that there must be a motive prompting the work, an +interest or experience back of the drawing which demands expression. In +the color work, design, and manual work, the influence of this thought has +already been felt. The object needed in the schoolroom or for the +individual use of the pupil is the object designed and made. With this new +motive, there comes a growing appreciation and interest on the part of the +child. + +The blackboard drawing should be governed by the same spirit, the need of +the hour, just as surely as the child's work at his desk, and when the +teacher realizes this fact, he will never lack a subject for illustration. +For instance, in the fall the class may be studying trees, and drawing +will be found indispensable. + +The children are studying some tree near at hand, comparing trees to +discover their points of likeness and difference, collecting pictures of +trees and mounting these to illustrate their description, and with this +study they are becoming more or less familiar with our common trees. If +the teacher should go to the blackboard to enforce a point in regard to +the general form of the tree, direction of branches or characteristic +details, he will find such sketches a great help. It is the teacher who +does such illustrative drawing who holds and interests his class. + +Let us try a few simple applications of the practice previously suggested, +using the trees as our topic for illustration. + +No. 13. Draw a gray, vertical line suggesting the characteristic line of +growth in the pine tree. Use the stroke given in No. 11 for the foliage. +To represent the foliage in a mass, simply shorten or lengthen the stroke +of the chalk, using a greater pressure here and there. With the side of +the chalk represent the trunk of the tree where visible and with the point +indicate branches. + + +[Illustration: Plate 5] + + +Certain laws govern blackboard work as well as object drawing on paper. A +sketch of the object as a whole must be made first and the massing of the +lights and shades must be done before detail is attempted. The general +outline may often be sketched with charcoal and corrected when the chalk +is used. + + +[Illustration: Plate 6] + + +No. 14. Try the poplar tree. Again the vertical line is characteristic. +Indicate this. Mass the foliage as before, using a vertical rather than a +horizontal stroke. Do not remove the chalk from the board until the mass +of foliage is represented and remember to give a light pressure for the +grays and a strong one for the whites. + +It is not the greatest quantity of chalk which gives the best drawing any +more than the greatest quantity of pigment in our color work which gives +the best painting. Represent trunk and branches as in No. 13. + + +[Illustration: Plate 7] + + +No. 15. A bit of landscape indicated by a few strokes of chalk often +renders the drawing much more pleasing and at the same time suggests the +environment of the tree. The lines used here are those given in No. 1, No. +9 and No. 11, and are easily represented. + + +[Illustration: Plate 8] + + +No. 16. The willow is another interesting tree for study and is drawn in a +similar manner to those previously mentioned. The stroke of the chalk for +foliage is a curving one rather than horizontal as in the evergreen or +vertical as in the poplar. + +No. 17. A suggestion of distance will frequently be found a good +background for a tree, building or other similar foreground. The distance +is treated in exactly the same manner as the foliage in many of the trees, +the side of the chalk giving a gray, uneven surface. In drawing the water +represent the reflections with vertical strokes and the ripples with +horizontal ones. + + +[Illustration: Plate 9] + + +No. 18. Make the hillside with two or three gray strokes of No. 1, the +clouds with a similar curving stroke, and the trees with charcoal, using +the same treatment as in the chalk drawings. + + +[Illustration: Plate 10] + + +No. 19. Experiment with a few vegetables, or fruit, using the strokes +which the illustrations will readily suggest. For the grapes use a short +piece of chalk and a quick, curving stroke, the point being used only in +accenting. + +No. 20. The basket is represented by using No. 10, Plate 3, for the +surface and the point for the details. Experiment a while with the +handle, begin at the lower end at the left, draw upward, to the right and +downward. + + +[Illustration: Plate 11] + + +The tumbler is represented by using a few gray vertical strokes of the +chalk. Accent with chalk for high lights and a bit of charcoal for darks. + +In the other objects on Plate 8 let the surface of the vegetable dictate +the direction of the stroke, keeping the work as simple as possible. See +with how few touches an effect can be obtained. A variety of illustrations +may be attempted, all of which have been suggested by grade teachers as +useful in many lines of school work. + + +[Illustration: Plate 12] + +[Illustration: Plate 13] + + +An outline drawing upon the blackboard expresses much, and is often better +than any attempt at light and shade or variety in tone, yet there are +frequent occasions when the representation of solidity or of surface is +better obtained in illustrative work by the use of the side of the chalk +and charcoal. In such cases leave the blackboard for the middle values and +use the charcoal and chalk as in previous sketches. + +For instance, make a drawing of the wigwam and canoe, adding some of the +tree sketches upon which we have previously worked or simply indicating a +few tree trunks. + + +[Illustration: Plate 14] + + +No. 21. Make a light sketch either with chalk or charcoal, indicating the +general form of the objects, or if one has a good idea of form, he may +make the drawing without outlining. A few oblique strokes handled in the +same manner as the gray tones given in No. 1 will produce the wigwam. The +details may be added with chalk or charcoal. A single horizontal stroke +curving a bit at either end gives the general form of the canoe. If a few +minor markings are given, the children will have no doubt of your intent +in the sketch. For the tree trunks use the stroke suggested by No. 9, and +for the water consult No. 17 and No. 18, Plate 7. + +No. 22. The woodland appeals to all children and is frequently the topic +in history, geography, botany, literature, and nature study as well as +drawing. A few broad, gray strokes will give the sky. With a cloth, erase +tree tops for the distance and a few vertical lines for tree trunks. Use +the vertical strokes suggested in No. 9 for the light tones in the trees +and charcoal for the darks to produce the cylindrical effect. Mass the +foliage as in the trees previously drawn and add the necessary markings +for branches. + +No. 23. A landscape with the old house in the foreground gives an +opportunity to put into practice many of the previous suggestions. + +No. 24. This sketch was asked for as an illustration for the study of +colonial history. In both No. 23 and No. 24 the sky is drawn by the use of +the horizontal stroke and the clouds, trees, and distance erased with a +bit of soft cloth. The strokes used in the buildings and fence are evident +and need no interpretation. + +Plate No. 12 shows two looms made by the children, and the beginning of +the rugs they are weaving from their own designs. The illustration is from +the blackboard drawing made by the teacher to show how the Indians made +and used a loom. This illustration has been used in history, geography, +and manual training. + +Lessons in geography often require quick illustration. The school building +may not be well located for this study, or the teacher is not fortunate +enough to have a good series of pictures for the use of his class. In such +cases, or in any case, even when he has other material, blackboard +illustration will help the children. No. 25, No. 26, and No. 27, Plate 13, +suggests useful sketches. + +Such topics as the clouds, the mountains, the plain, the valley, the +brook, the waterfall, the beach, the ocean, the cliff, and innumerable +others are easily and quickly illustrated in this manner. The teacher who +in a few moments can take advantage of this graphic language finds the +lessons a delight to himself and to the class. + +Animal drawing is an extremely interesting lesson for the children, at the +same time a rather difficult one for many teachers. On Plate 14 will be +found a few drawings suggesting how few lines will indicate the general +outline and how few strokes of the side of the chalk will suggest the +surface. + +There are special days, seasons, or occasions when blackboard drawings may +be used to advantage for illustration. + +Thanksgiving stories are anticipated by the children, and Thanksgiving +pictures as well. These old, old scenes, ever new, appeal to us all +whether pupils or teachers. There are the settlement of New England, the +first Thanksgiving, the harvest time, the family gathering, and numerous +events which suggest illustration. In many schools there is the delightful +custom of remembering some unfortunate family. The children bring to the +school gifts of clothing, groceries, vegetables, etc., and assist the +teacher in packing these good things, and great is their joy in giving. + + +[Illustration: Plate 15] + + +Plate 15. This drawing will answer as an illustration of harvest time, or +perhaps the gift itself to be packed and sent away. Our lesson in object +drawing may be from these or similar objects. In this sketch a few +vertical strokes give the background and box, similar curving strokes the +barrel, and horizontal strokes the floor. The vegetables are drawn by +using the suggestions found in No. 9, Plate 3. The kernels of corn are +represented by the use of a very small piece of chalk and stroke No. 10, +and the husks by using No. 5, No. 6, and No. 7, Plate 2. The details are +added with the point of the chalk, and charcoal is used in the shadows. + + +[Illustration: Plate 16] + + +Christmas time of all seasons in the year is the one the children most +love, and there are innumerable stories and Christmas lessons for the +little ones. Let me give you a few verses I heard in the first grade and +the illustration used. + + Christmas-day was coming, Christmas-eve drew near; + Fir-trees they were talking low, at midnight cold and clear, + And this is what the fir-tree said, all in the pale moonlight, + "Now which of us shall chosen be to grace the 'Holy Night'?" + + The tall trees and the goodly trees raised each a lofty head, + In glad and secret confidence, tho' not a word they said, + But one, the baby of the band, could not restrain a sigh: + "You all will be approved," said he, "but oh, what chance have I?" + + "I am so small, so very small, no one will mark or know + How thick and green my needles are, how true my branches grow; + Few toys or candles could I hold, but heart and will are free, + And in my heart of hearts I know I am a Christmas-tree." + +The children told of the woodman who took his axe and started in search of +a tree for his baby at home; of the delight of the little tree at being +chosen, and of the joy of the little daughter when she saw it arrayed and +holding her Christmas gifts. The accompanying drawing will serve as an +illustration for this story or as a sketch of the forest in winter. + +Plate 16. In this sketch use the strokes suggested for illustrations No. +13, Plate 5, and No. 22, Plate 10. Use the side of the chalk, hardly +touching the board and keeping the drawing very gray. Accent with a strong +pressure the parts representing snow. + +This is but one suggestion. There is the inevitable Christmas tree with +the toys and gifts, Santa Claus bearing his bundle of gifts or going down +the chimney, and the fireplace with the stockings, all of which are +quickly drawn in the manner given in previous sketches. + +Washington's birthday brings to mind the stories of his life, and pictures +may be found illustrating these incidents. One or two which all may see +and discuss will prove valuable. + +Plate 17 will show a few drawings which have been used to advantage. + + A. Near Washington's Birthplace. + B. Mt. Vernon. + C. An old Stage Coach. + +In these sketches the strokes used are evident. + +Again, Patriots' Day and Memorial Day present many ideas in regard to +blackboard drawing and decoration. Some of these illustrations are +deplorable. I well remember one schoolroom which I visited and the +drawings which were upon the boards. On one side was a sketch of a pyramid +of cannon balls, next, several guns stacked, then two swords crossed at +right angles. On another side was a cannon, a wreath of some sort around +the stenciled portrait of a dead hero, a tombstone with an inscription, +and so on about the room, everything suggesting war, misery, bloodshed, +and death. + +Can we not find something other than such illustrations, and bring to the +thought of the children love of home and country, and a reverence for +those who gave their lives for their protection? + + +[Illustration: Plate 17] + + +I have seen Plate 18 used in a schoolroom and feel sure it performed its +mission. + + +[Illustration: Plate 18] + + +Plate 19 will perhaps suggest its use. In these drawings the board is +slightly covered with either chalk or charcoal. In A about ten strokes of +the chalk and the charcoal outline finish the drawing of the lantern. B is +done almost entirely with charcoal, the chalk being used only in a few +gray tones and the touches of light in the distance. C is produced by +using the chalk in horizontal strokes and wiping out the trees with a +cloth. A few touches of charcoal will give the foliage, and the bridge is +added with simple strokes with the side of the chalk. + + +[Illustration: Plate 19] + +[Illustration: Plate 20] + + +Plate 20. This was taken from a Kindergarten room in which the children +were celebrating Froebel's birthday. The drawings upon this plate were +made by the use of the simple strokes given or suggested in the plates +shown in the first part of this article. + +There are other days of local interest which are celebrated in various +localities and the grade teacher will find that the use of illustrations +will appeal to the children, hold their interest and impress upon them a +central thought in the lesson. + +Whether teaching drawing or some other study in the curriculum, the +teacher aims to make his work effective, and if he should once try +blackboard illustration, he will find it an invaluable aid towards making +clear or emphasizing important points. + + +[Illustration] + + + + + + +End of the Project Gutenberg EBook of Blackboard Drawing, by Frederick Whitney + +*** END OF THIS PROJECT GUTENBERG EBOOK BLACKBOARD DRAWING *** + +***** This file should be named 32781.txt or 32781.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/2/7/8/32781/ + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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