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diff --git a/old/67494-0.txt b/old/67494-0.txt deleted file mode 100644 index 1bf6910..0000000 --- a/old/67494-0.txt +++ /dev/null @@ -1,1503 +0,0 @@ -The Project Gutenberg eBook of Blackboard Sketching, by Frederick -Whitney - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Blackboard Sketching - -Author: Frederick Whitney - -Release Date: February 24, 2022 [eBook #67494] - -Language: English - -Produced by: Tim Lindell and 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.) - -*** START OF THE PROJECT GUTENBERG EBOOK BLACKBOARD SKETCHING *** - - - - - - BLACKBOARD - SKETCHING - - _By_ - FREDERICK WHITNEY - Director _of_ Art, State Normal - School, Salem, Massachusetts - - [Illustration] - - _Published by_ MILTON BRADLEY COMPANY - SPRINGFIELD, MASS. - BOSTON NEW YORK PHILADELPHIA - ATLANTA SAN FRANCISCO - 1909 - - - - - COPYRIGHT, 1908 - BY MILTON BRADLEY CO. - SPRINGFIELD, MASS. - - - - -Introduction - - -Ability to draw easily and well on the blackboard is a power which -every teacher of children covets. Such drawing is a language which -never fails to hold attention and awaken delighted interest. - -It has been considered impossible for most of us, because we have never -done it. It has been strongly recommended, but no one has really shown -us how. - -A book like this which does show how, step by step, from the first -practice strokes to completed and effective sketches, will be -everywhere welcome. No one can follow the plain suggestions given -without appreciating the possibilities of chalk and charcoal for -ordinary school-room illustration, and finding in himself a steady -development of power to sketch on the blackboard. - -The book is not the product of theories about drawing, but the fruit -of long experience of one who has drawn with and for children and -students and teachers, and has been more successful than any one I know -in inspiring them by that means. I welcome the book and predict for -it a potent influence for increasing and improving blackboard drawing -throughout the schools of the land. - - WALTER SARGENT. - - _North Scituate, Mass._ - - - - -Author’s Introduction - - -This collection of blackboard sketches and the accompanying text has -been planned at the request of many teachers and pupils who desire -lessons and suggestions along this line, but who are unable to secure -personal instruction. - -In general, these requests have been for simple sketches dealing with -the various lines of school work, and at the same time for strokes and -explicit directions for using these in the drawings. For these reasons -there are given upon nearly every plate the strokes of the chalk useful -in producing the desired effect, and upon the opposite page such -directions as are generally given to the students in the classroom. - -A few of the lessons deal with the strokes and their application to the -very simplest objects possible, but even these may be found useful as -illustrative material. They are recommended in order that the teacher -may become familiar with the medium, and with the simplest and the most -direct manner of handling it before attempting sketches which require a -great variety of touches. I have tried to have the other sketches cover -as great a variety of subjects as possible. - -Plates 3, 5, 8, 10, 11, 13, 14, 15, 16, 17, 18, 22, 23 and 29 have been -used with the little people in different forms of stories, language -and reading lessons. Plates 7, 8, 9, 10, 11, 18, 27, 28 and 29 are -suggested for geography lessons in various grades. Plates 8, 14, 15, -16, 17, 18, 27, 28 and 29 may be used in history lessons. Plates 1 -and 3 have been used in primary numbers, and plates 27 and 28 for -arithmetic, when the problems had to do with commission, measurement, -etc., or when the problems referred to lumbering or manufacturing. -Plates 4, 5, 6, 11, 12, 13, 19, 20, 21, 22, 23, 24, 25, 27 and 28 -will be found helpful in many lines of nature study, especially when -the nature specimens are difficult to obtain. Plates 9, 24, 25 and -26 illustrate the value of this line of drawing in the study of -literature; and many of the other drawings may be used in a similar -manner. The teacher who uses this type of illustrative sketching will -readily see how the drawings may be applied to other subjects. - -Teachers have occasionally asked for illustrations for the different -months of the school year, something to use with calendars, or for -different holiday drawings. Several sketches given on the plates are -suitable for the various months. For calendars I suggest discarding the -plaided pumpkin for November, the numbered bricks in a fireplace for -December, the kite covered with numbered squares for March, etc., etc. -A regular numbered calendar may be used, with an appropriate sketch -above or at one side. See Plate 13, goldenrod. The holiday itself -should suggest the character of the sketch. - -Although these sketches are recommended as illustrations for certain -subjects, it is not intended that the teacher should merely copy these -drawings, but that she should be able to appropriate these strokes, -enlarge upon them, and apply them in illustrations for the particular -subjects she is teaching; and there are many subjects which require -just this sort of expression on the part of the teacher. - -“Children are not all ears; they take in more through the eyes than in -any other way.” - -Since all teachers know this is true, they should realize the -usefulness of illustration on the blackboard. - -A few moments now and then devoted to the practice of these strokes, -and frequent application of them, will enable the teacher better to -express and emphasize certain facts, details, or incidents connected -with a lesson; better to hold the interest and attention of the -class, and more readily to create an interest in drawing. She will -thus, by example, lead the children to make the drawing a natural and -spontaneous means of expression. - - FREDERICK WHITNEY. - -[Illustration: Plate 1] - - - - -PLATE 1 - - -For the first lesson I advise trying the simplest possible stroke, and -its application in the sketching of very simple things. The stroke is a -straight mark with the side of the chalk. - -Take half or two-thirds of a stick of chalk, discard the small end, and -use such a piece in nearly all the lessons given. In this case place -the chalk horizontally upon the board, and drag it gradually downward, -keeping an even pressure upon the chalk. Try this in various directions. - -The oblique lines show what a variety of width may be obtained by -changing the angle of the chalk. At 1, the full length of the chalk -is required to give the broad stroke desired. At Nos. 2, 3, 4 and 5, -the line above the stroke indicates the angle at which the chalk is -placed in order to give the width of the strokes below. The use of the -chalk in this manner enables one to obtain any desired width of line, -without constantly changing the piece of chalk. A light or dark tone is -produced by varying the pressure upon the chalk. - -In drawing the telegraph pole, draw first a delicate vertical stroke, -then add the horizontal cross pieces with a stronger accent, and last -the white strokes indicating thickness. - -In the case of the chicken coop, draw first the oblique slats, then -with a stronger pressure upon the chalk, add the horizontal slats, and -lastly, with the point of the chalk add the accented bits of detail. - -Almost any simple object composed of straight lines may be drawn in -this manner. - -[Illustration: Plate 2] - - - - -PLATE 2 - - -The strokes upon this plate are more often used than any others which -will be given in these lessons. These strokes are made by holding the -chalk by one end rather than in the middle, and then by drawing in any -direction desired, letting the pressure come at the end of the chalk, -thus giving a graded stroke from side to side. For example, stroke 1 -was made by taking about two-thirds of a stick of chalk, holding it by -the left end, placing it horizontally upon the board, and then drawing -downward, accenting a little with the left end of the chalk. Stroke 5 -was made in a similar manner, the chalk being held by the right end, -and the pressure being also at that end. - -Practice these strokes in many directions, and then apply them to -drawing some simple objects. On the plate the cylinder, barrel, and -canoe are illustrated to show the application of such simple marks. - -In the cylinder, strokes 1 and 5 are used for the left and right -outlines; then three curving strokes will finish the top and bottom. - -In sketching the barrel, use similar strokes, curving them a bit. Add -curving strokes for the hoops, using a short piece of chalk; then add -markings here and there with the point for details. - -The canoe is one long, nearly horizontal stroke accented at the upper -end of the chalk. A few small touches similar to those at 3 will give -the rocky shore, and a line or two with the point, the necessary -details. - -[Illustration: Plate 3] - - - - -PLATE 3 - - -The lesson planned at illustration 3 is useful in a number of school -lessons in the lower grades. I have seen it used in teaching reading in -the first grade. In this case, some word from the lesson was written -upon each apple, and the children were asked to see how many apples -they could gather and put into the basket; in other words, to see how -many words they could read. When a word was recognized, it was erased. -Again, it has been successfully used in teaching number, form, etc. See -also the ladder, plate 10. - -Stroke 1 is made by placing the chalk upon the board in a vertical -position and then drawing it across the board, varying the pressure -frequently so as to give the effect seen in the basket. The strokes at -2 are produced in the same manner. Here the light spots in the stroke -are alternated, coming beneath the dark spots in the stroke above. Try -a number of these in the curving direction suggested at 2. - -In making a sketch of a basket, draw lightly the elliptical top, then -add as many strokes as are necessary to give the desired depth, and -lastly add the handle. Strokes 3, and the ellipse below them, show the -manner of producing this effect. Place the chalk horizontally at the -top of the basket, decide where the handle should end at the opposite -side, then draw upward with a heavy stroke, across the top lightly, -then downward with a slight pressure. Keep the chalk in a horizontal -position throughout the stroke. Add a line of accent to the nearest -edge of the handle. - -The tree trunk back of the basket is drawn with strokes 1 and 5, plate -2, the stroke being curved a bit at the lower end. The grass is added -by the use of stroke 5, which is made by using a short piece of chalk, -and by moving the hand rapidly up and down. A little accent may be used -occasionally. - -In drawing the apples study stroke 4. These are made like those on -plate 2, by accenting with the end of the chalk. Use a very short -curving stroke, first toward the left, then toward the right. Add -stems, etc., with the point of the chalk. - -[Illustration: Plate 4] - - - - -PLATE 4 - - -Lesson 4 introduces a stroke entirely different from those already -given, and one which will require more practice in order to obtain the -desired results and to apply it readily in quick sketches. - -Stroke 1 is made by placing the chalk in a horizontal position upon -the board, and drawing it downward, gradually twisting it to the -vertical position. Stroke 2 is the exact opposite. Place the chalk -vertically upon the board, draw it downward and gradually twist it to -the horizontal position. - -In drawing strokes 3 and 4, combine those already given at 1 and 2. For -3, place the chalk vertically, draw it downward, quickly twisting it -to the horizontal position; then, without removing it from the board, -bring it back to the vertical position. Try stroke 4, beginning with -the horizontal position of the chalk, twisting it to the vertical, then -back again to the horizontal position. - -Stroke 5 shows a curving effect produced in the same manner as stroke -3, but with a curving instead of a vertical tendency. - -In drawing the cat tails, use strokes 1 and 5 on plate 2. These are -slightly curved at the upper and lower ends. Keep some of them very -delicate, others quite white. The leaves are drawn by using strokes 1, -2, and 3, on plate 4. Let the tone desired in the drawing govern the -pressure used upon the chalk. - -The palms are drawn by using the same strokes. Draw first very -delicately with the side of the chalk, then with strokes 1, 2 or 3 add -stronger strokes for accent. - -[Illustration: Plate 5] - - - - -PLATE 5 - - -A new stroke will be introduced for this lesson. It is a regular or -irregular curve as the case may require, and is useful in all sorts of -nature drawing. - -First try the long curving stroke No. 1, accenting with the left end -of the chalk. Reverse the stroke, accenting with the right end of the -chalk. Now try No. 2, making a series of nearly parallel strokes, -keeping the accent at the left. - -The pumpkin is drawn by combining these strokes, varying the pressure -to obtain the desired tone, and accenting with the left end of the -chalk, then reversing the stroke for the right side of the pumpkin. Add -the stem by the use of a few irregular strokes and a bit of accent. - -Stroke 3 may be used in drawing any large leaves, such as squash, -grape, etc. Try this in a great variety of positions, always keeping -the accent for the edge of the leaf. Apply this in drawing the grape -foliage in the illustration below. Draw first the mid-rib and then -represent the surface of the leaf by using stroke 3. The grapes are -added by the use of stroke 4, which is stroke 1 very much reduced. Let -the grapes be drawn with a short, quick twist of the chalk. Lastly add -stems and accent. - -Almost any vegetables may be drawn after a little practice of the -strokes given at 5. These are made exactly like stroke 1, with changes -in direction. Try a single onion or carrot, then a group of vegetables. -Do these as simply as possible, obtaining the effect, if you can, with -three or four strokes, then add a few touches for details. - -[Illustration: Plate 6] - - - - -PLATE 6 - - -The strokes given in this lesson, although not used as frequently as -those previously given, are nevertheless valuable. - -No. 1 shows the manner in which the stroke is produced. Place a piece -of chalk in the position indicated by the line below the stroke, -then swing the chalk rapidly back and forth, shortening the stroke -and gradually twisting the chalk to the vertical position. No. 2 is -produced in the same manner. Place the chalk obliquely as indicated, -and keep the movement oblique, shortening the stroke, and twisting the -chalk gradually to the horizontal position. - -The fern is drawn by first sketching a few main lines, No. 3, and then -upon these apply the strokes given as shown at No. 4. Hardly touch the -board at first, keeping the tones very gray; then add a few white ferns -as in the sketch. - -No. 6 illustrates the same stroke used in a much bolder fashion and in -a generally horizontal direction. After applying this stroke, accent -here and there with a much shorter stroke, and add the trunk and -branches. - -Study the trees given on plate 12 in connection with this illustration -and notice the variety of strokes given for the different trees. - -[Illustration: Plate 7] - - - - -PLATE 7 - - -In this lesson we will put to practical use such strokes as those given -in the first few lessons. The sketches of this character are often -valuable in the schoolroom when studying the mountains, the hillside, -the river, etc., and the teacher who, with a few strokes of the chalk, -can interpret to her class the thing about which they are studying, and -can make an illustration which the whole class can see and appreciate, -has an invaluable gift. - -Experiment with the strokes given at 1, 2 and 3. As in previous lessons -the side of the chalk is used, and the accent is with one end. Try to -give the effect of snow, of rocks, of a bright day, or of a cloudy -day, by varying the tone or pressure upon the chalk. Sometimes use -the chalk for sky, leaving the board for the hills. Then reverse the -stroke, letting the sky remain gray and using the chalk to represent -the mountain, accenting with the upper end of the chalk. No. 3 is a -combination of 1 and 2, the chalk being used in both sky and mountain. -In No. 4, the eraser or a soft bit of cloth is used to take out the -trees after the chalk has been applied. - -In the sketch given on the lower part of the plate combine the -suggestions given above. A few short, curving strokes with the usual -accent at one end of the crayon will give the rocks, and the irregular -horizontal and zigzag strokes already given will produce the ripples in -the river, and the foreground. - -[Illustration: Plate 8] - - - - -PLATE 8 - - -In the exercise illustrated on the opposite page you will find -combinations of the strokes already given, but they are varied somewhat -in rendering these drawings. Any sketch or object to be drawn should -dictate the kind of stroke to be used and the manner of handling the -chalk, the pressure, accent, etc. - -For the larger sketch, draw first the tree trunks as shown at No 1. Let -the pressure be as gentle as possible, the chalk hardly touching the -board. After these are massed in the background, erase a triangular -spot for the wigwam, and with the oblique strokes 2, accented first at -the left, then at the right, obtain the general form required. Stroke -3 is added at the top of the wigwam, and a bit of charcoal is used for -the dark tone at the opening. Now add the decorative details. - -In order to complete the sketch, use stroke 4 for the foreground. It -is similar to those previously used, and is made by an irregular, -up-and-down movement of the chalk. - -A pond, a canoe, or other suggestive detail may be used in this sketch, -and applied to the work in history, geography, language, etc. - -Try the second little drawing, using similar strokes in a very simple -manner. - -[Illustration: Plate 9] - - - - -PLATE 9 - - -Lesson No. 7 gave a few suggestions useful in geography and landscape -work. This time we will try another type which will doubtless be found -equally useful. - -Stroke 1 is a horizontal stroke accented at the lower end of the chalk -by a decided pressure. This will readily give a tone for the sky and a -definite line for the horizon. - -At No. 2, the sky is drawn in the same manner, and charcoal or black -chalk is introduced for the ocean. These touches are made with the side -of the chalk in irregular, wavy lines. - -Spray may be represented by massing a little chalk near the rocks or -beach, and by rubbing the tip of the finger or a soft bit of cloth into -the body of chalk, gradually blending it into the rocks or water. See -No. 4. - -To obtain a sketch like that given in this lesson, first draw the -horizon, then the wavy strokes for the sea. The cliffs or rocks are -drawn by using strokes like those at No. 3. They are irregular strokes -accented with one end of the chalk. Here again the charcoal is useful -in adding crevices or shadows in the rocks. Erase spots for the boats -and add details. - -The effect of a beach may be produced by using the same broad stroke -as in the sky, accenting with the upper end of the chalk to give -the margin of the beach. Add a few ripples and pebbles, or a bit of -seaweed, using the point of the chalk. - -The sketch given on this plate was used as an illustration for -literature. - - A heap of bare and splintery crags - Tumbled about by lightning and frost. - - --_Lowell._ - -[Illustration: Plate 10] - - - - -PLATE 10 - - -The sketch on plate 10 was suggested for geography. It is very simple -and requires only strokes already used a number of times. - -The sky and hill are represented by the use of stroke 1. Place a long -piece of chalk vertically, the accent at the lower end giving the -outline of the hill. - -The marshy land is represented by a similar stroke carried in a -horizontal direction. The board is left free from chalk in the case -of the hill and the water. The village in the distance is added with -charcoal, and the reflections in the water with little touches of chalk -or charcoal. - -Erase spots for the haystacks, and use stroke 3. This is a very simple -curving stroke with the side of the chalk, accenting with the left end -of the crayon; then a reverse stroke, accenting with the right end of -the chalk. If shadows are desired they may be added with charcoal or -black crayon. Observe that the tops of all the haystacks are on a level. - -The sketch with the ladder was made for primary reading. Different -words were written on the different steps of the ladder and the -children tried to see how high they could climb; in other words, how -much of the lesson they could read. If they read all of the words they -could climb to the top of the haycock. - -[Illustration: Plate 11] - - - - -PLATE 11 - - -Here again are very simple strokes which require only a little practice -for accomplishment. - -The distance is represented as in the last plate, and the grass and -meadow are done in the same manner as the marshy land on plate 10; 1 -and 2 show the strokes. A few up-and-down touches with a short piece of -chalk are added in the immediate foreground. - -The fence is drawn by the use of the strokes given on plate 1, and -shown at 3 on this plate. - -After drawing the field and the fence, erase for the tree trunk and -tree and add the foliage. This is done with a short piece of chalk -and a quick back-and-forth movement. See plates 6, 12, and 24 for -other trees and strokes. The skeleton of the tree, as shown below the -drawing, may be represented first, then the foliage added. - -This plate will be found useful in the early spring, as it shows the -tree in winter condition, the pussy willows, and the tree in summer. - -Spots 4 show the treatment of the “pussies.” A very short curving -stroke of the chalk is first made; then the finger is used to give the -downy, soft effect. Sketch a few delicate lines for the stems, add the -catkins as described above, and then finish the stems with black and -white chalk. - -[Illustration: Plate 12] - - - - -PLATE 12 - - -In sketching trees, one should bear in mind the general attitude of the -tree, its characteristic form and branching, and the stroke which will -best produce these. - -One teacher can best draw the tree by using such strokes as those at -No. 1 to give the trunk and branches, and then applying the stroke for -the foliage; while another teacher does better work by massing the -tree, as at No. 2, and then adding trunk, branches and details. Either -method is good. - -The strokes above the trees show the manner of representing the foliage -of these particular trees. See plates 6, 11 and 24, for other trees. - -Apply either of the methods described above, using half a stick of -chalk placed flat upon the board and moved rapidly in the direction -suggested by the stroke. For the elm it is a curving motion; for the -poplar up and down; for the pine, back and forth; for the oak or apple, -an irregular and slightly slanting stroke, etc. - -After the mass of the tree is drawn, accent here and there with the -same stroke, and add branches and details. - -When working upon a gray background or against a light tone for the -sky, use black chalk or charcoal in the manner described above. - -[Illustration: Plate 13] - - - - -PLATE 13 - - -As stated in the introduction, there have been many requests for -suggestions for calendars. Whatever the month may be, draw a simple -calendar large enough to be seen by the children. If a picture of some -sort is desired, draw something which will be appropriate to the month -and arrange it in a vertical panel at one side, or a horizontal panel -above or below the calendar. The goldenrod on plate 13 will show what -is meant by this arrangement. - -All the strokes here given have been drawn before and are easily -applied. Strokes 1 are given for the goldenrod, strokes 2 for the -rose hips and leaves, 3 for the roses, 4 for the thistle, and 5 for -the daisy. With a few light touches of the chalk indicate the growth -and position of the specimen; then apply the strokes for drawing the -surface of flowers and leaves. - -In sketching the thistle the pointed details are added with the point -of the chalk. - -[Illustration: Plate 14] - - - - -PLATE 14 - - -At No. 1 is a very simple stroke made by placing a piece of chalk in -a vertical position, and drawing it across the board in any desired -direction, breaking it at regular intervals by lifting the chalk from -the board. This stroke is useful in representing tiles, brick, stone, -or any broken surface. - -In this particular sketch a horizontal stroke is first made for the -mantel, then the vertical strokes for the surface of the walls; then -the bricks are added by the use of the strokes given at 1. Erase the -space necessary for the fireplace, and add black chalk or charcoal, -leaving the board where the fire is to be represented. - -A few gray strokes with the side of the chalk will indicate the logs, -and the use of stroke 2 will add the fire and smoke. Stroke 2 is made -by massing a little white chalk, and then rubbing into it with the -finger, gradually blending it into the tone of the blackboard. The -details, andirons, etc., are easily added. - -If this sketch is used for Christmas, add toys, sleds, stockings, or -other objects suggestive of the day. They are all drawn with the side -of the chalk, the direction of the stroke being dictated by the object. - -The sketches in this and the following lesson may be used in work in -history, or to illustrate the type of house used by the early settlers. -The sketch on plate 15 is supposed to be Washington’s home, and that on -plate 16 is Lincoln’s birthplace. - -[Illustration: Plate 15] - - - - -PLATE 15 - - -Study the horizontal lines at No. 1. Though not like those in the -sketch below, they show how any such cabin may be drawn. Try these -strokes, accenting with the upper end of the chalk while making the -horizontal line. Should one side of the building be lighter than the -other, obtain the desired effect by varying the pressure upon the chalk. - -No. 2 is made by the use of a long piece of chalk, and by keeping a -smooth, even tone throughout the stroke. - -Stroke 3 is made in a similar manner to that on plate 14 in the drawing -of the bricks. Make it in a rather irregular fashion, and add little -touches of detail with chalk or charcoal. - -Stroke 4 is made with a very long piece of chalk, with strong pressure -on the lower end. This will give a good tone for the sky and serve as -an outline for the roof of the building. - -In making this sketch, take a short piece of the chalk and use a stroke -like No. 1, beginning with a very short line; and increasing the length -of the strokes till the body of the house is reached and then keeping -the lines of uniform length to the ground. - -After the body of the building and the sky are represented, erase the -logs where the chimney, windows, or door are to be drawn. Erase also -whatever chalk may be upon the board where the trees are desired, -and apply the irregular touches already given in drawing trees. Use -chalk or charcoal, according to the tone desired in trees, windows and -chimney. See stroke 3. See strokes on plate 16 and plate 12. - -[Illustration: Plate 16 - see lesson on previous page--Plate 15] - - - - -PLATE 16 - - -Study the strokes given on the previous page, plate 15, for suggestions -for sketching this cabin. Those at No. 2, No. 3, and No. 4 will be -found helpful. - -Use stroke 4, plate 15, for the outline of the roof and the sky, and -add the smooth vertical or horizontal strokes for the sides of the -building. Accent here and there with the point of the chalk and add -details in a similar manner, but avoid a definite outline. Let the -difference in tone make whatever outline is necessary. - -After erasing the spots for doors and windows, add the strong dark -tones with a bit of charcoal. The details at 1 and 2 on the plate will -show how these are made. No. 3 shows the treatment for the roof. - -After erasing for the trees, add a little charcoal and chalk, using -the strokes given in the lesson on trees, plate 12. The grass and the -details in the foreground may be added last. The sketch will readily -show the strokes necessary and the movement of the hand in making these -strokes. - -[Illustration: Plate 17] - - - - -PLATE 17 - - -Whenever I have made a sketch of this kind it has always given great -pleasure to the children, and proved of more or less value in history, -or in story-telling in the lower grades. - -Stroke 1 illustrates the treatment for the sky and the horizon. A few -soft touches with the side of the chalk will indicate clouds. Blend -the white tone into the gray of the blackboard. The chalk is held -vertically and drawn across the board horizontally. - -Next erase a spot or two for the sails and hull of the ship, and apply -stroke 2. This stroke is made by placing the chalk in an oblique -position and drawing a curving stroke downward, the end of the chalk -giving the outline of the sail. In the drawing at the left a graded -stroke was used, the eraser making the edge of the sail at the left and -the chalk at the right. - -Stroke 3 is desirable in representing the ocean. It is made by placing -the chalk vertically upon the board and making a long, sweeping stroke, -accented with the upper end of the chalk. In these sketches charcoal -was used for the dark streaks in the water. - -In drawing the hull of the ship, try stroke 4, using a short piece of -chalk or charcoal. The chalk is placed vertically and a curving stroke -is used with no particular accent. Add details with touches of chalk or -charcoal. - -[Illustration: Plate 18] - - - - -PLATE 18 - - -On plate 18 are suggestions for the month of March, or for geography, -history, or occupations and habits of the people. - -Apply a few delicate, horizontal and curving strokes to the board; then -with a soft piece of cloth erase for the distance, as at No. 1. Use -stroke 2 for the sides of the windmill, stroke 3 for the wings, and -touches of charcoal for the windows. - -Stroke 5, plate 3, will help in representing the foreground. Use -the chalk very delicately, accenting here and there with stronger -touches, and a vertical stroke now and then for the reflections in the -water--stroke 4. - -The strokes illustrated on plates 2, 3, and 5 will be useful in -sketching the shores and other objects. Remember to allow the pressure -upon the chalk to indicate the outlines of objects, and never to add -definite marks with the point excepting for necessary details or high -lights. - -[Illustration: Plate 19] - - - - -PLATE 19 - - -This plate was planned as a review lesson, as well as to give -illustrations which teachers might use for a great variety of purposes. -All these strokes have been given before and are easily applied. - -For the turkey, sketch lightly a circle; then with the side of the -chalk add broad, gray strokes. See No. 1. After this is done, add short -touches with the side of the chalk, for the wings, legs, feathers, etc. - -Stroke 2 was given on plate 2, and, with the addition of the little -slanting and curving strokes here given, will produce the lighthouse. -This sketch will perhaps be useful in connection with plate 9, in -teaching the seacoast. - -Strokes 3 and 4 are similar to those given on plate 5. They are made by -the use of curving strokes with the side of the chalk, the accent being -upon the end forming the outline. This stroke is frequently used, the -object to be drawn dictating the direction of the stroke. Apply these -strokes in drawing the rat, the chickens, the mushrooms and the frog. - -In the tree sketch, a background of gray is first drawn with the side -of the chalk; then the strokes given on plate 6 are applied with -charcoal, and the snowflakes added with strong touches of white chalk. -If the candles are desired, omit the snow and use tiny strokes like -those at 5. - -No. 6 is desirable in representing the nest. After 6 is drawn, add -stroke 4 for the eggs and finish the nest by using strong touches with -the point of the chalk. - -[Illustration: Plate 20] - - - - -PLATE 20 - - -The strokes on plate 20 are so well defined that it hardly seems -necessary to describe them. For 1 a short piece of chalk is used, the -side of the chalk giving the width of the line. At 2 the stroke is -similar, the accent being at one end of the chalk. At 3 the stroke is -slightly curving, the chalk being placed vertically, and the accent -being upon the upper end of the chalk. No. 4 is drawn by placing the -chalk vertically upon the board, drawing it downward very quickly -and twisting it to the horizontal position. Apply these strokes in -sketching the lobster. First use stroke 3, then touches like 2; -afterward strokes 1 and 4 for details. - -No. 5 indicates the strokes first used in sketching the shells. In -drawing the outside of the nautilus, use a long piece of chalk and with -a curving stroke accented with the end, form the outline. With strokes -similar to those at 2, sketch the light streaks in the shell, and add -dark details with charcoal. Use the tip of the finger in softening the -tones here and there. - -In drawing the section, sketch first the spiral curve, then the blended -strokes connecting the outer with the inner curves of the spiral, and -add charcoal for shadows. - -The oyster shell is drawn by the use of the lower stroke at No. 5. -Make the stroke, accenting a little at the left end of the chalk; then -reverse the stroke, accenting with the right end, and add details with -chalk and charcoal. - -[Illustration: Plate 21] - - - - -PLATE 21 - - -The strokes and touches used upon plate 21 are more delicate than any -previously given, though similar in character. No. 1 is drawn with the -side of the chalk, the accent being with the left end. Allow the hand -to tremble a bit and the texture desired is more readily obtained. -Stroke 2 is produced in the same manner. After these are drawn add the -shades, stems, and leaf with charcoal, and high lights with touches of -white chalk. - -Stroke 3 is exactly like that at No. 2, plate 20, though drawn with -a much smaller piece of chalk. A series of these strokes, with the -addition of touches with the charcoal and point of the chalk, as -indicated in the sketch, will produce the caterpillar. - -Strokes 4 and 5 are valuable in sketching a butterfly or moth. They -are gray strokes with the side of the chalk, the pressure being upon -the end forming the outline. In work of this kind study nature very -carefully, as no sketch or copy can do what nature can for the teacher. -After the general form of the butterfly is drawn with these light gray -strokes, add the details, using touches of chalk or charcoal, and -occasionally blending them with the tip of the finger. - -[Illustration: Plate 22] - - - - -PLATE 22 - - -A very few lines will often indicate the pose or action of an animal. -Try lines similar to those at 1; study other animals and try a few -characteristic lines. See No. 1 for the squirrel and for the fish. - -After practicing the pose, try 2 without sketching the lines with the -point of the chalk, but by using the side, as in previous sketches. To -finish the sketch add the few details necessary, as shown in the other -drawings. - -The strokes used in these sketches are given on several other plates. -They are produced by using the side of about two-thirds of a stick of -chalk, and by accenting or letting the pressure be greatest at the -end of the chalk which is to form the outline. This type of stroke is -perhaps most evident where the pressure was upon the left end of the -chalk, as in the squirrel’s back. - -See also stroke 4, plate 3, and strokes upon plate 5. - -[Illustration: Plate 23] - - - - -PLATE 23 - - -The strokes used in the birds are exactly like those described in the -previous lesson. - -Sketch first an egg shape, No. 1, using half or two-thirds of a stick -of chalk, and pressing a bit upon the outer end, letting the stroke -blend into the board. - -Add to this a few blended strokes representing the form and position of -head, tail and wing. The sketches at 2, 3 and 4 indicate upon which end -of the chalk the pressure should come. Be careful to keep the delicate -gray or middle tones. - -After such drawings as those at 2, 3 and 4 are made, then add the -characteristic details with the chalk and charcoal. It will be seen by -studying these finished drawings that only a few touches are necessary -to complete the sketches. - -In order to obtain a contrast between the background and the head of -the bird in the lower sketch, a little chalk was massed upon the board -as a background. See plate 12. - -[Illustration: The Birch-tree. - - On the brink of some wood-nestled lakelet. - - Lowell-- - - - I thought the sparrow’s note from heaven, - Singing at dawn on the alder bough. - - Emerson - -Plate 24] - - - - -PLATE 24 - - -These sketches are drawn as illustrations for literature, but would be -quite as useful in some other studies. - -The strokes at 1, 2 and 3 are those used in the tree sketch; 1 is -obtained by two strokes of the chalk, placed vertically upon the board -and accented by a pressure upon the lower end. These strokes give the -sky and the hills in the distance. The use of the eraser and a few -blended strokes like those at 2 will help in sketching the tree trunks. -See plate 2. After these are done, add stroke 3, and with it mass the -foliage. See suggestions on plate 12. The point of land in the distance -and a few of the branches are added with charcoal. - -Study the lesson on plate 23 before sketching the sparrow. Stroke 4 is -made with a single broad mark of charcoal, and the addition of tiny -touches with the chalk. The branch is drawn in a similar manner, and -the background is added by a few soft and delicate touches with the -side of the chalk. - -[Illustration: Plate 25 - - Beautiful lily, dwelling by still rivers, - Or solitary mere, - Or where the sluggish meadow-brook delivers - Its waters to the weir---- - - _Longfellow._] - - - - -PLATE 25 - - -This plate was used as an illustration for Longfellow’s -“Flower-de-luce.” The pond-lily may be used in nature study or as an -illustration for some poem. - -The strokes necessary or useful in drawing these bits are shown at -No. 1, No. 2 and No. 3. At No. 1 the chalk is placed in an oblique -position, drawn gradually downward, and at the same time twisted to the -horizontal position at the middle of the stroke. Try this stroke in a -great variety of positions. The spots produced will be found useful in -much of the flower and leaf drawing. Apply these in the fleur-de-lis. - -The strokes at 2 for the leaves were given and described on plate 4, -and may be appropriated wherever reeds or grasses are to be drawn. - -Stroke 3 is simple, yet often found troublesome by pupils. Place the -chalk in a vertical position, draw it quickly downward, twisting it to -a nearly horizontal position. Let the accent be at the upper end of the -stroke. Try a number of these strokes, letting them meet at the centre -of the flower. In making the drawing of the pond-lily, accent the -nearest petals. - -The reflection in the water, and the reeds in the background are -obtained by delicate vertical strokes, crossed in the water by -occasional horizontal touches. Use simple curving strokes for the lily -pads. - -[Illustration: Plate 26 - - “This castle hath a pleasant seat.” - - ----our castle’s strength - Will laugh a siege to scorn. - - Shakespeare.] - - - - -PLATE 26 - - -Here is given another literature illustration, which is drawn with such -strokes as those indicated in the upper part of the plate. - -Stroke 1 has been described many times already. After this is drawn -indicate the distance by the use of a few touches with charcoal, and -the water with a delicate line or two of chalk. Let the strokes be -horizontal. - -The rocks are represented with such strokes as No. 3. See also plate 9, -stroke 3. Accent here and there for the light touches, and add bits of -charcoal for the dark. - -Stroke 2 is drawn by placing the chalk in a vertical position, and -drawing it in the desired direction with a rather irregular or uneven -stroke. See stroke 3, plate 15. When the strong, bright tones are -desired, accent with the chalk, and when the gray tones are necessary, -hardly touch the board. The windows are added with strong strokes of -charcoal. - -[Illustration: Plate 27] - - - - -PLATE 27 - - -This plate was planned especially for arithmetic lessons, as it shows -in the sketches the various processes through which the cotton passes -before reaching the retailer, thus suggesting a number of practical -problems. It may be used quite as well in geography, history, and -nature study. - -Spot 1 is produced by massing a bit of chalk and then rubbing it into -the desired shape by the use of the finger tip. The pod is drawn with a -short stick of charcoal, used in the same manner as the chalk. - -No. 2 shows the stroke for the sky and horizon, and has already been -described in many other lessons. - -To produce the effect shown at No. 3 use the side of a short piece of -chalk, and with a rather irregular stroke draw the twigs and stems. -Accent the spots for the cotton balls. - -In the other small sketches the strokes are so evident that they -hardly need description. A white, smooth sky, erased where the mills -and chimneys appear, will produce the effect in the lowest drawing. A -little charcoal may be added for the darkest tones, a stroke of the -eraser for the smoke, and little touches of chalk for the windows. - -[Illustration: Plate 28] - - - - -PLATE 28 - - -These sketches were also suggested for problems in arithmetic. The -problems relate to lumbering, measurement, and commission. - -No. 1 illustrates the beginning of a forest sketch. With a single -stroke of the chalk, accented at the lower end, draw the sky. With a -second more delicate stroke show the distance; then with a few quick, -nearly vertical strokes with the eraser show the positions of the -trees. Later with chalk or charcoal and the use of such strokes as -those given on plate 2, and at No. 3 on this plate, add the shading in -the tree trunks. - -No. 2 shows the strokes useful in drawing the camp, the wood pile, or -the lumber. These have already been given in such sketches as those on -plate 15. - -The sketch of the house in the original had the dimensions marked upon -it, and the pupils were to find the shingles required for the roof, the -clapboards for the walls, etc. - -Before trying this sketch, study plates 15 and 16 for strokes and -details. - -[Illustration: Plate 29] - - - - -PLATE 29 - - -The accompanying plate was taken from a lesson in a first grade. The -little boy was dressed in an impromptu costume of cotton batting, and -the background hastily sketched by the teacher. - -The horizon was drawn as on plate 9; then a few soft oblique -strokes were added to the sky. The shore was drawn with irregular -back-and-forth strokes, as in many of the previous sketches, and a -sheet was tacked to the board in order to obtain the white foreground. - -An almost vertical stroke accented with the end of the chalk was used -in drawing the icebergs, and a few strokes of charcoal were added. - -The huts were drawn with a curving stroke accented with the upper end -of the chalk, and they were finished by applying stroke 2, plate 3, and -adding a few details with the point of the chalk. - -Any teacher can easily arrange such backgrounds and costumes with -the simplest material at hand, and in this manner add essentially -to the interest and value of a lesson. A Japanese Day, An Indian -Entertainment, A Soldiers’ Camp Ground, A Lumber Camp, and many others, -are easily arranged. - - - - -Transcriber’s Notes - -In a few cases, obvious mistakes or omissions in punctuation were -corrected. - -Page 31: “The goldenrod on plate 12” changed to “The goldenrod on plate -13” - -Page 36: The illustration caption “see lesson on previous page—Plate -14” changed to “see lesson on previous page—Plate 15” to reflect to -correct plate as per the text, though the text within the image is -incorrect. - -*** END OF THE PROJECT GUTENBERG EBOOK BLACKBOARD SKETCHING *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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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