diff options
Diffstat (limited to '32781.txt')
| -rw-r--r-- | 32781.txt | 894 |
1 files changed, 894 insertions, 0 deletions
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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |