# 
 
 ^>^, 
 
 IMAGE EVALUATION 
 TEST TARGET (MT-S) 
 
 1.0 
 
 I.I 
 
 |j50 
 
 uJ IIM 
 
 -' m 
 
 ilAP 
 
 IIM 
 
 M 
 1.8 
 
 
 1.25 1.4 
 
 1.6 
 
 
 -^ 6" — 
 
 
 ► 
 
 V. 
 
 <^ 
 
 /}. 
 
 C^fe, 0. 
 
 'W/ '>' 
 
 *^# 
 
 
 ^;. 
 
 ■% .»••' 
 
 y 
 
 %1 
 
 Photographic 
 
 Sciences 
 Corporation 
 
 23 WEST MAIN STREET 
 
 WEBSTER, NY. 14580 
 
 (716) 872-4503 
 
%y MP 
 
 % i/-y 
 
 CIHM/ICMH 
 
 Microfiche 
 
 Series. 
 
 CIHIVI/ICMH 
 Collection de 
 microfiches. 
 
 Canadian Institute for Historical Microreproductions Institut Canadian de microreproductions historiques 
 
 1980 
 
Technical and Bibliographic Notes/Notes techniques et bibliographiques 
 
 The Institute has attempted to obtain the best 
 original copy available for filming. Features of this 
 copy which may be bibliographically unique, 
 which may alter any of the images in the 
 reproduction, or which may significantly change 
 the usual method of filming, are checked below. 
 
 L'Institut a microfilm^ le meilleur exemplaire 
 qu'il lui a 6t6 possible de se procurer. Les details 
 de cet exemplaire qui sont peut-6tre uniques du 
 point de vue bibliographique, qui peuvent modifier 
 une image reproduite, ou qui peuvent exiger une 
 modification dans la m6thode normale de filmage 
 sont indiqu6s ci-dessous. 
 
 D 
 
 Coloured covers/ 
 Couverture de couleur 
 
 □ Covers damaged/ 
 Couverture endommagde 
 
 □ Covers restored and/or laminated/ 
 Couverture restaur6e et/ou pellicul6e 
 
 □ Cover title missing/ 
 Le titre de couverture manque 
 
 □ Coloured maps/ 
 Cartes g6ographiques en couleur 
 
 □ Coloured ink (i.e. other than blue or black)/ 
 Encre de couleur (i.e. autre que bleue ou noire) 
 
 I I Coloured pages/ 
 
 D 
 D 
 D 
 D 
 
 Pages de couleur 
 
 Pages damaged/ 
 Pages endommagdes 
 
 Pages restored and/or laminated/ 
 Pages restaurdes et/ou pellicul^es 
 
 Pages discoloured, stained or foxed/ 
 Pages d6color6es, tachetees ou piqu^es 
 
 Pages detached/ 
 Pages d6tach6es 
 
 Showthrough/ 
 Transparence 
 
 D 
 D 
 D 
 
 D 
 
 Coloured plates and/or illustrations/ 
 Planches et/ou illustrations en couleur 
 
 Bound with other material/ 
 Reli6 avec d'autres documents 
 
 Tight binding may cause shadows or distortion 
 along interior margin/ 
 
 La reliure serr^e peut causer de I'ombre ou de la 
 distortion le long de la marge int6rieure 
 
 Blank leaves added during restoration may 
 appear within the text. Whenever possible, these 
 have been omitted from filming/ 
 II se peut que certaines pages blanches ajoutdes 
 lors d'une restauration apparaissent dans le texte, 
 mais, lorsque cela dtait possible, ces pages n'ont 
 pas 6t6 film^es. 
 
 □ Quality of print varies/ 
 Qualitd indgale de I'impression 
 
 I I Includes supplementary material/ 
 
 D 
 D 
 
 Comprend du materiel supplementaire 
 
 Only edition available/ 
 Seule Edition disponible 
 
 Pages wholly or partially obscured by errata 
 slips, tissues, etc., have been refilmed to 
 ensure the best possible image/ 
 Les pages totalement ou partiellement 
 obscurcies par un feuillet d'errata, une pelure, 
 etc., ont 6t6 filn.des d nouveau de fagon d 
 obtenir la meilleure image possible. 
 
 D 
 
 Additional comments:/ 
 Commentaires suppldmentaires: 
 
 
 
 This item is filmed at the reduction ratio checked below/ 
 
 Ce document est i\\m6 au taux de reduction indiqu6 ci-dessous. 
 
 10X 14X 18X 22X 
 
 26X 
 
 30X 
 
 s/ 
 
 12X 
 
 16X 
 
 20X 
 
 24X 
 
 28X 
 
 32X 
 
The copy filmed here has been reproduced thanks 
 to the generosity of: 
 
 National Library of Canada 
 
 L'exemplaire film6 fut reproduit grSce A la 
 g6n6rosit6 de: 
 
 Bibliothdque nationale du Canada 
 
 The images appearing here are the best quality 
 possible considering the condition and legibility 
 of the original copy and in keeping with the 
 filming contract specifications. 
 
 Les images suivantes ont 6x6 reproduites avec le 
 plus grand soin, compte tenu de la condition et 
 de la nettetd de l'exemplaire film6, et en 
 conformity avec les conditions du contrat de 
 filmage. 
 
 Original copies in printed paper covers are filmed 
 beginning with the front cover and ending on 
 the last page with a printed or illustrated impres- 
 sion, or the back cover when appropriate. All 
 other original copies are filmed beginning on the 
 first page with a printed or illustrated impres- 
 sion, and ending on the last page with a printed 
 or illustrated impression. 
 
 Les exemplaires originaux dont la couverture en 
 papier est imprim6e sont film6s en commenpant 
 par le premier plat et en terminant soit par la 
 dernidre page qui comporte une empreinte 
 d'impression ou d'illustration, soit par le second 
 plat, selon le cas. Tous les autres exemplaires 
 originaux sont film6s en commengant par la 
 premidre page qui comporte une empreinte 
 d'impression ou d'illustration et en terminant par 
 la dernidre page qui comporte une telle 
 empreinte. 
 
 The last recorded frame on each microfiche 
 shall contain the symbol ^<^ (meaning "CON- 
 TINUED "), or the symbol V (meaning 'END "), 
 v'hichever applies. 
 
 Un des symboles suivants apparaitra sur la 
 dernidre image de chaque microfiche, selon le 
 cas: le symbols —^ signifie "A SUIVRE", le 
 symbols V signifie "FIN". 
 
 Ma^ - ilatps, charts, etc., may be filmed at 
 different reduction ratios. Those too large to be 
 entirely included in one exposure are filmed 
 beginning in the upper left hand corner, left to 
 right and top to bottom, as many frames as 
 required. The following diagrams illustrate the 
 method: 
 
 Les cartes, planches, tableaux, etc., peuvent dtre 
 filmds d des taux de r6duction diff^rents. 
 Lorsque le document est trop grand pour dtre 
 reproduit en un seul clich6, il est filmd d partir 
 de Tangle sup6rieur gauche, de gauche 6 droite, 
 et de haut en bas, en prenant le nombre 
 d'images ndcessaire. Les diagrammes suivants 
 illustrent la mdthode. 
 
 1 
 
 2 
 
 3 
 
 32X 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
HINTS ON DRAWING 
 
 DESIGNED FOR SELP-INSTRUCTION 
 
 BS 
 
 S J. LATTA 
 
 TORONTO 
 
Entered accorditiR to Act of the Parliament of Canada, In the year one thousand nine hun- 
 dred, by The Kuucational Publishing Company, at the Department of Agriculture. 
 
PREFACE 
 
 This book is intended for the student of Drawing as well as for the teacher* 
 Its object is to intensify a desire for a deeper study of this fascinating subject. 
 
 Although it is impossible to present a full treatment of the subject in the 
 space at our disposal, we have endeavoured to briefly outline the full course 
 expected to be covered by an average Public School student. We have endeavoured 
 also to treat the subject in a practical way and according to sound psychological 
 principles. 
 
 It is fully illustrated with fac-similes of pen and ink drawings by the author. 
 These are presented for the purpose of fully illustrating the text rather than to 
 present copy. The student should draw much for himself, encourage personal 
 effort, learn to do by doing, using the illustrations for the purpose of reference 
 and comparison. 
 
 For convenient classification and to facilitate the proper development of the 
 course outlined we have divided the book into four parts : 
 Part I. Freehand and Practical Design ; 
 Part II. Mechanical Drawing and Illustration ; 
 Part III. Object Drawing. 
 Part IV. Applied Perspective, Grouping, Shade and Shadow. 
 
 We desire to acknowledge our obligations for valuable suggestions to Mr. 
 Alex. McQueen, Principal of Victoria Public School, and to the Assistants of 
 Colborne Street Public School. 
 
 We desire also to acknowledge very valuable assistance and criticism from 
 Mr. R. M. Graham, Principal of the Model School, whose characteristics as a 
 successful student of child nature are well known. 
 
 S. Jt liATTA. 
 
 London, February, 1900. 
 
k 
 
 f 
 ^. 
 ( 
 1 
 a 
 c 
 
 I 
 
 T 
 B 
 
 G 
 
 Di< 
 
 Coj 
 
CONTENTS 
 
 Introductory. 
 
 Matorial and How to Use ft. ".".■• 
 
 i^osition. . .^' 
 
 Eye and Hand. . " " " - - - ' . ' 
 
 Practice. . . " - - . . 
 
 Sticks and Angles. """■--." 
 Symmetry. ..'"--.. 
 Straight Line Designs " . " " ' " - - " 
 
 Simple Curve Desiins." 
 
 fet\?r"f'*'^^^^^>^I^-««i'»Con.bi;.^^^^^^ . - - - 
 
 Tabll^r"^^ ^nd Space Filling. - . . 
 
 Compound Curves. " . " " " - - " - ' 
 
 Tlio Double Loop. . ' " - - - 
 
 ■Leaf Forms. . " " - - - 
 
 The Spiral. ..""--.. 
 Borders. 
 
 G-m^cdI'';"*''"""'""''" "''^^"~« ^"^ ILLUSTRATION. 
 A Point. - ■ . 
 Lines. 
 
 Surfaces. -.'""--. 
 Angles. . . " ■ - - . . ' 
 
 Triangles. .'"•--. 
 
 Quadrilaterals. . ' * " - - . " 
 
 The Circle. . " " - 
 
 Problems— Geometric " . " " ■* 
 
 Degrees - . " - 
 
 Pioblem8.-Degree8. - " . " 
 Dictation Drawino 
 
 Preliminary Exercise.". - 
 
 Problems. . ' - - 
 
 Descriptive Outlines ' - " 
 Answers to Dictation Problems ' 
 Constructive Drawing ^'^'''''' *"« 
 Object. 
 The Scale. . " " - - 
 
 Problems-Scale. . ' 
 
 The Plan. - " - - 
 
 Problems— ConstructiVe. " . " . " 
 
 Page 
 
 7 
 12 
 
 13 
 13 
 
 13 
 
 -» ' 
 
 20 
 23 
 
 2<) 
 
 2H 
 
 30 
 
 32 
 
 3() 
 
 43 
 
 4(5 
 
 47 
 
 52 
 
 5'j 
 
 63 
 
 04 
 
 64 
 
 do 
 
 65 
 
 60 
 
 67 
 
 08 
 
 73 
 
 73 
 
 75 
 77 
 82 
 83 
 
 85 
 
 86 
 86 
 87 
 89 
 
CONTENTS 
 
 Illustration. 
 Practicul. 
 Lettering. 
 Picture Storioa. 
 
 PART III.— OBJECT DRAWING. 
 
 Page 
 
 95 
 
 97 
 
 106 
 
 The Drawing Book. - - - -'- - . -118 
 
 Outlines. -----.... 120 
 
 Models — Sticks and Tablets. - - - - - . - 121 
 
 Making Models. -..-.-.. 129 
 
 Models— Solids. --------- 133 
 
 The Cube. --...... 134 
 
 The Sphere. -----..-. 1:^5 
 
 The Ellipsoid. ........ 133 
 
 The Ovoid. --------- 139 
 
 Memory Exercise. - - - - - . . 139 
 
 Repose. ---....., 14Q 
 
 Effect of Distance. - - - - - - . - 142 
 
 Effect of Position. -------- 143 
 
 Foreshortening. .---.... 145 
 
 Insects and Animals. ........ 152 
 
 Leaves, Flowers and Plants. - - • - - . 1,59 
 
 The Circular Tablet, Cylinder and Cone. ..... 1(55 
 
 The Circular Tablet. --.-... 105 
 
 The Cylinder. - - - - - - . - 167 
 
 The Cone. .---.... 172 
 
 The Hemisphere. - - - - - - . - 173 
 
 Handles. ........ J74 
 
 Trees. ---.--.... 177 
 
 Drawing from the flat. ....... jgl 
 
 PART IV.— APPLIED PERSPECTIVE, GROUPING, SHADE AND SHADOW 
 
 The Horizon. ........ jgy 
 
 Parallel Perspective. - - - - - - . - 189 
 
 The Cube. ........ jjj9 
 
 Problems. - - - - - - - - - 199 
 
 The Square Pyramid. ....... 260 
 
 The Triangular Prisjn. ---.... 207 
 
 Angular Perspective. ....... 2O8 
 
 Problems. ......... 214 
 
 Shade and Shadow. - - ..... 2I8 
 
 Blending. ......... 223 
 
 Direction of Lines. ....... 223 
 
 The Model. -----.... 224 
 
 Problems. ........ 226 
 
 Grouping. ......... 227 
 
 Position of the Picture Plane. ...... 236 
 
 The Human Figure. -------- 239 
 
INTRODUCTION 
 
 A proper understnnding of the process by which the knowledge of an object 
 grows in the mind is an aid to success in following the proper method of developing 
 the study of drawing. 
 
 Wlien we look at an object an image appears in the mind as soon as we cease 
 to look at it. We think of two things : (1) The image in the mind ; (2) The 
 object outside of the mind that gave rise to this image. 
 
 Examinations of the drawings of children who have not previously had any 
 acquaintance with the object drawn will help to estimate in how far this mental 
 image corresponds with the original object that gave rise to it. We have found 
 that although they show the influence of ability to represent the image by means 
 of a drawing, the drawing will vary according to the ability to receive and 
 interpret impressions received through the sense of eight. Our experiments, and 
 we are open to criticism, have led us to conclude that the drawing is accurate 
 only so far as the image in the mind is accurate. 
 
 On the other hand, if an object with which children are already acquainted is 
 ])laced before them and they are asked to draw it, the result is quite different. 
 We hold before a class, in the first grade, an ordinary inflated foot-ball rubber 
 and received something like the following facts concerning it : That it was 
 round, soft, brown, provided with a thing through which to blow the wind, and 
 that this thing was tied with a piece of string. After this discussion a drawing 
 was requested, the object being still before the class. Some at first hesitated, and 
 took a long look at the object ; some moved their heads to one side and tried to 
 see the "thing to blow the wind through" wliich by the way was kept carefully 
 
INTRODUCTION 
 
 out of flight ; others went to work at once. Out of about thirty-five pupils ove 
 thirty made drawings like these : 
 
 er 
 
 Flg.l 
 
 We then put away the rubber and a short conversation took plaoe about men 
 and horses. The class was again requested to draw, but this time a man riding a 
 horse. Tlie great majority went immediately to work with great glee, exhibiting 
 a decided air of " tbafs easy." The result was invariably something like these : 
 
 Fig. 2 
 
INTRODUCTION 
 
 In the first case the previous knowledge of the object overcame the power to 
 perceive it as it appeared, and in the second the object was immediately referred 
 to wliat we choose to term conventional drawings either designed by themselves or 
 given to them by some one else. 
 
 The result of these experiments undoubtedly proves that the principal 
 elements that constitute the chief source of error in drawing are: (1) a previous 
 knowledge of the object and (2) the possession of a conventional image of it. 
 
 Without extended discussion we desire to outline briefly a few hints resulting 
 from our experience. 
 
 1. At the beginning avoid the drawing of objects of which a conventional 
 representation lias been learned. 
 
 2. Avoid too, at first, the drawing of an object in a familiar position. This 
 familiarity may be the result of frequently seeing it thus or a picture of it. 
 
 3. Do not practice the copying of drawings, except as a means of becoming 
 acquainted with good methods of representation. Even here there is a tendency 
 for the copy to become so impressed as to interfere materially with actual mental 
 images formed by contemplating the object itself, thus preventing attention to 
 special characteristics not suggested in this particular drawing. This danger may 
 be partially overcome by copying drawings of the same object in different 
 positions. 
 
 AVe do not mean to say that a knowledge of the object to be represented is 
 not necessary. Great speakers are great speakers not only becauae they have 
 attained great power in the word method of expression, but because in addition 
 to this they possess a clear understanding of the subject in hand. The eye reveals 
 to us surfaces only. Rooper says, " A baby stretches out its hand for the moon ; 
 how is it that what seems so near to him looks so far from us? Because in our 
 case the impressions conveyed by the eye are supplemented by the impressions 
 received through the touch, and *he two distinct sets of impressions combined 
 together in the mind furnish us with a conception of a third dimension, besides 
 length and breadth— viz., depth. The child who has not yet got so far as to have 
 sufficiently often united the impressions derived from looking with those derived 
 from touching and moving, cannot rightly interpret the impressions which he 
 receives. The moon seems quite close to him. ' ' The process of assimilation then, 
 if care is not constantly exercised, misleads, and familiarity with an object 
 may, as wo have said, interfere with the actual observation of it. To overcome 
 this difficulty we have advocated the drawing not only from objects, but from the 
 same object in many different positions. Follow this plan as closely as possible ; 
 the proper result will follow and you will be benefited by the process. 
 
INTRODUCTION 
 
 Objects coming before the eye are reflected upon the retina from which the 
 image is conveyed through the optic nerve to the brain, the seat of the under- 
 standing. The longer the object remains or the oftener it is presented to the vision 
 the more perfect is the impression it leaves, and the more familiar its form 
 becomes. This faculty of perceiving, or the powsr of the mind to receive and 
 interpret impressioua, may be cultivated and strengthened— educated by proper 
 exercise properly directed. If an object remains before the mind long enough to 
 mak<; the impression strong, it becomes associated with the feeling and the will 
 Conies into play. We determine to remember the impressions thus received, and 
 to this end the mind seeks to compare the new with the old, rejecting the unlike 
 and retaining the like, until finally the new impression finds a place in the mind. 
 
 A child, for example, has seen cubical blocks. A trunk is presented. The 
 irregularities of tlie trunk present new impressions and he says it is not cubical. 
 Had there been no irregularity the trunk and the blocks would have coincided, 
 but the difference causes an obstruction. True, the new and the old coincide to 
 a certain extent. They do not however, coincide exactly. The old impressions, 
 say length, breath and height— the like elements, being firmly established, 
 strengthen each other and unite to form a clear image. The unlike, smoothness 
 and irregularity, become gradually obscured, till finally the two are recognized as 
 one in the mind and he says the trunk is cubical. The classification and study of 
 objects according to what are commonly termed type forms is the proper method, 
 beginning with sticks and proceeding to the tablet, then the solid. 
 
 William James, Professor of Philosophy at Harvard University, in his talks 
 on Psycl;ology says: "No reception without reaction, no impression without 
 correlative expression." An impression that flows in at the e3'es is incomplete 
 and fails to produce the proper effect upon the memory. The most durable 
 impressions are those on account ot which we act. You notice for example, that 
 when a circular tablet is held in an oblique position it appears as an ellipse. This 
 impression as we have said is incomplete and will fail to produce the proper effect 
 upon the memory unless there is reaction. You may say that it appears as an 
 ellipse and still the conception corresponding to this verbal reaction may be 
 inaccurate ; but if the tablet is drawn as it actually appears, there is no room for 
 ambiguity. This expression comes back again in the form of a further impression 
 of what you have done. News of your having acted is received and you see the 
 success or failure of your conduct. This return impression is the completion of the 
 whole experience. The niauy illustrations that follow will, after you have done 
 your iuest, by comparing your efforts with ours, better enable you to judge the 
 result of your having acted. 
 
INTRODUCTION 
 
 The sense of sight is accurate enough, but the perception of the whole object 
 is a mental act ; the judgment of what is seen is made in the mind. This power 
 to judge, drawing seeks to develop. An apple for example, is presented. 
 Impressions come crowding in upon the mind to such an extent that it is 
 impossible to fix attention upon any one of them. The impressions made by the 
 characteristics of roundness, smoothness, color, etc., are so massed and grouped 
 together as to form an indefinite, unanalyzed whole ; but after some concentration 
 this indefinite whole is analyzed, broken up into its constituent elements. 
 Certain of these stand out more prominently and consequently arrest attention, 
 thug forming a foundation upon which the understanding of others is built. In 
 this manner the indefinite mass becomes simplified and brought within the circle 
 of the mind. In representing an object the boundary of the whole should first be 
 defined. The definition may be only mental, but as we have before intimated the 
 impression will be more complete if expressed by an outline. The characteristics 
 of detail should be expressed next, beginning with the most prominent. Just 
 here, again, care must be exercised to avoid the common error of exaggerating 
 those characteristics which absorb the most mental activity. 
 
 Some are gifted with a peculiar aptitude for this method of expression 
 —drawing. In such cases intuitive effort results in the rendering of truth in many 
 respects, but at the same time a close scrutiny of the work done will reveal many 
 imperfections which might be avoided if the underlying principles governing 
 such expression were understood. Genius and talent may be widely different, 
 yet in the rough they are slightly so. Knowledge will discover the latent 
 powers of both and cause each to develop to the fullest extent. Knowledge of 
 the principles of drawing we say is absolutely necessary in order that the best 
 results may follow. 
 
 The mechanical work apart from its practical value will develop the proper 
 use of tools and encourage accuracy. Picture stories will aid the imagination. 
 A little color work will add interest and further aid in the development of 
 the aesthetic nature. Freehand and Design will develop manual dexterity, and 
 together with the use of sticks, tablets and solids, aa advocated, will foster con- 
 structiveness. Symmetry will be of practical value in any walk of life, alike useful 
 to the gardener and the dressmaker. 
 
 We deplore the too prevalent neglect of proper method in the teaching ( f this 
 fascinating and important subject. We believe that the particular side of the 
 child's nature it should seek to develop is, in many respects, by (he means com- 
 monly employed, retarded rather than fostered. 
 
INTRODUCTION 
 
 Drawing, if properly directed, will develop observation, concentration, persev- 
 erance, accuracy, dexterity, constructive ness, imagination, patience, perception of 
 form, love of the beautiful, love of nature and nature's God. It will help to fit a 
 man to enjoy and appreciate life and thus aid in the preparation for the life to come. 
 
 In conclusion we desire to say by way of encouragement that however unsuc- 
 cessful your best attempts may appear to be, honest effort will develop your 
 physical, intellectual, moral and religious being, the truest aim of all true education. 
 
 NOTE— The pupils referred to at the beginning of tliis chapter had done but little drawing ; two 
 had attended the Iciudergarteu. 
 
 Material and How to Use It. 
 
 1. Ttvo pencils, an H H for sketching outlines and an H B for lining in and 
 shading. 
 
 2. A trying sqwvre which can be easily made out of an ordinary piece of paste- 
 board cut in the form of a triangle having one right angle. This will be very useful 
 in testing square corners and perpendicular lines. 
 
 3. A pencil compass for testing circles. 
 
 4. Pen and ink if it is to be used for lining in and shading instead of the 
 H B pencil. Use good black ink. India ink is preferable. 
 
 5. A knife and piece of sand paper for sharpening pencils. 
 
 6. Paper which should be of the best quality. If drawings are to be made 
 with pencil use the best drawing paper. It should have a hard, rough surface ; if 
 pen and ink use a hard, smooth surface paper. 
 
 7. An eraser of good rubber, one end of which should be pointed and the other 
 wedge-shaped. 
 
 8. A drawing board, light and smoothly finished, about 12x18 inches. The 
 paper may be tacked to this board. This will enable it to be held in proper 
 position before the eye. If a drawing book is used it may be held to the board 
 by two elastic bands. 
 
PART I. 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 bher 
 
 1. What is Freehand Drawingr? 
 
 Freehand Drawing is done with the free hand. The hand should not 
 only be unassisted by ruler, compass,- etc., but it should have plenty of room 
 to move in any direction with perfect freedom. Tracing is not freehand 
 drawing. 
 
 2 Position. 
 
 Seek to sit in a comfortable position. Keep the body fairly straight, 
 but slightly inclined forward, so that the eyes are at the proper distance from 
 the work to enable it to be seen to the greatest advantage. Give any 
 support necessary with the left hand. Many recommend keeping the paper 
 always in the same position — squarely in front. As a rule, we believe this is 
 best. The paper may be turned to draw certain curves, so that the hand may 
 form the centre. To prove the correctness of the work, it is a good plan 
 sometimes to view the drawing with the paper in a different position. 
 
 3. Eye and Hand. 
 
 The eye, especially in drawing, plays a very important part in directing 
 
 the movement of the hand. Hence it is of the greatest importance that the 
 
 eye as well as the hand be well trained. The eye (a) to judge d stance, 
 
 {b) to distinguish form, (f) to see proportion, and the hand to obey promptly 
 
 and accurately. Training the eye should precede training the hand, but at 
 
 the same time we should strive persistently to train both to act in unison. 
 
 During the whole of a course in drawing, we strongly recommend constant 
 
 practice such as we have outlined. 
 
 Id 
 
14 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 4. Practice. 
 
 The following exercises are for the purpose of acquiring facility — the 
 power to make the hand obey. You ought to learn to draw as you learn to 
 write — to a certain extent automat'cally. We do not mean to say that you 
 should be able to perfOrm perfectly all the exercises here given before going 
 any further. We merely submit them as sort of dumb-bell exercise to be 
 taken frequently, in order to keep the hand and eye in proper condition. 
 
 Straight Lines. Vertical lines are drawn from the top down, horizontal 
 lines from left to right, left oblique lines from left to right, right oblique lines 
 either way, according to the degree of slant. There is no reason, however, 
 why good muscular training is not obtained by drawing lines either way. 
 
 I. A carpenter in driving a nail keeps his eye on the nail — the objective 
 point. Can you apply the principle involved to the drawing of a straight 
 line ? Place the pencil at a point from which you desire the line to 
 commence. Fix the eye on the point at which you desire i*. to end and at 
 the same time move the hand freely towards that point. 
 
 t. Make a number of straight lines, say three or four, on an unruled 
 piece of paper as a sample of work you are able to do. Lay these aside and 
 follow carefully the lines on a ruled piece of foolscap. Make a few more on 
 the unruled piece of paper. Compare these with the others. Have you 
 improved ? 
 
 Fig. 3. 
 
 ^. Draw a rectangle 6 in. long and i in. wide. By vertical lines divide 
 
PRACTICE 
 
 15 
 
 ty— the 
 earn to 
 liat you 
 re going 
 e to be 
 ion. 
 
 Drizontal 
 jue lines 
 tiowever, 
 way. 
 
 abjective 
 
 , straight 
 
 line to 
 
 d and at 
 
 unruled 
 side and 
 more on 
 [ave you 
 
 obt te:'"""' ™ '"^ -^"^^ -* P^-'H vertical. hori.o„,aU„d 
 0«/«. .. Make >he circle free.y. „i.hou, sketching the dia„e.e«. 
 
 les divide 
 
 Fig. 4. 
 
 Do not attempt any definite size at first The nh;«.f v, ,^ . 
 
 a free circular movement. ^^^^ '^°"^^ ^^ *« obtain 
 
 2. Sketch the diameter of some definite l*-no-tK . • 
 
 the circle. aennite length, i m., 2 m., etc. Draw 
 
 3. Sketch the radius of some definite length. Draw the circle 
 ^^^^^^4. Sketch an equilateral triangle. Dra J as large a c" cTe^ you en 
 
 inside': Outside' "'''"'' '^'^ ^"^^^^ ^^ ^^^^^'^ ^"-g^- Draw a circle 
 
 point!; ';t^:.r z:;ir^- ^^^^ ^ '-'- ^-^-^ ^^-^^ ^^-e 
 
 as thaltThe mT^' ^7^^' '''''' ""'''' ^" ^"^'^ ^^^ ^^ -« 
 paper on the drawing ^"^ ' ''' ''^""^^ ^' ^^^ ^^^^ by laying the 
 
16 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 2. Bend a piece of wire to form an angle. Draw an angle of the same 
 size. Test the accuracy of the work as before. Change the size and try 
 again. 
 
 Measuring. It is not only good training but it is very necessary that 
 you be able to measure accurately. Not only definite measurements as an 
 inch, an inch and a half, etc., but proportionate measurements as well. 
 Ruler and compass should be used only to test the accuracy of the work. 
 
 1. Draw a straight line 2 in. long, 3 in., 4^ in., etc. 
 
 2. Draw a curve the ends of which are 2 in. apart, 3 in., 4^^ in., etc. 
 
 3. Draw a straight line of any length. A few inches from it draw 
 
 another line of the same length. Half as long. Twice as long. 
 
 4. Draw a vertical line. Draw a horizontal line of the same length. 
 Half as long. Twice as long. 
 
 5. Draw an oblique line. Draw another in some other position the 
 same length. Half as long. One and a half times as long. 
 
 6. Draw a square with sides vertical. Oblique. 
 
 7. Draw a right angle triangle in different positions. 
 
 8. Draw an angle. Draw another angle in some other position of the 
 same size. Twice as large. Half as large. 
 
 9. Draw a rectangle twice as long as it is wide. 
 
 10. Draw two lines of different lengths. Draw a rectangle having its 
 sides equal to these lines. 
 
 11. Draw two lines of unequal length. Draw a rectangle having its 
 sides one-half as long as the lines drawn. 
 
 12. Draw a line. Bisect it. Use this point as centre and draw a circle. 
 
 13. Draw a circle. Draw another circle the diameter of which is 
 one-half of the diameter of the first circle. 
 
 14. Draw a rectangle on the black-board about two feet by three feet. 
 Draw a rectangle on paper the sides of which are in proportion to the sides 
 of the rectangle on the board. 
 
 15. Make two dots a short distance apart. Draw a line the length of 
 which is the same as the distance between the dots. 
 
STICKS AND ANGLES 
 
 17 
 
 1 6. Draw a line. Divide it into two equal parts. Three. Four. Five. 
 
 17. Draw a line. Examine it carefully. Cover it with a piece ol 
 paper. Draw from memory a line the same length. Half as long. Twice 
 as long. 
 
 18. Draw a rectangle. From memory draw another the same size. 
 
 19. Draw a rectangle. Draw another of different size but having 
 proportionate sides. 
 
 20. Draw a rectangle. Draw a straight line the same length as the 
 diagonal of the rectangle. 
 
 5 Sticks and Angles. 
 
 As models, use sticks of a dark color, about 2 Inches long. Lay 
 these to form as many different designs as possible. Draw straight lines to 
 represent these designs. Commence by using two sticks. The position of 
 the line will represent the position of the stick. Here are a few samples : 
 
 i- DN TIAV 
 
 Fig. 5. 
 With three sticks something like the following may be ma'^e : 
 
 circle. 1 
 lich is 1 
 
 ■ 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 ^ 
 
 ^ 
 
 ee feet. 
 V- sides 
 
 
 ngth of 
 
 H and with four ( 
 
 3r five : 
 
 Fig. 6. 
 
 
 
18 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 EM\A/n 
 
 n 
 
 Fig. 7. 
 
 By increasing the number of sticks, a greater variety may be made. 
 By using a large number of sticks, very nice borders may be constructed, 
 after which they should be drawn. 
 
 Fig. 8. 
 For this exercise, use pieces of wire bent to form angles. Commence 
 
STICKS AND ANGLES 
 
 19 
 
 by using one piece to form a right angle. Lay it in different positions. 
 Draw it in these positions. Next use two, three or four. As with the sticks 
 the number of designs will increase with the number of angles used. 
 
 V//////////, 
 
 EEH 
 
 rLrLru 
 
 Fig. 9. 
 
 After some practice in drawing right angles, use acute and then obtuse 
 angles. Very pretty designs may be made by combining the three. 
 
 nimence 
 
20 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 There are advantages in drawing from models in this way. The designs 
 are more easily made, and only those which are pleasing may be drawn. 
 
 6* Ssmunctry. 
 
 Symmetrical about an axis. 
 By symmetry in drawing is meant that whatever is done to one part of 
 a design is done to every other correspondmg part. 
 
 u 
 
 ^ 
 
 Fig. 10. 
 
 In the design shown in fig. lo, notice that it may be divided into 
 two parts, the right and the left, separated as shown by a dotted line. If the 
 paper were folded at this line the right side would exactly fit upon, or would 
 coincide with the left. It is therefore symmetrical. Because it consists of 
 two symmetrical parts, separated by a straight line, it is said to be symmetrical 
 about an axis. 
 
SYMMETRY 
 
 ai 
 
 Our illustration shows the proper method of drawing such designs. 
 Sketch the axis and build up the design part by part, bringing both sides 
 along together. This is a much better way than by finishing one side before 
 commencing the other. 
 
 If these facts are kept in mind when making the examination, many 
 designs which at first seem very complex will turn out to be quite easily made* 
 
 Examine the following carefully, sketch the axis, and draw as we have 
 recommended. 
 
 Fig. 11. 
 
92 
 
 FREEHAND AND PRACTICAI, DESIGN 
 
 Symmetrica/ about a centre. 
 
 The design in fig. 12 is made up of four similar parts. It is also sym- 
 metrical about an axis, viz., A B or C D. Each part also is symmetrical 
 about an axis. The whole figure therefore is symmetrical about a point at 
 which these axes intersect. It is said to be symmetrical about a centre. 
 
 Fig. 12 
 
 To draw such figures first indicate the centre, sketch lines to define the 
 different parts and proceed to build up in the same manner as before. 
 Other examples are given in fig. 13. 
 
 Problems. 
 
 1. Sketch a vertical line and using it as an axis construct a design 
 consisting of four straight lines on each side. 
 
 2. Draw a design, symmetrical about an axis which is three inches long, 
 the design to be made up of simple curves. 
 
 3. Sketch a square about 2 in. a side. Indicate the centre by a dot. 
 Construct a design of simple curves symmetrical about this centre. 
 
STRAIGHT LINE DESIGNS 
 
 •3 
 
 4 Draw four straight lines to form a design symmetrical about an axis. 
 About a centre. 
 
 5. Draw a triangle. Divide it into three equal triangles. In each of 
 the equal triangles construct a design, symmetrical about an axis, so that the 
 whole is symmetrical about the centre of the original triangle. 
 
 Fig. 13 
 
 7. Straight Line Designs. 
 
 After being able to draw straight lines fairly well in any position, 
 practise placing them together to form a design. 
 
 The following examples illustrate the principle of symmetry about the 
 centre of a square. Keep this in view in makmg all drawings of this Vind. 
 

 24 
 
 FREEHAND AND PRACTICAI, DESIGN 
 
 X 
 
 • 
 
 ^ 
 
 pii/ 
 
 
 A 
 
 g 
 
 y 
 
 iiiii 
 
 K 
 
 Fig. 14 
 A. is an example of the Latin Cross, B. the Maltese Cross, C. the 
 
 
STRAIGHT LINE DESIGNS 
 
 as 
 
 7" 
 
 
 
 
 
 
 
 D 
 
 Fig. 15 
 Cross of St. Andrew and I), the Greek Cross. 
 
 k: 
 
 :. the 
 
 
 Fi-r. 10 
 
26 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 The pentagon and hexagon may be ii.;pH f« „ ^ j 
 of many very pretty designs. SeHg. x6 ^ '"'"^" '^ ^ ^^^'^ 
 
 8. Simple Curve Designs. 
 
 A simple curve is par, of the circumfe^nce of a cirde. 
 
 Fig. 17 
 
 Combine a number of simple curves to form , ^ • 
 are symmetrical about the centre of a sire M "'"k "^'^ ''""^"^ 
 given in fig. 13, page 23. '^"'^'^- ^^"X other examples are 
 
SIMPLK CURVieS 
 
 27 
 
 - as a basis 
 
 wn below. 
 
 •^^ J^ 
 
 Fig. 18 
 
 A figure being symmetrical about a centre may be composed of any 
 number of parts, as the following examples which are symmetrical about the 
 centre of a circle will show. See also fig. 24. 
 
 lowing 
 les are 
 
 Fig. 19 
 
38 
 
 FREEHAND AND PRACTICAI, DESIGN 
 
 Any of these designs if made smaller may be used as a unit for 
 repetition in a border. 
 
 
 Fig. 20 
 
 9. Simple Curves and Straierht Lines in Combination. 
 
 Next attempt combining straight lines and simple curves. 
 
 The following examples are symmetrical about the centre of a triangle. 
 
SIMPLE CURVES AND STRAIGHT LINES 
 
 89 
 
 Fig. 21 
 
 Designs for many articles such as butter dishes, pitchers, vases, etc., 
 are composed of straight lines and simple curves. 
 
 Problems. 
 
 Make designs, using only straight lines and simple curves, of the 
 following : 
 
30 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 1. A teacup. 
 
 2. A flower pot. 
 V A \asf 
 
 4. An ink bottle. 
 
 5. A lamp. 
 
 6. A stair post. 
 
 ^ 
 
 <£k.^_^ 
 
 \ 
 
 2 
 
 Fig. 22 
 
 10. Ornament. 
 
 The purpose of ornament is to add interest. 
 
 To discuss fully the principles of ornament in a work of this kind 
 would be impossible. The following hints should be carefully observed • 
 
 1. All ornament should be appropriate to the purpose for which it is 
 mtended. Examine the designs submitted in Ba,J(:^ouuds or Spacefilling. 
 
 2. All units should be pleasingly repeated and balanced. 
 
 3. There should be a feeling of restfulness. 
 
 4- Avoid excess. Too much drawing will destroy the effect. Draw 
 only what is necessary to produce the desired result. 
 
 5. Strive to obtain variety. 
 
 6. Be original. Do not be content with making mere copies. 
 
ORNAMENT 
 
 31 
 
 UNIT 
 
 Fig. 23 
 
 7. Design and ornament for a purpose. 
 
BBBai 
 
 33 
 
 FREEHAND AND PRACTICAL DESIGN 
 Problems. 
 
 1. Sketch the outline of a square. Ornament it to make a unit suitable 
 for an oilcloth. Repeat the ornament to show the method of proposed 
 repetition. 
 
 2. Draw a straight line design suitable for a border. Show the method 
 of repetition. 
 
 3. Make a carpet design and show the method of repetition. 
 
 4. Draw a design suitable for the border on a table cloth. 
 
 5. Construct a design based on the square to be used on a window 
 blind. 
 
 Fig. 24 
 11. Backgrounds or Spaoe-fillinflr. 
 
 A very pleasing effect is produced especially in ornamental work by the 
 use of an artistic and appropriate background. It will serve to emphasize 
 the design itself as well as to produce a finished appearance. It is 
 unnecessary to give any specific direction as to the manner of making the 
 background. A few examples appropriately used will be sufficient to give 
 suggestions, and by exercising a little mgenuity a large number of designs 
 may be invented. 
 
BACKGROUNDS 
 
 33 
 
 suitable 
 )roposcd 
 
 method 
 
 , window 
 
 ^k by the 
 iphasize 
 It is 
 liking the 
 It to give 
 If designs 
 
d4 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 In addition to the examples of what may be made for background we 
 submit the following simple designs to show how such backgrounds may be 
 used. 
 
 Fig. 25 
 
 Various other applications may be noticed in many of the designs that 
 follow. For others examine oilcloths, carpets, etc. 
 
BACKGROUNDS 
 
 35 
 
 kground we 
 inds may be 
 
 designs that 
 
 
 m 
 
 
 
 WBtik 
 
 
 Fig. 26 
 
 I. Sketch the following designs, print a suitable motto and fill in the 
 background. 
 
3« 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 2. Make designs for the months. 
 
 3. Draw a rectangle about 6 in. x 2 in. Within the rectangle print 
 WELCOME. Fill in the background. 
 
 4. Use an ornamented square in an oilcloth design. 
 
 5. Draw a circular design similar to fig. 24 suitable for a ceiling centre 
 piece. 
 
 . Tablets. 
 
 By using the square, circular, and triangular tablets, many pleasing 
 designs may be made. Commence by using four or five squares. Arrange 
 these and draw them in as many ways as possible. By increasing the num- 
 ber of tablets of course a greater variety of combinations may be obtained. 
 
 The circle : 
 
 Fig. 27 
 
TABLETS 
 
 37 
 
 angle print 
 
 iling centre 
 
 iny pleasing 
 s. Arrange 
 ig the num- 
 obtained. 
 
 Fig. 28 
 
38 
 
 FREEHAND AND PRACTICAI, DESIGN 
 
 The triangle : 
 
 tm 
 
 Fig. 29 
 
 Sticks and tablets may also be used in combination with good effect. 
 
 Fig. 30 
 
TABLETS 
 
 39 
 
 Here are two examples suited for linoleum. They show what may be 
 done with the square, triangle and circle in combination. 
 
 Fig. 31 
 Very nice borders may be constructed by using the square as a unit. At 
 
 D D D OOOOOO 
 
 DCOCOO 
 
 Fig 32 
 
 first sketch horizontal lines as axes upon which to lay the models and make 
 the drawing. After some practice, however, the eye should be the only 
 guide. 
 
 m 
 
40 
 
 FREEHAND AND PRACTlCAIv DESIGN 
 
 nxxo^DxEMnx 
 
 Fig. 33 
 
 The triangle : 
 
 ^^::z:^ r^ r^ f^ I 
 
 V 1 
 
 ^IK 
 
 Fig. 34 
 
TABLETS 
 The circle will give examples something like the following : 
 
 41 
 
 OODDOOO 
 
 Fig. 35 
 
 The appearance of ihese may be much improved by ornamenting the 
 repeated unit or filling in the background. 
 
4a 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 n 
 
 
 m m m 
 
 
 w ▼▼▼^▼^ 
 
 ^919191913131 
 
 Fig. 36 
 
 These, with combinations of the sticks, square, triangle and circle will 
 give an endless number of very pretty designs. See f g. 37. 
 
 After some practice in d.awing from designs made as we have suggested, 
 invent new ones without the aid of the models. Do not be content with 
 copying something that someone else has made, or merely making a new 
 
COMPOUND CURVES 
 
 43 
 
 Fig. 37 
 
 design, but endeavor to make all drawings for a purpose and as pleasing 
 as possible. 
 
 S'lf 
 
 13. Compound Curves. 
 
 A simple cun ci as before stated is part of the circumference of a circle. 
 It therefore bends regularly ; in other words it changes its position at every 
 point. A simple curve if continued will make a circle — it is struck from one 
 centre. 
 
 Fig. 38 
 
44 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 A compound curve does not bend regularly throughout its whole length. 
 It is struck from two or more centres. The degree of curvature may change 
 at every point in the ellipse (i) or at intervals as in the<wa/(2), or the direc- 
 tion iP'r be reversed entirely as in the ogee (3). See fig. 38. 
 
 The accompanying figure shows modifications of the ogee. Practice 
 
 Fig. 39 
 
 drawing these in different positions. Do not at first try to get them of any 
 definite length. Be sure to draw the whole line without stopping and do not 
 
 make a very abrupt change in the direction. 
 
 In uniting curves with other curves or with straight 
 lines, in order to produce a beautiful and pleasing result, 
 care must be taken to have them run gradually into the 
 direction of each other. A in our illustration is much 
 more pleasing than B. 
 
 B 
 
 After some practice in making curves of indefinite 
 length practice making curves of some stated length. 
 Make two dots, say 2 or 3 inches apart. Connect 
 these points by a compound curve. After becom'ng fairly proficient 
 
lole length, 
 nay change 
 ►r the direc- 
 
 COMPOUND CURVES 
 
 45 
 
 in doing this, combine curves to form designs. Here are a few examples 
 for practice. Invent others. 
 
 5. Practice 
 
 them of any 
 ig and do not 
 
 with straight 
 
 leasing result, 
 
 jually into the 
 
 ition is much 
 
 of indefinite 
 stated length. 
 Iirt. Connect 
 Irly proficient 
 
 Fig. 40. 
 Other examples will be found under Symmetry. 
 
46 FREEHAND AND PRACTICAL DESIGN 
 
 14. The Double Loop. 
 
 The double loop is a difficult compound curve to make. A page of 
 practice might look something like this. The use of this curve is not so 
 
 JULiUUUUUU 
 
 Fig. 41 
 
 common in constructing designs ; a little practice of this kind, however, taken 
 each day, is an excellent means of acquiring facility in making compound 
 curves. 
 
LEAF FORMS 
 
 47 
 
 Fig. 42 
 
 15. Leaf Forms. 
 
 Besides what might be called artificial patterns or designs, many natural 
 objects afford most excellent examples. These are often represented 
 as conventionalized^ that is, they are symmetrically drawn, all the minor 
 points of detail being omitted. 
 
 
 Our illustration shows the clover leaf (i) As it appears in nature, and 
 (2) As conventionalized. 
 
 To produce artistic work, endeavor to make all curves and their com- 
 binations have the appearance of freedom. This result is obtained only 
 by constant practice. 
 
48 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 Fig. 43 
 
 Sometimes a pleasing effect is produced by drawing some of the parts 
 in almost their natural form and making the whole design symmetrical, as 
 in No. I, 2, 3 and 4 of fig. 44. No. 5 shows the Lotus flower and No. 6 a 
 compound leaf, both conventionalized. 
 
I<EAF FORMS 
 
 49 
 
 Fig. 44 
 
 Forms of this kind make very beautiful units for repetition in a border. 
 These may be ornamented or the background filled in to give emphasis to 
 the unit. 
 
 The use of flowers and leaves in design is almost universal. Sometimes, 
 as we have said, these forms are conventionalized. Often, a design will better 
 
 ii 
 
 %■ '<m 
 
 
50 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 Fig. 45 
 
 suit the purpose for which it is intended, or it may be that a more artistic 
 effect is produced by representing the flower or leaf ornament simply as we 
 find it in nature. 
 
LEAF FORMS 
 
 51 
 
 Fig. '.Q 
 These illustrations will give some idea of the use of flowers or leaves 
 
 i 'f 
 i 
 
 im 
 
 im 
 
52 
 
 FREEHAND AND PRACTICAI, DESIGN 
 
 as suggested. Do not be content with merely copying designs of this 
 kind but endeavor to invent others. 
 
 In the problems that follow draw from the flowers if samples are 
 obtainable. If these are not obtainable substitute others. 
 
 Problems. 
 
 1. Draw an apple leaf (a) As it appears in nature, and (b) Convention- 
 alized. 
 
 2. Draw a rectangle i in. x 6 in. and divide it into squares. In each 
 square draw a maple leaf conventionalized and connect them by double 
 
 curves. 
 
 3. Draw a rectangle i in. x 4 in. and ornament it with apple blossoms. 
 
 Fill in the background. 
 
 4. Draw a circle about 3 in. in diameter. On the outside to the left 
 outline a bunch of daisies and inside prim MAY. 
 
 5. Draw a square and around the upper left hand corner a bunch of 
 two or three dandelions. Print a suitable motto inside the square. 
 
 16. The Spiral. 
 
 Fig. 47 
 
THE faPIRAL 
 
 53 
 
 There are two varieties of the compound curve called the spiral, as 
 shown in our illustration. In A the distance between the lines remains prac- 
 tically the same j in B the distance between the lines increases, being less 
 nearest the centre. 
 
 The spiral is a most difficult curve to draw well and should be much 
 practised. Do not try at first to make curves of any definite size. 
 
 
 ] 'm 
 
 ^m 
 
 
 Fig. 48 
 
 Endeavor first to acquire ^^/7/Vy, next proportion^ and lastly fitnas. A 
 page of spiral practice might look something like this, which is a page of real 
 
54 
 
 FREEHAND AND PRACTICAI, DESIGN 
 
 practice slightly reduced in size. Notice that the figures are not per- 
 fectly formed. Do not, therefore, copy the page, as it is submitted 
 
 Fig. 49 
 
 merely as a suggestion. Keep the paper always in the same position during 
 practice. 
 
THE SPIRAL 
 
 55 
 
 After some facility is gained give more attention to the proper 
 proportion of the parts and also of the size of one curve as compared 
 with another. To make the spiral fit a definite space will be the most diffi- 
 cult task. 
 
 A few examples are here given which will give some idea of the kind 
 of practice that will be beneficial. Avoid making a dotted outline, but draw 
 freely each spiral with one stroke of the pencil. In symmetrical designs be 
 sure to build up each symmetrical part as we have before recommended. 
 
 Very pretty units for repetition may be made by modifying the spiral in 
 riiiny ways. 
 
 
 i. ' 
 
 !¥J 
 
 \M 
 
 flu. 
 
 Fig. 50 
 
 Practice these by placing them in borders and designs. Invent 
 others. The double spiral modified and used in combination with other 
 
 » 
 
 ! 
 
56 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 Fig. 51 
 
 compound curves will also make very pretty units. 
 
 A few spiral designs for practice are given on page 57. Others will be 
 found under Borders. 
 
 17- Borders. 
 
 Border in its widest sense, the sense in which we shall use it, means 
 that which is used to enclose a space. It may be made of any number of 
 lines, straight or curved, ornamented or not according to the taste. It simply 
 acts as a sort of picture frame, the purpose of which is to add contrast, value 
 and compactness to the filling. 
 
THE SPIRAL 
 
 57 
 
 ' if '1 
 
 4 
 
 
 
 Im 
 
58 
 
 FREEHAND AND PRACTICAI, DESIGN 
 
 Fig. 52 
 
 In drawing and applying borders observe : 
 
 1. The design must be appropriate to that which it is proposed to 
 enclose* 
 
 2. It must be adapted to the position in which it is generally seen. 
 
BORDERS 
 
 59 
 
 If it is generally viewed horizontally it must he so drawn to be pleasing 
 in that position ; if vertically it must be so designed to be pleasing in a 
 vertical position; if the purpose is for it to be seen in any position it must 
 be further modified to appear at repose in any position. 
 
 The border must in fact be appropriate both to its application and 
 position. 
 
 Parallel horizontal lines added above and below, to the right or left in 
 nearly every case are necessary to produce the best effect. 
 
 Parallel Lines. 
 
 Probably the simplest as well as the most generally appropriate is made 
 of parallel lines variously drawn. For examples of these see The Drawing 
 Book, 
 
 p 
 
 p 
 
 % 
 
 r^ 
 
 
 
 m 
 
 Fig. 53 
 
 The Greek Fret. 
 
 There are many varieties of this ornamental form. Its construction 
 however is always by aid of intersec^ng straight lines. Curved lines it is 
 true are sometimes used, yet the leading characteristics always remain the 
 same. Architecture, textile fabrics, pottery, glassware, shoes, books, etc., 
 abound in examples of this method o ornament. 
 
6o 
 
 FREEHAND AND PRACTICAI* DESIGN 
 
 AAAmm 
 
 Fig. 54 
 
 Tke Zigzag 
 
 The zigzag is one of the oldest and, next to the parallel line border, the 
 most generally used. It may be modified in many ways as shown in 
 our illustration. 
 
 Tke Square. 
 
 The square as a unit is widely used. Examples may be seen in T!ke 
 Square Tablet. 
 
 Tke Circle. 
 See examples under Tke Circular Tablet. 
 
 Tke Triangle. 
 
 Be very careful in the use of the triangle. A few examples are shown 
 in Tk£ Triangular Tablet. 
 
BORDERS 
 
 6z 
 
 Fig. 55 
 
 The Stat 
 
 The method of construction is shown in the first space of the illustration 
 and requires no comment. 
 
 Fig. 56 
 
 Interlacing. 
 
 Triangles, squares and simple curves are shown in combination to give 
 the appearance of parts passing in front of or behind each other. In 
 drawing designs sketch the invisible as well as the visible portions. This 
 will aid in getting the visible portions in proper proportion as well as in 
 their right position. See fig. i8, page 27. 
 
62 
 
 FREEHAND AND PRACTICAL DESIGN 
 
 Fig. 57 
 
 The Cross and Square, 
 In the first part of our example the method of construction is shown. 
 
 Fig. 58 
 
 Running Patterns. 
 
 The same principle will apply here as in the interlacing designs, 
 the invisible parts as well as the visible before lining in 
 
 Draw 
 
 ,*McA means to draw in very light lines, preparatorj' to making the finislied drawing. 
 Vnit is a d'jsign repeated to form a larger design. 
 
PART n. 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 V ' 'if 
 
 
 I'l 
 
 :'■■ 
 
 
 In Mechanical Draiving the representation is made with the aid of 
 instruments. The ruler, compass and trying square must be freely used. 
 Strive to attain absolute accuracy and neatness. 
 Adjust the ruler to the pencil, not the pencil to the ruler. 
 
 GEOMETRIC DRAWING 
 
 The use of the ruler or compass may not aid the hand to gain facility 
 in the drawing of straight lines or circles. It will, however, give training in 
 the general use of tools, a very necessary matter to be considered in the 
 jjfcsent day. Geometric drawing will give good practice along these lines 
 and at the same time furnish a great many facts which may be put to 
 practical use in constructive work. 
 
 1. A Point. 
 
 h. point is used to mark position only. It has no size. For the sake of 
 
 convenience we make a black dot (.) to indicate a point. The point, however, 
 
 is not the whole of the dot, which has size, but merely its centre. 
 
 63 
 
 
 
 m 
 
 m 
 
 '|:( 
 
 m 
 
 
 f^.; 
 
64 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 2. Lines. 
 
 A line has length only ; neither breadth nor thickness. 
 Lines are either strai}:;ht or curved. 
 The ends of a line a.XQ points. 
 
 Fig. 59 
 
 A straight line is the shortest distance between two points. (D.) 
 A curved line is a line that changes its position at every point. (A ) 
 Straight lines may be classified as horizontal^ perpefidicular^ or oblique. 
 Horizontal WwQs are drawn directly across the paper. (C.) 
 Vertical XmQS are drawn from the top towards the bottom. (B.) 
 Oblique lines are drawn slanting to the right or left. (D.) 
 ^ara//<?/ lines are the same distance from each otho- thr- rhout their 
 entire length. (E.) 
 
 3. Surfaces. 
 
 Surfaces have length and breadth oni^ Th*^ have no thickness. 
 Surfaces are enclosed or bounded by lines. 
 
 A plane surface is perfectly flat everywhere. The faces of a cub' are 
 plane surfaces. 
 
 A curved surface is like the rounded surface of a cylinder or a sp' 
 
ANGLES 
 
 es 
 
 Accoiding to their angles, triangles may be classified as right-angled^ 
 obtuse-angled or acute-angled. 
 
 Fig. 02 
 
 A right-angled \.x\zx\^Q, has one right angle. (A.) 
 
 An obtuse-angled ix'\ax\g\G has one obtuse angle. (B.) 
 
 An acute angled triangle has three acute angles (C.) 
 
 (E.) shows the base, vertex and perpendicular height. (P.H.) 
 
 6 Quadrilaterals. 
 
 A (juadri'ateral \s a figure enclosed by four straight lines. 
 A quadrilateral may be classified as a parallelogram, a trapezium or a 
 trapezoid. 
 
 
 
 ■',!<■ 
 
 Fig. 03 
 
 A parallelogram is a quadrilateral having its opposite sides parallel. (A.) 
 A trapezium is a quadrilateral none of whose sides are parallel. (B.) 
 A trapezoid is a quadrilateral having only two of its sides parallel. (C.) 
 
 11 
 
 m 
 
 js.JS-B 
 
66 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 4. Angles. 
 
 Fig. 60 
 
 An angle is the opening between two lines which meet at a point. (A.) 
 
 Angles may be classified as rights obtuse or acute. 
 
 When one straight line falls upon another straight line, and makes the 
 angles on each side of it equal to each other, each of the angles is a right 
 angle, and the line making these angles is 2i. perpendicular. (B.) 
 
 An obtuse angle is greater than a right angle. (C.) 
 
 An acute angle is less than a right angle. (D.) 
 
 5. Triangles. 
 
 A triangle is a figure inclosed by three straight lines. According to 
 their sides triangles may be classified as equilateral^ isosceles or scalene. 
 
 Fig. 61 
 
 An equilateral triangle has its three sides equal. (A.) 
 
 An isosceles triangle has two sides equal. (B.) 
 
 A scalene triangle has none of its sides equal. (C.) 
 
THE CIRCLE 
 
 67 
 
 A parallelogram may be classified as a square, a rectangle^ a rhombus^ or 
 
 rhomboid. 
 
 Fig. 64 
 
 A square is a parallelogram whose sides are equal and whose angles are 
 right angles. (A.) 
 
 A rectangle is a parallelogram whose opposite sides only are equal, but 
 whose angles are right angles. (B.) 
 
 A rhombus is a parallelogram whose four sides are equal, but whose 
 angles are not right angles. (C.) 
 
 A rhomboid is a parallelogram whose opposite sides only are equal and 
 whose angles are not right angles. (D.) 
 
 Fig. 65 
 The diagonal of a parallelogram is a line joining the opposite corners. 
 The iiameter of a parallelogram is a line joining the middle points of 
 opposite sides. 
 
 K polygon is a figure with more than four sides. 
 
 7. Tho Circle. 
 
 The circle is a figure enclosed by a curved line called the circumference, 
 which is everywhere the same distance from a point called the centre. (A.) 
 The radius is a straight line drawn from the centre to the circumference. 
 
v^ 
 
 68 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 The diameter is a straight line drawn through the centre and joining 
 two opposite points in the circumference. 
 An arc is any part of the circumference. 
 
 Fig. 65 
 
 A chord is a straight line joining the ends of an arc. 
 A segment is any part of a circle cut off by a chord. 
 A semi-circ'e is a half-circle. 
 A quadrant is a quarter circle. 
 
 8. Problems* 
 
 I. Bisect a line^ that iSj divide it into two equal 
 parts. 
 
 From the ends of the line as centre with radii 
 greater than half the line draw two arcs. A 
 straight line joining the points where the arcs 
 intersect will bisect the line. 
 
 Fig. 67 
 
GEOMETRIC PROBLEMS 
 
 69 
 
 2. Draw a straight line perpendicular to a given straight line from a 
 given point. 
 
 
 
 Fig. 68 
 
 A' 
 
 A. If the point is in the line and near the middle ; from this point as 
 centre with any radius cut the line at a and ^. From a and ^ as centres 
 draw intersecting arcs. A line drawn from the given point to the point of 
 intersection will be perpendicular to the given line. 
 
 B. If the point is at the end of the line ; from this point as centre with 
 any radius draw an arc cutting the line at a. From a with the same radius 
 step off ^ and c, from d and c as centres draw intersecting arcs. A line 
 drawn from the given point to the point of intersection will be perpendicular 
 to the given line. 
 
 C. If the point is outside the line, from this point as centre draw an arc 
 cutting the line at a and A ; from a and d as centres draw intersecting arcs. 
 A line drawn from the given point to the points of intersection will be 
 perpendicular to the given line. 
 
 i 
 
70 MECHANICAL DRAWING AND ILLUSTRATION 
 
 3. Draw a line parallel to a given line. 
 
 /^ ^ /- ^ 
 
 Fig. 69 
 
 From any. two points in the given line, with the distance you require the 
 lines to be apart, draw two arcs. A line drawn touching these arcs will be 
 parallel to the given line. 
 
 4. Draiv an angle equal to a given angle. 
 
 Fig. 70 
 
 Let a be the given angle. From a as centre draw an arc cuttmgthe Imes 
 of the angle at b and c. Draw one of the lines which will help to form the 
 ande From the end of this line as centre with the same distance draw an 
 arc cutting the line at d. Mark d e equal to b c. The other line completing 
 the an^le will be drawn through e. 
 
GEOMETRIC PROBLEMS 
 
 71 
 
 Fig. 71 
 
 5. Bisect an angle. 
 
 From the point where the lines 
 meet as centre draw an arc cutting 
 the lines at a and b. From a and b 
 as centres draw intersecting arcs. A 
 line drawn from the point of intersec- 
 tion to the point where the lines meet 
 to form the angle will bisect the angle. 
 
 6. Draw an equilateral triangle. 
 
 Draw one of the sides. From the ends of this 
 side as centres with radii equal to the length of this 
 side draw intersecting arcs. Draw the other sides 
 from the point of intersection to the ends of the first 
 side. 
 
 Fig. 72 
 
 Fig. 73 
 
 7. Draw a square. 
 
 Draw one side. From the end of this 
 side erect a perpendicular. From this end 
 as centre with radius equal to the side already 
 drawn, draw an arc cutting the perpendicular 
 at a. From the centres a and b with the same 
 radius draw intersecting arcs. The other 
 sides will be drawn from the point of intersec- 
 tion. 
 
 Q 
 
 V'S 
 
 p 
 
 
 t 
 
 '! 1' 
 
 1^4 
 
 I 'ilK' 
 
 
7a 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 8. Draw an oblong or rectangle. 
 
 The method is the same as that of the square. 
 
 9. Find the centre of the circle* 
 
 From any two points with any radius 
 draw arcs intersecting on both sides of the 
 circumference. Join the points of inter- 
 section. From any other two points as 
 centres draw intersecting arcs in the same 
 manner as before. Join the points of 
 intersection. These two lines if produced 
 will meet at the centre of the circle. 
 
 Fig. 74 
 
 10. Draw a line 4^ inches long and erect a perpendicular 2 inches 
 from the end. 
 
 11. Draw a line 4 inches long and bisect it. Test your work with the 
 ruler. 
 
 12. Draw a line 4 inches long and divide it into four equal parts. 
 
 13. Draw a triangle the sides of \*hich are 2, 3 and 4 inches. 
 
 14. Draw a square the sides of which are 3^ inches. 
 
 15. Draw an angle and bisect it. Draw another angle i^ times as 
 large. 
 
 16. Draw a rectangle ; length 2 in., width i inch. 
 
 1 7. Draw a triangle ; bisect each side ; join points of bisection by 
 straight lines. 
 
 18. Bisect the angles of a triangle and produce the bisecting lines till 
 they meet in a point. 
 
 19. Draw a square; bisect each side; join the points of bisection to 
 form four smaller squares. 
 
 20. Divide a line into Tour equal parts. 
 
DEGREES 
 
 73 
 
 9. Degrees. 
 
 Every circle is supposed to be divided into 360 equal parts, each part 
 being called a degree ("). This unit, degree, is used to measure angles. 
 Every arc of every semi-circle contains 180° and every arc of every quadrant 
 
 
 
 90. 
 
 Fig. 75 
 
 When two straight lines form an angle, this angle is measured in the 
 following manner : From the angular point as centre strike an arc cutting 
 the straight lines as in Fig. 75. The angle is said to contain as many 
 degrees as there are degrees in the arc a b. Thus if this arc is one- filth of 
 the whole circle, the angle is said to be an angle of 72°, because one-fifth of 
 360 (the number of degrees in a whole circle) is 72. 
 
 10 Problems. 
 
 1. How many degrees in a right angle ? 
 
 2. Bisect a right angle. How many degrees in the angles thus formed ? 
 
 3. Draw an angle of 135°. 
 
 4. How many degrees in an angle four of which will make a right angle ? 
 
 5. Draw an angle of 67 J^". 
 
 NoTB — An instrument for measuring angles is called a protractor. 
 
 m 
 
 
 is' I 
 
 it. 
 
 
ym 
 
 74 MECHANICAL DRAWING AND ILLUSTRATION 
 
 \7 
 
 ^\^ 
 
 / 
 
 " q 
 
 
 
 ^ 
 
 z 
 
 Fig. 76 
 
DICTATION DRAWING. 
 
 !i1 
 
 It has been said that comparatively few persons are able to describe 
 accurately what they have seen. Experience proves, that, in the schoolroom 
 at least, this is largely true. All seem to have general impressions, which, 
 when tested are variously vague and inaccurate. 
 
 Dictation Drawing will not only tend to develop accurate observation 
 but accurate expression of what is seen. It will also help to fix permanently 
 upon the mind the proper application and significance of the terms made use 
 of in this work, and, as an exercise in dictation, descriptive writing of designs 
 already drawn will be excellent practice, cultivating the use of terse and 
 accurate language. 
 
 Review the terms used in Geometric Drawing. Strive to become familiar 
 with the terms : point ; line — straight and curve, horizontal, oblique, vertical, 
 parallel and perpendicular ; angle — right, obtuse and acute ; triangle — 
 equilateral, isosceles and scalene, right-angled, obtuse-angled, and acute- 
 angled ; square, rectangle, diagonal and diameter ; circle, radius, diameter, 
 arc, chord, segment, semi-circle and quadrant ; bisect and trisect. 
 
 The prefix semi used in connection with diagonal, diameter, etc., means 
 
 half-diagonal, half-diameter, etc. 
 
 Artificial objects having geometric forms are best suited to begin with. 
 
 75 
 
 1 
 
 Its 
 
 
 
^'IIp 
 
 76 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 As a preliminary exercise, make careful examination and written descrip- 
 tions of a few designs. For example fig. 77 would be the result of the 
 following : 
 
 Fii;. 77 
 
 Draw a square, two sides vertical; its diameters. Bisect the semi- 
 diameters. Join points of bisection to form a smaller square ; each corner 
 of the larger square with the nearest corners of the smaller square. Line in 
 all oblique lines to form a four-pointed star. 
 
 In joining points, unless the contrary is stated, a straight line is under- 
 stood to be used. 
 
 Write a descriptive outline of each of the figures in fig. 76. 
 
 It is not necessary that all should be written before beginning to 
 draw. A good exercise is to write a description of one, close the book, draw 
 from your description and compare with the original. 
 
 Although we have placed this department with Mechanical Drawing 
 it will also afford excellent freehand practice. 
 
DICTATION PROBLEMS 
 
 77 
 
 1. Problems. 
 
 I. Draw a square. Trisect each side. Join the points of trisection by 
 vertical and horizontal lines to form nine smaller squares. Line in the inner 
 sides of each corner square and the outer side of each central square of each 
 side to form a cross. 
 
 let- 
 to 
 raw 
 
 \ing 
 
 Fig. 78 
 
 The constructive sketch should be made very light so that when " lining 
 in " is done the figure will be plainly seen. 
 
 Fig. 78 shows the progress of the work, step by step. 
 
 2. Draw a square and its diameters. Join the ends of the diameters to 
 form another square. Line in the squares. 
 
 3. Draw a square and its diagonals. Bisect each semi-diagonal and 
 join the points of bisection to form a smaller square. Line in both squares. 
 
 4. Draw a circle ; two diameters cutting each other at right angles. 
 Bisect each semi-diameter. Through the points of bisection draw a smaller 
 circle. Line in both circles. 
 
 |r"j 
 
 i\ 
 
 ji 
 
 , 1 
 
 ^IM 
 
 ■t 
 
 
 4h 
 
78 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 5. Draw a rectangle and its horizontal diameter. Divide this diameter 
 into four ecjual parts. Through each point of division draw a vertical line 
 terminating at the sides of the rectangle. Line in the horizontal diameter 
 and all vertical lines. 
 
 6. Draw a scjuare. Trisect each side. Draw vertical and horizontal 
 lines connecting the points of trisection to divide the square into nine 
 smaller squares. Draw the diagonals of the centre square. Line in the 
 corner squares and the diagonals. 
 
 7. Draw a square. Divide it into nine smaller squares. Bisect each 
 side of the large square. Draw simple curves concave () to each other, joining 
 the points of bisection with the two nearest corners of the centre square. 
 Line in the curves. 
 
 8. Draw a square. Divide it into nine smaller squares. Bisect each 
 side of the centre square. Connect each corner of the largest square with 
 the two nearest points of bisection by simple curves concave to each other. 
 Line in the curves. 
 
 9. Draw a square and divide it into nine smaller squares. Bisect each 
 side of the larger square. Connect each point of bisection with the two 
 nearest corners of the centre square by simple curves, concave to each other. 
 Draw the diagonals of the central square ; a small circle having for its centre 
 the centre of the inner square. Line in the circle, curves and those parts of 
 the diagonals outside of the circle. 
 
 10. Draw a square and divide it into nine smaller squares ; the diago- 
 nals of the central squares of each side. From the points of intersection of 
 the diagonals as centres draw small circles. Line in the outer sides of each 
 corner square, the circles, and those parts of the diagonals outside of the 
 circles. 
 
 11. Draw a square and its diameters. Join the ends of the diameters 
 to form a smaller square. From the centre of the squares as centre, construct 
 a small circle. Trisect each side of the smaller square, and connect the 
 corners of the large square with the two nearest points of trisection by sim- 
 pla curves concave to each other. Line in the circle, curves, smaller square 
 
DICTATION PROBLEMS 
 
 79 
 
 and those parts of the diameters of the large square which are outside the 
 circle. 
 
 12. Draw a square and divide it into nine smaller squares. Draw sim- 
 ple curves on the inside of each side of the central square. Line in the 
 curves and the corner squares 
 
 13. Draw three concentric squares (squares having the same centre), 
 sides parallel. Draw their diagonals and diameters. Line in the squares, 
 those parts of the diagonals between the two outer squares and those parts 
 of the diameters between the two inner squares. 
 
 14. Draw a square and divide it into sixteen smaller squares. Shade 
 by horizontal parallel lines all the outside squares, except the corner ones. 
 Line in the boundary lines of the shaded parts. 
 
 15. Draw a square. Bisect each side. From the points of bisection 
 as centres construct small circles. Join the points of bisection to form a 
 smaller square. Draw the diameters of the smaller square. Bisect the 
 semi-diameters. Join the points of bisection to form a still smaller square. 
 Shade the smallest square and those parts of the largest square outside of 
 the circles and the medium square. Line in all the sides of the squares 
 which are outside of the circles, the circles and those parts of the diameters 
 which are outside of the smallest squares. 
 
 16. Draw an equilateral triangle. Bisect each side. From the points 
 of bisection as centre construct small circles. Join the points of bisection to 
 form another triangle. Line in the circles and all straight lines which are 
 outside of the circles. 
 
 1 7. Draw a rectangle, longest sides vertical. Bisect the longest sides. 
 Draw on each side an ogee curve, curving in at the top and cutting the side 
 at the point of bisection. Line in the curves and the horizontal sides of 
 the rtctangle. 
 
 18. Draw a square about 6 in. a side. Divide it into thirty-six small 
 squares. Draw the diagonals of any one of the small squares. On each 
 semi-diagonal draw two simple curves concave to each other. Line in the 
 curves and repeat the design in each of the other squares. 
 
 ?J 
 
 I* I 
 
 u^ 
 
P,0 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 19. Draw a square and divide it into nine smaller squares. Draw the 
 diagonals of the central squtsre on each side. From the points of inter ec- 
 tion of the diagonals as centres, construct circles having their diameters 
 f.qual to the diagonals of the squares. Line in the outer sides of the corner 
 squares, and those parts of the circumference of the circles falling within the 
 larger square. Shade those parts of the larger square which are outside of 
 the circles. 
 
 20. Draw a horizontal line about 4 in. long and divide it into four 
 equal parts. Draw two simple curves on the horizontal line concave to each 
 other. On each of the two inside parts of the horizontal line as a base, con- 
 struct equal isosceles triangles on each side, having iheir vertices outside of 
 the curves. Line in those parts of the curves which are outside of the 
 triangles and those parts of the triangles which are outside of the curves. 
 
 21. Draw a circle; three diameters, cutting the circumference into six 
 eqaal arcs ; a simple curve on each side of each semi-diameter. Line in 
 the curves. 
 
 22. Draw two concentric circles; two diameters of the larger circle, 
 cutting each other at right angles. On one of the semi-diameters of the 
 smaller circle construct an ogee curve. Draw a similar curve on each of the 
 other semi-diameters. Line in the circles and the curves. . 
 
 23. Draw a circle. Divide the circumference into six equal arcs. 
 DriwW the cord of each arc and a radius from the end of each cord. Line in 
 all straight lines. 
 
 24. Draw two equal and opposite isosceles triangles hiving a common 
 horizontal base. Bisect each of the equal sides, and join the points of 
 bisection by horizontal and vertical lines. Construct equal simple curves, 
 touching each other, on the inside, of the vertical lines. Line in the curves 
 and tho«e halves of the equal sides forming the vertical angles. 
 
 After working out the foregoing problems, or others of a similar nature, 
 practice problems in which the figures are of definite size. 
 
 25. Draw a rectangle 6 in. by i in. and divide it into six squares. 
 Di-aw the diagonals of each square. Bisect each semi-diagonal and join the 
 
DICTATION PROBLEMS 
 
 8i 
 
 points of bisection to form smaller squares. Line in the recidngle, the 
 smaller squares and those parts of the diagonals which are outside of the 
 smaller squares. 
 
 26. Draw a square the sides of which are ^ in. ; its diagonals. From 
 the point of intersection of the diagonals as centre, construct a circle having 
 a radius of one inch. Line in the square and the circ^ . 
 
 27. Draw an equilateral triangle the sides of which are two inches long. 
 Bisect each side and join each point of bisection with the opposite angle. 
 From the point of intersection of these lines as centre construct a circle 2 
 in. in diameter. Line in those parts of the circle which are outside of the 
 triangle and those parts of the triangle which are outside of the circle. 
 
 28. Draw a circle 3 in. in diameter; two diameters at right angles to 
 each other. Bisect each semi-diameter and from the points of bisection as 
 centres, construct circles three-quarters of an inch in radius. Line in that 
 part of the circumference of each small circle, which is outside of the others. 
 
 29. Draw a rectangle 4 in. by i in., longer sides vertical ; a horizontal 
 line cutting the vertical sides one inch from the bottom and projecting a half 
 an inch to the right and left. Mark a point on each vertical side one inch 
 from the top. On each vertical side construct an ogee curve, curving in at 
 the top, cutting the vertical side at the marked point and touching the end 
 of the longest horizontal line. Line in the curves and all horii-ontal lines. 
 
 30. Draw two horizontal lines, each 5 in. long and one inch apart, so 
 that (heir ends may be connected by vertical lines. Jo n the ends by 
 vertical lines. Divide the figure thus formed into five squares. Draw the 
 diameters of each scjuare. Bisect the semi-diametcs and join the points of 
 bisection to form small-^r squares. Connect the nearest corners of the 
 smaller squares by two simple curves, concave to each other. Line in the 
 smaller squares, all curved lines and the upper and the lowrr horizontal lines. 
 
 Other figures for descriptive writing and dictation drawing are found in 
 Compound curves^ Straight line designs^ Simple cun'es and Simple lurves and 
 straight lines in combination. 
 
 
 ■: P 
 
 !.U' 
 
 
T^W" 
 
 82 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 f8. Descriptive outlines of designs in Fig, 76. 
 
 1. Draw a square ; its diagonals and diameters. 
 
 2. Draw a square and divide each side into four equal parts. Join the 
 points of division by vertical and horizontal lines to form sixteen smaller 
 squares. 
 
 3. Draw a square and its diagonals. Bisect each semi-diagonal. Join 
 the points of bisection to form a smaller square. Line in both squares. 
 
 4. Draw a squa-e. Divide it into sixteen smaller squares. Line in the 
 four small corner squares and the inner sides of the other outside squaies. 
 
 5. Draw a circle. Draw two of its diameters at right angles to each 
 other. Bisect each semi-diameter. Through the points of bisection draw a 
 smaller circle. Line in both circles and those parts of the diameters outside 
 the smaller circle. 
 
 6. Draw an equilateral triangle and bisect each side. Join each point 
 of bisection to the angle opposite. From the point where these lines 
 intersect as centre draw a circle touching the sides of the triangle at the 
 points of bisection. 
 
 7. Draw a rectangle the longer sides of which are horizontal and four 
 times as long as the shorter sides. Bisect each longer side. Join the 
 points of bisection to form two smaller rectangles. Draw the diagonals of 
 each smaller rectangle. From the points of intersection as centre draw two 
 circles touching the inside of the longer sides. Line in all vertical lines, 
 those parts of the diagonals outside the circles and the upper and lower arcs 
 of the circles. 
 
 8. Draw a rectangle, twice as long as it is wide, longer sides horizontal- 
 Draw its diameter, and the diagonals of the smaller squares thus formed. 
 Bisect each semi-diagonal. Join points of bisection to form two smaller 
 squares. Line in the smaller squares and all horizontal lines outside the 
 smaller squares. 
 
 9 Draw a rectangle twice as long as it is wide. Divide it into two 
 squares and dr;iw the diagonals of each. Bisect each semi-diagonal. Join 
 the points of bisection to form two smaller squares. Line in the longer sio^s 
 
ANSWERS 
 
 83 
 
 of the rectangle, the smaller squares and those parts of the diagonals which 
 are outside of the smaller squares. 
 
 3. Answers. 
 
 m 
 
 •r^ I — — 
 
 J. 
 
 X 
 
 7 
 
 3 4- 
 
 iffl 
 
 
 7 
 
 ?n 
 
 y 
 
 Ui 
 
 
 ^ 
 
 
 "\ 
 
 
 
 7 
 
 
 \ 
 
 rr 
 
 
 7 
 
 
 
 2. 
 
 ^ 
 
 
 \ 
 
 J. 
 
 
 
 ^ 
 
 /+ 
 
T"*" 
 
 ,-, .mauBi wiiiiiB 
 
 84 
 
 MECHANICAL DRAWING AND II.L,USTRATION 
 
 Ar 
 
 V 
 
 Sc 
 
 V 
 
 V 
 
 V 
 
 Scr 
 
 Sc^ 
 
 -^^ 
 
 -\ 
 
 /- 
 
 -^ 
 
 /^ 
 
 A 
 
 /^ 
 
 T^ 
 
 
 
 
 i50 
 
 
 
 
 
 Note— Figures 25-6-7-8-9 and 30 are of course somewhat reduced in size. 
 
CONSTRUCTIVE DRAWING. 
 
 '. 1 1 
 
 ( i'l 
 
 m 
 
 In the construction of buildings and in the manufacture of many articles, 
 workmen are guided by descriptions given them by the architect or designer. 
 These descriptions are made partly in writing and partly in drawing. A 
 drawing will in many respects give a more accurate idea than can possibly be 
 given in a written description. It has, too, the advantage of giving much 
 information in a comparatively small space. These constructive or working 
 drawings as they are called, are made of the object as it actually is and not 
 as it appears. The written descriptions are called specifications. 
 
 1. Object. 
 
 The making of drawings of this kind, apart from the mental training it 
 affords, will be a means of laying by much information that will be of great 
 practical use in future life. 
 
 The impossibility to make drawings the actual size of all objects is quite 
 evident. Some objects are too large, others are too small. The draw- 
 ing of a building, for example, must necessarily be much smaller than the 
 building itself, while that of the parts of a watch must be much larger. 
 The size of the drawing will matter little so long as it is large enough to be 
 made and read accurately. One thing, however, is very necessary, that is, 
 that the proportions of the drawing correspond accurately with the actual 
 proportions of the object. In order to do this adopt a scale. 
 
 85 
 
86 MECHANICAL DRAWING AND ILLUSTRATION 
 
 2. The Scale. 
 
 Draw a line 3 in. long. Divide it into two equal parts. Suppose each 
 of these parts to represent a foot. The whole line will then represent two 
 feet, that is, an object actually 2 ft. long will be drawn exactly the length of 
 this line. Any one knowing this scale may read from the drawing the actual 
 length of the object you intend to represent. If the object is drawn half as 
 long as this line he knows that it is one foot long, and so on. 
 
 I t i t I 1 
 
 LX 
 
 I t 
 
 1 
 
 a' 
 
 ^C/tLe «^ 0/V£ EfGHT^, 
 
 Fig. 79. 
 
 Subdivide each of the parts into twelve equal smaller parts. Each sub- 
 division will represent an inch. An object drawn as long as one large space 
 and four smaller spaces is i ft. 4 in. long, etc. This is called a scale of one- 
 eighth, because it is one-eighth as long as the distance it represents. 
 
 3. Problems. 
 
 1. Draw a line 3 in. long. Divide it into equal parts, making a scale of 
 one-quarter. 
 
 The scale being one-quarter, the distance to be represented is four times 
 as great as the' length of the line, viz., 12 in. Divide the line into twelve 
 equal parts. Each part, which is a quarter of an inch, will represent an inch. 
 A drawing made to this scale is sometimes said to be drawn a quarter of an 
 inch to the inch. 
 
 2. Draw a line 3 in. long. Divide it into equal parts, each representing 
 a foot, showing a scale of one-eighth. Use this scale to draw a line repre- 
 senting a wire 16 ft. long. 
 
 3. Draw a line 6 in. long and divide it into twelve equal parts. If each 
 part represent a foot, what is the scale ? 
 
THE SCALE 
 
 87 
 
 4. Draw a line six inches long ; divide it into two equal parts. Let 
 each part represent a foot. Use this scale to draw a line to represent three 
 
 feet. 
 
 5. Draw a line three inches long ; construct a scale of one-eighth and 
 
 use it to draw a line to represent a distance of 2 ft. 6 in. How long is this 
 line? 
 
 6. Construct a scale of one-twelfth. 
 
 7. Construct a scale of one twenty-fourth, and use it to draw figures 
 representing : 
 
 {a) A circle, 6 inches in diameter. 
 
 {b) A square, 5 ft. a side. 
 
 {c) A rectangle, 4 ft. x 8 ft. 
 
 {d) A triangle, the sides of which are 3 ft., 4 ft. and 5 ft. 
 
 {e) An equilateral triangle, 7 ft. a side. 
 
 Construct a scale of one-quarter, and use it to draw : 
 {a) A square, 4 in. a side. 
 {l?) An oblong, 8 in. x 4 in. 
 {c) A circle, i ft. in diameter. 
 
 {d) An isosceles triangle, base 4 in., equal sides 8 in. 
 {e) A line, i ft. 2 in. long. 
 
 Draw a scale of one foot to the inch. (In this case a line one foot 
 long will represent one inch.) Use it to draw a line to represent one-quarter 
 of an inch. How long is it ? 
 
 Draw a scale of four inches to the inch, and use it to draw : 
 (rt) A circle, one-half inch in diameter. 
 {/)) A square, one-quarter inch a side. 
 
 8. 
 
 9- 
 
 10, 
 
 m 
 
 4. The Plan. 
 
 Note — (') represents feet, (") inches. 2 ft. 6 in. may be written 2'6". 
 
 The term plan is often used to designate all the drawings made to 
 describe an object. Strictly speaking, it is that drawing which describes that 
 part usually in a horizontal position, such as the top or bottom of a box. 
 
88 MECHANICAL DRAWING AND ILLUSTRATION 
 
 A drawing to describe the side, end, back or front is called an elevation and 
 is spoken of as the end elevation, front elevation, etc. 
 
 Suppose the room in which you are to be 2o'x3o'. The door is 4' wide 
 and in the middle of the end. The teacher's desk 2' by 4', stands on the 
 platform at the farther end of the room. The platform is 5' w de and 
 extends across the room. The desk is in the middle of the platform and 2 
 from the wall. Draw the plan to a scale of one forty-eighth (one-quarter 
 of an inch to the foot.) 
 
 t 
 
 
 <fc 
 
 
 p 
 
 ^ 
 
 w 
 
 •0 
 
 »» 
 
 lo 
 
 <^ 
 
 Q 
 
 nJ 
 
 
 u. 
 
 
 
 /• a' % m' t' •' 
 
 fcii fc ■ ' 
 
 SCALE 
 
 § 
 
 /I 
 
 Fig. 80 
 
 Fig. 80 shows the plan much reduced in size. The scale which is 
 shown is also reduced proportionately. Use the scale and examine cur 
 drawing. Has it been accurately made ? 
 
CONSTRUCTIVE PROBLKMS 
 
 89 
 
 PLAN 
 
 P 
 
 S/DE C:L£Vf\TlO/\f 
 
 1! 
 
 
 sc^Le. 
 
 .tNCHES 
 
 IS 
 
 ur 
 
 Fig. 81 
 
 Fig. 81 shows a perspective drawing of a brick, also the constructive 
 drawings in proper position to the scale given. 
 
 Examine this plan of a box (Fig. 82) according to the scale given. 
 
 How long is the box ? 
 
 How wide ? 
 
 How high ? 
 
 In order to further illustrate, two sections are given. They are used to 
 show the construction and thickness of material and are usually shaded. 
 
 How thick is the material ? 
 
 5. Problems. 
 
 I. ]3raw a plan of the school-yard to some stated scale. 
 
SEE 
 
 90 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 8{>^^SSSSSSSSSST^ 
 
 s 
 
 svvk:^^'^^^^ 
 
 J^ 
 
 ^j[^ 
 
 1 
 
 a 
 
 i 
 I 
 
 m»>»»}»»»)})m 
 
 I 
 
 0) 
 o 
 
 
 \97777>WV^WMM 
 
 f^lAN OF TOR 
 
 fL^N or- 0OTTOt\i1 
 
 «CAt.C«.^f/r. 
 
 Fig. 82 
 
 2. Make constructive drawings of a chalk box. 
 
 3. Draw the side and the end elevations of an ordinary kitchen table. 
 
 4. Draw the side elevation of a sideboard. 
 
 5. Draw the front elevation of the teacher's desk. 
 
 6. A tenon 6 in.x3 in. and 6 in. long is cut on the centre of the end of 
 a square stick of timber i ft.xi ft. This fits into a mortise in another beam 
 of the same size and both are held in position by a pin passing through the 
 tenon. Make constructive drawings to a scale of one-twelfth showing fully 
 the method of construction. Show also a perspective view of the joint. 
 
CONSTRUCTlVIv PRORLKMS 
 
 91 
 
 
 1. 
 

 IMAGE EVALUATION 
 TEST TARGET (MT-3) 
 
 
 
 1.0 
 
 I4i |M 111125 
 
 jVJ '^^ 1111= 
 lllllT 
 
 
 ''^ m II 2,2 
 
 It" i^ 2.0 
 
 I.I 
 
 
 
 
 1.8 
 
 1.25 
 
 U ill 1.6 
 
 vj 
 
 <^ 
 
 /i 
 
 '^/ 
 
 %/ c% 
 
 
 z'. 
 
 
 y 
 
 >^ 
 
 Photographic 
 
 Sciences 
 Corporation 
 
 33 WEST MAIN STREET 
 
 WEBSTER, N.Y. MS80 
 
 (716) 873-4503 
 

9a 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 Our illustration of problem 6 (Fig. 83) is much reduced in size, but 
 since the scale is also reduced you will have no difficulty in reading it. 
 
 7. Make constructive drawings of a square mallet having a round handle 
 18 in. long, face 6 in.x6 in., height of head 12 in., scale one-third. 
 
 8. A spool is 1 2 in. long and 6 in. in diameter at the ends ; length of 
 cylindrical part 6 in. ; diameter of the hole i in. ; scale one twenty-fourth. 
 Make the constructive drawings. 
 
 Sp^^r^oN 
 
 P 
 
 
 FROrt T £l c VA T/ON 
 
 •^a 
 
 Door Stem 
 
 ift 
 
 %tt. 
 
 Scale, 
 
 Fig. 84 
 
CONSTRUCTIVE PROBLEMS 
 
 93 
 
 9. A T-shaped steel bar of a watch is made of material one-sixteenth of 
 an inch square. Total length one-quarter of an inch ; length of arms one- 
 eighth of an inch ; scale 8 in. to the in. Make the drawings. 
 
 10. Make constructive drawings of the following, showing fully the 
 method of construction and exact size : 
 
 (a) A ball club. 
 (3) An axe. 
 
 (c) A shelf. 
 
 {d) A kitchen table. 
 {e) A trunk. 
 
 11. Show the method of construction of the corner of a chalk box. 
 
 12. Make the plan, front and side elevations of three steps suitable for 
 entrance to a front door. 
 
 13. By refe ence to Fig. 84 which is submitted as an answer to No. la, 
 write the following in feet and inches : 
 
 (a) Total width. 
 
 (d) Total height. 
 
 (c) Height of each step. 
 
 (d) Thickness of material. 
 (<?) Width of each step. 
 
 (/) Size of platform at the top. 
 
 14. Draw the plan of a baseball ground. 
 
 15. Scale^V Make suitable plans for laying out the ground in front of 
 a house, show paths, flower beds, etc. 
 
 1 6". Make a plan, side and end elevations, and cross sections of a 
 watering trough. Show clearly the construction and scale. Write specifi- 
 cations as to material, painting etc. 
 
TUfZ 
 
 94 
 
 MECHANICAI, DRAWING AND ILLUSTRATION 
 
 I 
 
 *SK«H'«'' m stall, antT food. 
 
 i jfW pl^Afdf His cause aj fou<L)y a}lk bt}t 
 
 W/7/^y/yz/?7Mr//r/-/z£//>!z/jy/'jz/7?7i'^L 
 
 Fig. 85 
 
ILLUSTRATION 
 
 Art will awaken a sense of pleasure in the beautiful. It will adhere to 
 truth in the idea if not in fact. Jliustration portrays fact faithfully. Endea- 
 vour to combine the two and strength will be gained by putting to practical 
 use the strength already attained. 
 
 1. Practical. 
 
 The power developed in the study of this subject may be put to prac- 
 tical use at once. The illustration of school work will frequently help to 
 impress facts better than any other method that can be employed. 
 
 There are some, it is said*, who call up a picture in the mind of every- 
 thing they intend to do. We all do this to a greater or less degree. The 
 more perfect the mental image the more accurately we can describe in words. 
 Why not make the hand as spontaneously obedient to the mind as the tongue 
 is ? We use the tongue to aid us in impressing facts upon the mind, why not 
 the hand ? 
 
 You read, for example, that, in the War of 1812, the contesting parties 
 
 were the British and Americans ; the American plan was to attack at three 
 
 different points known as the west, centre and north ; that Maiden and 
 
 Detroit are in the west. Lake Champlain and Quebec in the north and 
 
 Queenston and Niagara in the centre. All this of course may be impressed 
 
 upon the mind by consulting a map, but it will be much more firmly 
 
 impressed if, while following the course of the war in the written account, 
 
 these facts are again reproduced in a picture. 
 
 95 
 
MECHANICAl, DRAWING AND ILLUSTRATION 
 
ILLUSTRATION— PRACTICAL 
 
 97 
 
 Not only in history is illustrative drawing of practical use, but in almost 
 every other subject on the Public School curriculum, especially geography, 
 literature, physiology and arithmetic. 
 
 DfAGRAM /£. 
 
 
 SAu// 
 
 —Cerebdlum 
 
 ^.Medulla 
 
 OoiQ/iyatta 
 
 ^'S/Hdna/ Cord 
 -Vertebral 
 
 Coiu/rtf/v 
 
 Fig. 8G 
 
 D/AGfiAM U. 
 
 sAtunHm 
 Htmrt liiftf mmi fLmmU. 
 
 Fig. 86 is a tracing from a fourth book pupil's notes on physiology. 
 Fig. 87 is a brief way of stating many geographical facts concerning: 
 
 1. Inclination of the earth's axis. 
 
 2. Shape of the earth. 
 
 3. Summer and Winter. 
 
 4. Positions of circles named. 
 
 5. Circle of Illumination. 
 
 i 
 
 i 
 
 It 
 
 'hi 
 
 S'l 
 
MECHANICAI, DRAWING AND ILLUSTRATION 
 
 6ec.zl 
 
 Fig. 87 
 
 6. Poles and axis. 
 
 7. Summer and winter solstice. 
 
 8. Day and night. 
 
 On page 94 are three illustrations of that familiar Fourth Reader lesson 
 the Bell of Atri. Do not be discouraged even if first attempts are not what 
 you would like them to be. 
 
 %. Letterinff. 
 
 A little care in the use of letters will give drawings and diagrams a better 
 appearance. Lettering itself is good freehand practice and when mechan- 
 ically done, developes proper use of the ruler and compass. Apart from this 
 there is a correct form for each letter of every series. This should be noted. 
 
 One of the most commonly used styles is the gothic. It has the advan- 
 tage of being plain, easily made and easily read. It is especially adapted to 
 rough illustrative work. 
 
LETTERING 
 
 ABCDEFGHIJ 
 
 KLMNOPQRS 
 
 TUVWXYZ 
 
 abcdef ghijklmnpoqrstuvwxyz . 
 
 Fig. 88, Gothic 
 
 The GrOthic is suitable for To Let^ Price 2^Cf For Sa/e, Notice^ etc. 
 
 It may be variously modified or ornamented to suit the taste of the per- 
 son using it or the purpose it is intended to serve. It may be high and 
 narrow {condensed), short and broad {extended), of light, skeleton appearance 
 {light-faced), heavy and thick {bold-faced), or shaded, 
 
 ABCDEFGHIJKLMNOPQRS 
 TUVWXYZ 1234567890 
 
 ■» 
 
 ■''it 
 
 Fig. 80, Gothic Condensed. 
 
r 
 
 100 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 
 Fig. 00, Gothic Ornamented. 
 
 Ill 
 
 There are two common miStaices made in lettering. The first is a failure 
 to discriminate between, as printers say, the Cap and Lower Case letters, 
 that is, capitals and small letters. 
 
 To one who understands the difference, a card lettered as in fig. 91 
 appears quite ridiculous. 
 
 The second mistake is a failure to keep the slant of all letters of the 
 
LETTERING 
 
 101 
 
 same series the same. No matter how well each letter is made, if the slant 
 varies the general appearance is bad. 
 
 House 
 
 to 
 
 Fig. 91 
 Compare fig. 92 with fig 91. 
 
 HOUSE 
 
 TO 
 
 LET 
 
 Fig. 92 
 
 ABCDEFGHIJKLMNOPQRSTUY 
 
 WXYZ 1234567890 
 
 abcdefgliijklmnopqrstuYwxyz 
 
 Fig. 93, Roman 
 
 ^1 
 
 Roman and Italic are the styles used in printed books. The making of 
 this letter is good practice but it is not simple enough in construction to be 
 of Vwry great convenience in ordinary illustrative work. 
 
 \m 
 
i 
 
 loa 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 ABCDEFGHIJKLMNOPQRS TU V 
 WXYZ 1234367890 
 alcdefghijklmnopqrstuvwxyz 
 
 Fig. 94, Italio 
 
 
 • # 
 
 / • / 
 
 ' ? t «" 
 
 i23^567S^0 
 
 Fig. 95, Script 
 
LETTERING 
 
 103 
 
 Script is a very common style and particularly suitable for pen work. It 
 is quite appropriate for addresses, invitations, etc There are very many 
 designs. 
 
 t234567890 
 
 abcbetgbijhlmnopqrstuvwj^S 
 
 Fig. 9C, Old English 
 
 Old English is extensively used in engrossed addresses, certificates, etc. 
 The following Pencraft alphabet is also suitable for pen work. 
 
 T| 
 
 123^567890 
 
 Fig. 97, Pencraft 
 
104 MECHANICAL, DRAWING AND ILLUSTRATION 
 
 The De Vinne alphabet is an artistic and easily-read style. 
 
 ABCDEFGHIJ 
 KLMNOPQRS 
 
 TUVWXYZ 
 abcdefghijklm 
 
 nopqrstuv 
 wxyz 
 
 1234567890 
 
 Fig. 98, De Vinne 
 
 For the purpose of drawing attention to the peculiar formation of 
 similar letters we submit an alphabet of the Antique. In this alphabet com- 
 
LETTERING 
 
 105 
 
 pare carefully b and d, b and q, d and p, p and q, n and u. Notice, too, 
 that all capitals are of the same height and all lower parts of the small letters 
 are of the same height. 
 
 ii 
 
 ABCDEFGHIJKLM 
 NOPQRSTUVWXYZ 
 
 abcdefghijklmnopqr 
 stuvwxyz 
 
 . 1234567890 
 
 Fig. 99, Antique 
 
 An excellent exercise is to choose some style of letter and print neatly 
 a few lines of some favorite poem. 
 
 The style of letter used in ** Youth and Age," may be termed an Art 
 Gothic and is quite suitable for the work suggested. 
 
 In addition to the styles already given fig. 100 and 10 1 are added for 
 practice. 
 
 it 'I 
 
 .;! 
 
zo6 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 ^ilcFt?vrr\g , , 
 
 , vv^l^ I w^r^ try jayl [)^\ 
 
 &' §H^* A!\d p'sj' ^'^*^ 'i^'\' 
 
 1 w1§\rv»^ try §^^• 
 
 — ns?(l. 
 
 abcdcfgKijklmnopqrstuvw^cijz 
 i23456Td90 
 

 LETTERING 
 
 X07 
 
 1234567890 
 
 Fig. 101. 
 
 3. Pietare Stories. 
 
 The illustration of a story — telling the story by pictures — is very 
 difficult work to do well. All drawing should be suggestive. If it tells 
 nothing it is not interesting, only in so far as it affords a method of practice 
 or displays the dexterity of the person executing it. Many artists draw 
 beautifully yet never become famous, while others, by a few strokes of the 
 pen, leap into prominence at once. Why ? Simply because they are able 
 
 I Si ' 
 
 H 
 
 I 
 
 :*;• 
 
 -■v>-. 
 
"wm 
 
 loS 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 to suggest much and do it in an interesting manner. Drawing then, at least 
 in this department, should first tell something, and secondly, tell it in as 
 pleasing a manner as possible, or in such a manner as the circumstances 
 demand. 
 
 Fig. 102 
 
 We submit for example a picture, copied from some old Indian 
 manuscript, supposed to say : The Chiefs, Black Wolf, Raven, Fast Bear 
 and Sitting Bear hold a war council round the fire where grass was high. 
 They dig up the hatchet, have plenty of arrows and start on foot to a 
 Cheyenne (cut-arm is the Cheyenne sign) village on Beaver Creek, where 
 they expect to have a fight and stampede a herd of fat ponies. 
 
 This of course may not be regarded as displaying great artistic ability. 
 True, some one else may have been able to do it much better. Its primary 
 object, however, was to tell the story and we suppose it did. 
 
 We shall be able to present but very few illustrated stories — only 
 t .to throw out a few suggestions along this line. The following are 
 
 fi^m work done in the primary grades. 
 
PICTURE STORIES 
 
 109 
 
 •»«»ri///i,,,."«..«»"iisl fMi^o.\».».il#«. . ,7. . •^•..^/t.q 
 
 •^ til'.!.! /»«rw'*«^«»'nir»» .. 
 
 l"'N|fk|t|« •• >% 
 
 ItU 
 
 
 af 
 
 f'k-'^lilWS 
 
 7&Af >*/VO /^'« ^/Or 
 
 FluytMOk A K/r,ff. 
 
 ! 
 
 
 
 
 Fig. 103 
 
 Do not be discouraged if you are unable to make pictures worthy of 
 competition with those of others .who have had much greater experience. 
 They, too, passed through the primary stage and probably did work then that 
 
:{ t 
 
 m 
 
 no 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 could not creditably compare with yours. Be content with doing each time 
 your very best. These little fellows in the pictures may not be much like 
 real men. It may be too that our little artists were influenced by the 
 drawings of some one else. \^^e shall not discuss this point, but be content 
 with saying that they are simple stories, told in a simple child-like manner. 
 Illustrate the following stories : 
 
 1. A dog and a cat were firm friends. They ate out of the same dish 
 and slept on the same mat. 
 
 2. John and Mary, a little brother and his sister, started out to school 
 together one fine morning in May. They had to cross a long bridge. Just 
 after crossing the bridge they saw a large dog coming to meet them. They 
 were very much afraid but ran quickly and were soon safe in the school- 
 house. 
 
 3. Tommy had a beautiful pony. On Saturday he rode him to the 
 fields to pasture. One day the pony became frightened at a iarge hog 
 that ran from under a tree on the side of the road. Tommy did his best to 
 hold on, but the pony jumped to one side, threw him off and ran aA'ay. 
 Tommy was not hurt much but felt very sorry because he had to walk home. 
 
 Fig. 104 
 
 With practice comes development in the power to see, as well as a 
 growing ability to suggest more of what is seen. The characters soon 
 
PICTURE STORIES 
 
 III 
 
 partake more of the nature of the original. The stories too will contain 
 more of literary merit. Plenty of material is found in the reading books. 
 It is good practice to write these lessons neatly and fill in suitable 
 illustrations as you proceed. 
 
 Fig. 105 
 
 Much practice will result in quite presentable pictures. These ought 
 to be carefully preserved if for no other purpose than the pleasure they will 
 afford in looking over at some future time. 
 
 
 Ml 
 ■i] 
 
 ^ 
 
 
 4: 
 
 ■ 7 c 1| 
 
ZZ9 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 It is not always necessary that a number of illustrations should be mado 
 to tell a story. One picture well made and carefully composed will often 
 •ell all that is required. Remember that progress will depend largely, not 
 upon the amount but upon the quality of work done. 
 
 Fig. 106 
 
 Fig. 106 and 107 are given merely for the purpose of showing what 
 may be done and not to furnish copy. 
 
PICTURE STORIES 
 
 113 
 
 g 
 
 what 
 
 Fig. 107 ; 
 
 Compositions may be illustrated. If time will not allow this to be 
 
 done fully, a suitable initial, such as is shown in Fig. 108, will amply 
 compensate for the time spent in drawing it. 
 
 3- thl 
 
 m 
 
 8-i 
 
 
 •»i^^ 
 
114 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
 Fig. 108 
 
PICTURE STORIES 
 
 115 
 
 ^*/#tr 
 
 A Wf f ^J®^®' 
 
 T a LRw JblouJnf M^^^Wi yj^c^ tiltma 
 (j\Ai&6fm AAwluLLy. jLdt ua^ Jul/ 
 
 'IfUft MJ^Ju/yyu 
 
 (X WiAM'YlUCJL 
 
 tJuud/ 
 
 (yjuUlMj^ AvYvund AMJUrYva/ru 
 mwu' AaJU i/ytjMi 
 
 OJ^ JLoudt (Uy -rw covJUi. \^ 
 
 '&(}^^ JlMJIji/^ia^MJLA^l 'IJAywAtioxMAoA^ 
 
 "iojex/ o/nA' AAxnv Zy 
 AMJU Ait/iy cub tiwu/ 
 
 ywiVTruuIvalxiiid 
 
 % ot uAiaJJ toinv jJtauOi^ 
 
 
 
Ii6 
 
 MECHANICAL DRAWING AND ILLUSTRATION 
 
PART m. 
 
 OBJECT DRAWING 
 
 m 
 
 
 Object Drawing is the representation of an object on a flat surface 
 as it appears when viewed from a certain point. This point is the eye 
 of the spectator, it includes Model and Memory Drawing. 
 
 There is, in fact, but little difference between them. If the sense- 
 impression gained by viewing an object is retained to be of use in 
 re-presenting it on a flat surface, when that object is not in view, such 
 representation is termed Memory Drawing. On the other hand, if the 
 re-presenting is done while the object is still in view, the sense-impression 
 is carried but a short time, and the term applied is Model Drawing. In 
 reality the only difference is in the time intervening between the receiving 
 of the sense-impression and the expression of it. 
 
 In many respects, Memory Drawing is the more fascinating, simply 
 because the variety of objects, their positions and conditions are unlimited. 
 Not only is this true, but landscape, animals, birds, flowers, etc., are 
 constantly changing, thus presenting something always new and which 
 will always arouse human interest. 
 
 Drawing from the flat or copying drawings will give instruction in 
 the methods of others, and help to gain facility in the use of the medium. 
 It may be termed the primary stage. Model Drawing seeks to develop 
 the observation of the object itself. It may be termed the intermediate 
 stage. Memory Drawing calls for the clearest perception of form and 
 most accurate method of expression. It is the highest stage. 
 
 117 
 
ii8 
 
 OBJECT DRAWING 
 
 1. The DrawinflT Book. 
 
 We strongly recommend using a drawing book. It should be well 
 bound and made of good material, such as we have mentioned in 
 Materials and Their Uses. This book of all others should be a model of 
 neatness. 
 
 =li^ 
 
 f04 
 
 
 
 
 
 9 ~r 
 
 
 Farallel 
 Line 
 Borders 
 
 
 T-i 
 
 
 
 
 
 8' 
 
 
 Fig. 109 
 
f 
 
 li" 
 
 THE DRAWING BOOK 
 
 "9 
 
 1. Do your best every time. 
 
 2. Use only the best material. It will pay. 
 
 3. Never roll or fold your drawing book. 
 
 4. If pencil is used, insert tissue paper leaves to keep the drawings 
 from becoming blurred. 
 
 5. Avoid frequent rubbing, as it tends to give a dauby, dirty 
 appearance. 
 
 6. Avoid a heavy sketch, as it spoils a clear cut appearance. 
 
 7. If pen is used, on no account should the rubber be used until 
 all pen work is finished and well dried. The rubber spoils the surface 
 of even the best paper and causes the ink to blot. 
 
 8. A plain rectangle or border of straight lines drawn round each 
 figure will add to its apppearance. A few straight line borders are shown 
 in fig. 109. 
 
 v. 
 
 Ji^l? 
 
 
 Fig. 110 
 
 9. If the leaves are small, place but one picture on each page ; not 
 more than four. Strive, by an artistic and symmetrical arrangement, not 
 only to make each drawing, but the whole page, look well. 
 
Z20 
 
 OBJECT DRAWING 
 
 lo. If drawing sheets are used, they should be carefully preserved 
 and afterwards sewed together. Leave a margin of two inches on the 
 left for this purpose. 
 
 2. Outlines. 
 
 Outline Drawing is representing by a continuous line or lines the limits 
 of an object. An outline drawing of the first tablet for example is made by 
 drawing four straight lines to define its exact boundaries. These lines must 
 be of equal length and the angles at the corners must be right angles to 
 suggest its equal sides and square corners. There is no other simple way 
 of suggesting objects except by shading. The outline is easier to make and 
 the natural one to begin with. 
 
 Hamerton says : " The mental processes by which man has gradually 
 become able to draw, in our modern sense of the word, may be followed as 
 the development of a chicken in the egg, by examining specimens in the 
 various stages of formation. The first idea of drawing is always delineation^ 
 the marking out of the subject by lines, the notion of drawing without lines 
 being of later development. The historical development of drawing may 
 always be seen in the practice of children when left to draw for their 
 amusement. They begin, as the human race began, with firm outlines 
 representing men and animals usually in profile." 
 
 The outline should be a line of even thickness and clearly cut so that the 
 space enclosed by it should represent the form of the object you desire to 
 suggest. 
 
 To make outlines proceed as follows : 
 
 1. Observe clearly the general outline of the object. 
 
 2. Examine the form, relative size and position of the parts of this 
 general outline. 
 
 3. " Block in " roughly the space to be occupied by the drawing or 
 sketch the type form that will be used as a basis upon which to construct 
 the outline. 
 
 4. Commencing with the parts proceed to build up the outline by 
 
MODELS-STICKS AND TABLETS 
 
 Z3I 
 
 placing them together, keeping constantly in view the general outline, and 
 observing at each step the form, size and relative position of each part. 
 
 5. Arrange the detail. 
 
 6. Strengthen the outline. 
 
 7. Erase construction lines and other unnecessary markings. 
 
 The outline should be sketched very lightly at first with a hard pencil. 
 If you are not satisfied with any part of the sketch do not use tlie rubber^ but 
 correct the direction of the lines at once without rubbing. The rubber 
 must be used only to clean up the drawing and erase construction lines after 
 the outline has been perfectly defined. 
 
 Some successful teachers of drawing advocate what is sometimes termed 
 Mass Drawing. Even in this method a distinct definition of the boundaries 
 of the object must be kept in the mind, so that really the only difference 
 between Mass Drawing and Outline is that in the first the outline is kept in 
 the mind, while in the latter it is represented by lines. Outline as before 
 stated is, we believe, the natural method to begin with. 
 
 3. Models— Sticks and Tablets. 
 
 A line represents either edges — the meeting places of surfaces — or defines 
 boundary. 
 
 1)1 
 
 I 
 
 <■■:> 
 
 Fig. Ill 
 
123 
 
 OBJECT DRAWING 
 
 In addition to the objects Immediately at hand procure : 
 
 1. A number of straight sticks of different lengths and of dark color. 
 Ordinary matches will do if nothing better can be had. 
 
 2. The following tablets which may be cut from an ordinary piece of 
 cardboard : The square, rectangle, right angle triangle, equilateral triangle, 
 isosceles triangle, circle, semi-circle, ellipse and oval. 
 
 Fig. 112 
 
 Sticks. 
 
 Such objects as houses, fences, etc., cannot be brought to the school- 
 room or study. Representations of them may be made with the sticks. In 
 fact, these toy houses, fences, etc., will serve the purpose very well at this 
 stage of the work. 
 
 Suppose the first model to be a house. Lay a long stick for the 
 foundation ; two more for the walls ; another long one for the ceiling ; two 
 
MODELS— STICKS AND TABLETS 
 
 133 
 
 D 
 
 of medium length for the roof. Much shorter ones will do nicely for a door 
 and a window. Here it is. 
 
 Before attempting to draw, examine the 
 model very carefully. The height is a little greater 
 than the width. The roof projects slightly over 
 each of the sides. It consists of two parts. The 
 lower part is a rectangle, the upper part a square. 
 The door is rectangular and a little longer than 
 the window. The foundation is horizontal, the 
 sides vertical and the roof oblique. 
 
 Sketch a horizontal line to represent the 
 foundation. Compare the width of the foundation 
 with the length of the side. The side is slightly 
 longer. Sketch the sides, first indicating by points 
 the position of the upper and lower ends of the 
 lines that will represent them. Compare the length 
 of the ceiling with the foundation. Sketch the ceiling. 
 
 What fs the relative position of the highest point ? It is directly above 
 the centre of the ceiling. Compare the height of the triangular part with the 
 height of the rectangle. It is about one-half. Indicate the highest point 
 Sketch the roof. 
 
 This outline sketch should be made very light and now compared care- 
 fully with the model. If no corrections are necessary proceed to fill in the 
 detail — the door and the window. 
 
 Compare the width of the door with the width of the house, the height 
 with the height of the rectangle ; the distance between the door and each 
 wall with the total width, etc. 
 
 I 
 
 ;:i! 
 
 |;:ii 
 
 
 In the first practice of Model Drawing, too much attention should not be plven to propor- 
 tion. Strive to obtain correctness of form. Avoid the too common practice of drawing aline at 
 random and changing the direction if it is not correct. To aid in this respect, indicate the ends of 
 the line by dots, after which it may be drawn practically correct, Ixjth in proitortiouate length 
 and direction. 
 
124 
 
 OBJECT DRAWING 
 
 Sketch the door ; the window in the same manner. Compare the whole 
 sketch again with the r-odel. Make any necessary corrections without the 
 use of the rubber. 
 
 Line in. 
 
 Erase any lines not required. 
 
 r^.z:^-^DrrXXTZ 
 
 Fig. 114 
 
 Construct other models and draw in a similar manner. In fig. 115 are 
 a. few outlines for the purpose of comparison. 
 
MODELS— STICKS AND TABLETS 
 
 "5 
 
 
 Fig. 115 
 
 Tablets. 
 
 IJ 
 
 • ; ■■■m 
 
 ■'■ ;« 
 
 
 isi 
 
 "5 
 
 are 
 
 Draw the square, rectangle and triangle in the same manner as the 
 house, giving attention, first, to the general form, and second, to proportion. 
 
 An envelope, a sign, a sheet of paper, a slate, and many other objects 
 are similar in form to the square or rectangle. Use as many of these as can 
 
 II 
 
126 
 
 OBJECT DRAWING 
 
 be had for models. Draw others from memory and compare the drawing 
 with the original. 
 
 There are three methods of drawing the circle. First : Sketch two or 
 even three diameters, intersecting at the centre. Draw the circumference 
 touching ^he ends of the diameters. Second : Make a dot to represent the 
 
 KEEP orr 
 
 the: 
 
 GRASS 
 
 " 
 
 ^^ ^ 
 
 Fig. 116 
 
 centre. Draw the circumference. As you do so endeavor to keep the pencil 
 point always the same distance from the centre. Third : Draw the circum- 
 ference freehand without any aid but the eye. This is the best method. 
 See Practice in Freehand Drawing. 
 
 Fig. 117 
 
 Such objects as a button, a fan, a coin, resemble the circular tablet in 
 form. The outlines of such objects are based on the circle. 
 
MODELS—STICKS AND TABLETS 
 
 137 
 
 M 
 
 W 
 
128 
 
 OBJKCT DRAWING 
 
 .^JffJ^^Xlt^^-rj'/'^/f. » 
 
 FiK. 119 
 
 Draw the ellipse and oval in the same manner as the circle. 
 Fig. 119 gives suggestions for models constructed by using sticks and 
 tablets in combination. Build others and draw their outlines. 
 
MAKING MODELS 
 
 129 
 
 4. Making Models. 
 
 It is impracticable at present in most public schools to make models 
 of clay. A very good set, comprising the type forms, may be purchased 
 at almost any stationer's. If, however, these are not to be had, a very 
 servicable set may be made by following the instructions here given. 
 The best material is a white, stiff paper. Manilla is better than card- 
 board. 
 
 i 
 
 The Cube. 
 
 «igl?Sk 
 
 \ 
 
 iiiiMiy 
 
 
 Jtff 
 
 Fig. 120 
 
 Icks and 
 
 Lay out the plan as shown in fig. 120. Cut neatly round the out- 
 side and fold at the lines. Stick the shaded flaps with mucilage. The 
 six equal squares correspond to the six faces of the cube, and may be 
 made any size desired. 
 
«30 
 
 OBJECT DRAWING 
 
 The Square Prism. 
 
 Siiimmniiiii K^ 
 
 Fig. 121 
 
 The square prism is made in the same manner as the cube, the 
 only difference being the relative size of the squares and the rectangles. 
 These of course should be made to correspond with the faces of the 
 prism. 
 
 The Cylinder. 
 
 The curved surface of the cylinder is represented by the rectangle, 
 the shorter side of which is equal to the height and the longer side to the 
 circumference. 
 
MAKING MODELS 
 
 »3i 
 
 I I 
 
 Fig. 122 
 
 V 
 
 1 ,6 ' 
 
 ibe, the 
 ;tangles. 
 5 of the 
 
 TAe Triangular Prism. 
 
 The central rectangle represents the base ; the other two the slanting 
 surfaces. The two triangles which represent the ends should be made 
 exactly the same size. If the prism is a right-angled triangular prism, the 
 triangle should of course be right angled. (Fig, 123-4.) 
 
 scungle, 
 le to the 
 
 The Square Pyramid. 
 
 The four triangles represent the four triangular faces. They should 
 be of exactly the same size. The square represents the base. (Fig* 125.) 
 
^^jgg^ii 
 
 13a 
 
 OBJECT DRAWING 
 
 Fig. 123 
 
 Fig. 124 
 
MODELS— S DLIDS 
 
 133 
 
 m 
 
 Fig. 125 
 
 T^e Cone. 
 
 The circle represents the base. The curved side of the upper part of 
 the figure must be the same length as the circum'crence of the circle. 
 (Fig. 126.) 
 
 5. Models -Solids. 
 
 Use the cube, sphere, spheroid and ovoid. 
 
 We desire to again impress the fact that object drawing is the represen- 
 tation of objects, not as they are, but as they appear when viewed from a 
 certain point. The cube, for instance, has six faces, but place it in any posi- 
 tion and three are all that can be seen at the sai/ ^ time, and it may be so 
 placed that two or only one may be seen at the same time. Many entirely 
 different pictures therefore may be made of the same object. Draw only 
 what is seen at one time. 
 
134 
 
 OBJECT r RAWING 
 
 _r 
 
 U:- 
 
 Fig. 127 
 Place the cube squa-ely in front and on a level with the eye. Pass the 
 pencil round the limits of the visible part. Represent it by a square. In 
 
1 
 
 MODELS— SOLIDS 
 
 13s 
 
 ^ [7 
 
 / 
 
 # 
 
 ^ 
 
 ti 
 
 a 
 
 d 
 
 Fig. 128 
 
 fact it appears exactly as the square tablet when held in the same position. 
 Truly it is an entirely different object Previous or present knowledge, how- 
 ever, should not be the guide now. 
 
 LJ 
 
 1 
 
 
 D-D 
 
 \^. 
 
 ^ 
 
 
 i! 
 
 Fig. 129 
 
■« 
 
 136 
 
 OBJECT DRAWING 
 
 In the same manner outlines of all cubical objects, when in a similar 
 position, are based on the square or rectangle, drawn in proportion to the 
 visible surface. Fig. 129 represents a trunk as it is seen at three different 
 times. In A one end only is visible ; in B the back and in C, the front. 
 
 Place such objects as a table, a cupboard, a fanning mill, a clock, a 
 sideboard, a box, a wheelbarrow, etc., in such a position that one side only is 
 visible and draw the outline. See fig. 129. 
 
 The Sphere. 
 
 Fig. 130 
 
 Pass the pencil round the visible part of a sphere. It describes a circle. 
 All objects such as an apple, a tomato, a ball or 'a peach, because they 
 resemble a sphere, are said to be spherical. The basis of their outline is a 
 circ'e. It is true the objects mentioned differ from the sphere in points of 
 detail and the outline in many cases, in order to suggest the object, must be 
 modified. Take note of the irregularities which make this difference, and, 
 while the circle is used as a basis, so modify it, that if a hole were cut in the 
 paper round the outline it would allow the object to fit snugly into it. 
 
 See opposite page for outlines of spherical objects. 
 
 Ii{i 
 
MODELS— SOLIDS 
 
 137 
 
 ^V-^ 
 
 
, ^-^ 
 
 135 
 
 OBJECT DRAWING 
 
 The Ellipsoid. 
 
 Fig. 131 
 
 The Ellipsoid, itrheii .he side is visible, is represented by an ellipse. 
 This ellipse becomes shorter, as the end is turned towards you, until it 
 becomes a circle. An object similar in form to the ellipsoid is said to be 
 elHpticaL Two examples are shown in fig. 132. 
 
 Fig 132 
 
MODELS-SOLIDS 
 
 X39 
 
 The Ovoid 
 
 Fig. 133 
 
 The Ovoid is represented by an oval which is the basis of all objects 
 of this class. A pineapple and a pear are shown in fig. 134. 
 
 Memory Exercise. 
 
 Sketch a circle. Recall the image of some familiar object. Think 
 carefully over any peculiarities of form it may possess. Examine the mental 
 image as carefully and in the same manner as the original object would be 
 examined. Use the circle as a basis and sketch the outline (page 141 ). 
 
 Follow the same method with the square, ellipse or oval. 
 
 
 Repose. 
 
 An object is said to be in repose when it rests upon something. This 
 something may be a table, a board, the ground, etc. To suggest this, draw a 
 horizontal line a little above the lower part of the outline. This line will 
 represent the farther edge of the support. 
 
Z40 
 
 OBJECT DRAWING 
 
 Fig. 134 
 
 Thr same effect is produced by representing the shadow, as this in itself 
 will suggest the idea of a support. 
 
 Fig. l.T) 
 
MODELS— SOLIDS 
 
 1 itself 
 
 141 
 
142 
 
 OBJECT DRAWING 
 
 6. Effect of Distance. 
 
 Hold the pencil as indicated in fig. 136, at arm's length, and per- 
 pendicular to a line from the eye to the object. Move the hand so that 
 the point of the pencil is in a direct line with the eye, and one end of 
 a desk in front. Slide the thumb along the pencil so that it will mark 
 a point in line with the eye, and the other end of the desk. The dis- 
 tance thus marked represents the apparent length of the desk. 
 
 
 Fig. 136 
 
 Repeat the experiment on another desk of the same size and in the 
 same position, but standing nearer to you. The distance now indicated 
 represents the apparent length of the second desk. 
 
 Compare these apparent lengths. 
 
 Measure, in the same manner, the apparent size of any object at 
 any distance from the eye. Move the object farther away and measure 
 again. Compare the measurements taken on the pencil. What caused 
 the difference? The pencil was, in both cases, held the same distance 
 from the eye. The distance between the eye and the object must have 
 been the cause. 
 
 The conclusion then is that //le apparent size of an object will vary 
 with the distance the object is away. The farther away; the smaller an 
 
EFFECTS OF POSITION 
 
 143 
 
 per- 
 
 that 
 
 d of 
 
 mark 
 
 i dis- 
 
 in the 
 Idicated 
 
 \]ect at 
 leasure 
 caused 
 listance 
 
 [st have 
 
 |/// vary 
 iller an 
 
 object will appear. Objects of the same size, but at different distances, 
 
 will appear different. Those 
 farther away appear smaller than 
 those which are near. 
 
 Fig. 137, copied from a photo- 
 graph of three yachts, illustrates 
 this point very clearly. It is 
 known that these yachts are 
 all of the iame size, and that 
 the masts are all of the same 
 height ; yet, by comparing the 
 actual size of each in the pic- 
 ture a vast difference is noticed. 
 The camera represented them, 
 not as they actually were, but 
 as they appeared at different 
 distances away. 
 
 Compare the objects in any 
 good photograph and notice the 
 same point clearly brought out. 
 
 Place a number of apples of 
 the same size on the table at 
 different distances from the eye. 
 Compare their apparent size very 
 carefully and note the result. 
 
 7. Effect of Position. 
 
 Hold a square tablet in a 
 vertical position directly in front 
 of the eye. Measure the height 
 and width as directed in sec- 
 tion 6. Compare the measurements taken. They are the same. Tip 
 
 i 
 
 Fig. 
 
 137 
 
144 
 
 OBJECT DRAWING 
 
 Fig. 138 
 
 the tablet slightly back from the vertical, measure and compare as be- 
 fore. The height is now less than ihe width. Cont* to tip it back 
 until it finally appears as a straight line. See fig. 139. 
 
 SS 7r-_J^rT- ^r^^ ,^SKtmr% ^^jij%3^.^ 
 
 Fig. 139 
 
 Again place the tablet in its former position. Turn it gradually to 
 the right or left. Compare again. What is the result? See fig. 140. 
 
FORESHORTENING 
 
 145 
 
 
 Fig. 140 
 
 Hold tie model in any position and compare the apparent width with 
 the height. Change the position and compare again. What is the result ? 
 
 Thus it is seen that not only distance but position will change the 
 appearance of objects very much. In fact, accurate drawmgs cannot be 
 made unless di mce and position are carefully considered. The appear- 
 ance of an object will change with every change of position, so that if 
 the result desired is an interesting picture, that position which will best 
 illustrate the most interesting characteristics should bs chosen. If, on the 
 other hand, the aim is to develop the power and habit of seeing intelli- 
 gently, choose a position which is not familiar as this will compel the closest 
 attention. 
 
 In fig. 141 eight positions of a book are shown, yet this number is 
 comparatively small when compared with the very many positions in which 
 it may be placed. 
 
 ir ,3 
 
 1' 
 
 [ually to 
 140. 
 
 8. Foreshorteningr. 
 
 We believe it is safe to say, that because an illustration looks right to 
 the cultivated eye, it is drawn correctly. We assume then that fig. 142 is a 
 correct drawing of a cube for the reaso 1 stated. 
 
146 
 
 OBJECT DRAWING 
 
 Fig. 141 
 
 By actual measurement of the edges in the picture, it is found that they 
 are of different lengths, while the edges of a cube are all of the same length. 
 The representation of edges or surfaces, as they appear when not extended 
 directly in front of the eye, is termed foreshortening. This is one of the 
 greatest difficulties in object drawing, and constant care is necessary in order 
 that foreshortened edges or surfaces be accurately represented. 
 
FORESHORTENING 
 
 147 
 
 ;^i 
 
 Fig. 142 
 
 Think of an object when sketching its outline as if it were being traced 
 on a transparent plane held between the eye and the object. There is no 
 better way of becoming convinced of this than to hold a piece of glass 
 between the eye and some object, and tracing the outline on the glass. 
 
 lat they 
 ; length, 
 xtended 
 J of the 
 in order 
 
 1 
 
 1 A 
 
 --iZ 
 
 ■A 
 
 \ 
 
 
 i-y 
 
 
 
 ^ 
 
 — n_. 
 
 pm^ 
 
 m^ 
 
 
 
 _117 - m: :-"~=:^ 
 
 ^ "■ c 
 
 143 
 
 — B 
 
 Fig. 
 
 A good model for this experiment is a T stick made of two pieces of 
 wood about i8 inches in length. This model should be placed in different 
 positions and traced as we have suggested. 
 
148 
 
 OBJECT DRAWING 
 
 The drawing paper represents this transparent plane. Draw on it in the 
 same manner as the tracing is done on the glass. In order to do this, 
 think of the relative position of a point as being to the left or right of, above 
 or below some other point, the position of which has been indicated. 
 Measure at first as outlined in section 7. After some practice however, this 
 will be unnecessary, except as a means of testing work done. 
 
 The eye becomes so trained that distances can be fairly judged without 
 measuring. In sketching outlines, of the T square for example, try to think 
 of a as being to the left of ^, as far as i is to the left of 2, and below as far 
 as 3 is below 4. See fig. 143. 
 
 C 
 
 Fig. 144 
 
 The same principle may be applied to the drawing of any object when 
 any part is foreshortened. In the illustrations of the tablet, fig. 144, a is to 
 the lejt of b as far as C is to the left of D, and a is below b as far as B is 
 below A. 
 
 Cut a piece of dark-colored card-board, about an inch in width and 6 
 inches long. Place this model as suggested in fig. 145, on the desk a couple 
 of feet in front. Make an outline drawing of the model as it appears from 
 where you are sitting. 
 
 A i>Unnb lino, made of a wliite piece of string and a liglit weight, if held between the eye and 
 the object will aid in fixing the relative position of jwints. 
 
FORESHORTENING 
 
 149 
 
 ■-,X 
 
 ■■''I 
 
 
 m 
 
 Fig. 145 
 
 Care must be taken to make all measurements when the pencil is at the 
 
 same distance from the eye. To make sure of this, fasten the pencil by a 
 
 piece of s'ring to the coat and take all measurements when the string is taut. 
 
 To aid in seeing the model more clearly, it is a good plan to lay it on a 
 
 sheet of white paper. 
 
 ' As a guide, sketch a horizontal line across the paper so that it touches 
 the nearest corner. Sketch another in a similar manner on the drawing 
 paper. Choose a point A to represent the nearest corner of the tablet. 
 Measure the distance the corner B is to the left of A. When taking this 
 measurement hold the pencil horizontally, and at right angles to a line from 
 
 when 
 
 is to 
 
 bBis 
 
 land 6 
 :ouple 
 from 
 
 I eye and 
 
 Fig. 14G 
 
 the eye to the object. Mark this distance (A to i), on the guide line to the 
 left of A. The distance from A to i will determine the size of the drawing, 
 as all other distances are measured in proportion to it. Hold the pencil 
 vertically to measure the distance B is above the guide line. Indicate this 
 
-!5»" 
 
 tmam 
 
 WKM 
 
 ISO 
 
 OBJECT DRAWING 
 
 by sketching a line perpendicular to the guide line and above it. The left 
 corner is A to i to the left of A, and i to B above A. In the same manner 
 mark the positions of all other corners. D is A-2 to the right, and 2-D 
 above A ; C is A 3 to the left, and 3-C above A. By joining these points by 
 straight lines the outline is completed. 
 
 Fig. 147 
 
 Pig. 147 further illustrates this principle and shows its application to the 
 drawing of a group of leaves. 
 
 The subject of foreshortening is further dealt with, in the sections on 
 perspective. There is this, however, that we desire to emphasize : while the 
 principles, outlined in sections referred to are necessary, success will largely 
 depend upon ability to think of prominent points in an object as being to 
 the left or right of, above or belouf some other point already indicated. 
 
 The best objects to use as models for first practice are those having 
 prominent points indicating the meeting of edges or surfaces. See fig. 148 
 and fig. 149. 
 
PROBLEMS 
 
 151 
 
 Fig. 148 
 
 Problems. 
 
 1. Draw a garden rake ; {a) as it appears when lying on the ground, 
 handle to the right ; {b) hanging on the wall so that the head is above 
 the eye, handle pointing down ; (<r) leaning against the wall, head down. 
 
 2. Draw a hoe in five different positions. 
 
 3. Draw the following : 
 
 {a\. A folded piece of paper in three different positions. 
 
 (/^). An envelope lying on the table, one corner pointing towards you. 
 
 {c). A twig of maple leaves. 
 
 {d). A chair. 
 
 {e). A pair of scissors in three positions. 
 
 4. Draw a hoe in four positions. 
 
 5. Sketch the outline of an open umbrella, placed in such a position 
 on the floor that the handle is visible. 
 
 6. Place the following objects in different positions and draw them : 
 
 I. A knife. 
 
 4. A door. 
 
 7. A slate. 
 
 2. A scythe. 
 
 5. A stove-lifter 
 
 8. A spoon. 
 
 3. A wrench. 
 
 6. A hat. 
 
 9. A hair-brush. 
 
 aw a wheel-barrow 
 
 from memory, as 
 
 it would appear when 
 
 7- 
 viewed from the side and below the eye. Compare the drawing with the 
 
 object in this position. 
 
 y 
 
:K 1 
 
 J52 
 
 OBJECT DRAWING 
 
 v^^ 
 
 
 Fig. 149 
 
 8. Show the outline of each foreshortened face of a cube. 
 
 9. Draw the left side of the room in which you are sitting. 
 
 10. Sketch the outline of as much of the ceiling as is visible at one 
 time. 
 
 9. Insects and Animals. 
 
 The drawing of insects and animals, besides affording a great deal of 
 pleasure, will play a most important part in the development of accurate ob- 
 servation. We know of at least one person who could not say positively how 
 many legs a grasshopper had until the insect was examined for the purpose 
 of making a drawing of it. Here then is one application of the Scriptural 
 truth "Hear ye indeed, but understand not ; and see ye indeed, but per- 
 ceive not." 
 
 We shall outline but three methods that may be followed. 
 
 1. Secure such specimens as are available and draw directly from these. 
 
 2. Draw from memory, and as soon as the opportunity presents itself 
 compare the drawing with the object. 
 
INSECTS AND ANIMALS 
 
 153 
 
 3. Examine the object critically, and if possible make a rough sketch or 
 take written notes of prominent characteristics, after which the drawing may 
 be made from memory. 
 
 The dragon-fly is an excellent specimen to begin with. Pin it to a 
 white piece of card-board. Place it in a vertical position in front so that 
 what may be called a symmetrical view is obtained. The card w^ill act as a 
 white background and enable the outline of the insect to be clearly seen. 
 
 one 
 
 roose 
 
 itural 
 
 per- 
 
 Ihese. 
 itself 
 
 Fig. 150 
 
 Success will largely depend upon making a thorough examination before 
 beginning to sketch. Get a clear conception of the general outline and the 
 most prominent characteristics. It is almost completely symmetrical, that 
 is, if it were cut in two parts, and 'he left half turned over on the right, it 
 would practically coincide. This is true of almost every insect when seen in 
 this position. Sketch a vertical line to form the axis of the outline. Upon 
 
154 
 
 OBJECT DRAWING 
 
 this line indicate the greatest length to make the drawing. Thi;, will be the 
 measuring unit and all other parts should be made in proper proportion to it. 
 Mark ofif the part of the whole length to be required for the head ; then the 
 shoulderS; wings and lower part of the body. Sketch vertical lines to mark 
 the greatest width in proportion to the length already decided. 
 
 Fig. 151 
 
 If this much has been done carefully, little difficulty will be found in 
 sketching the detail. Do not sketch the whole of one side before commenc- 
 ing the other. Sketch the outline of both sides of the head first ; next the 
 different parts of the body bringing each side along together. Outline the 
 first wing on the left sidj ; then the first on the right, etc. 
 
PROBLEMS 
 
 155 
 
 Compare the outline with the original, and, if no changes are thought 
 necessary, line in. 
 
 The insect should not be placed in such a position that any of the parts 
 are foreshortened until there has been much practice in drawing it from a 
 symmetrical view. See the grasshopper in fig. 152. 
 
 Animals, unless stuffed specimens are procured, must of necessity be 
 done from memory. 
 
 After fair proficiency in drawing individual subjects has been attained, 
 practice grouping. A very interesting group is shown in Gg. 153. 
 
 Problems. 
 
 1. Draw a cat drinking from a small dish. 
 
 2. Draw a dog lying on a mat. 
 
 3. Sketch the outline of a duck and five ducklings. 
 
 4. Draw a grasshopper lying on its back as if dead. 
 
 5. Show a symmetrical view of a common house fly. 
 
 6. Make a nicely-shaded drawing of a squirrel cracking a nut. 
 
 7. Draw a group of three rabbits. 
 
 8. Compare the height of a horse with its length from tip to tip. What 
 is the proportion ? Draw the horse. 
 
 9. How many stripes of color are on an ordinary caterpiller ? Draw it. 
 1 o. Draw a beaver. 
 
 1 1 . Draw a group of three cows. 
 
 1 2. Show the outline of a cow's head as if she were drinking from a 
 trough. 
 
 1 3. Make the necessary notes for a memory sketch of a bear. 
 
 1 4. Draw an elephant. 
 
 1 5. Sketch, frcm some good copy, the outline of a lion. 
 For other groups see Drawing from the flat. 
 
 
M 
 
 dSfi 
 
 1.36 
 
 OBJECT DRAWING 
 
 Fig. 152 
 
INSECTS AND ANIMALS 
 
 157 
 
 Fig. 153 
 
153 
 
 OBJECT DRAWING 
 
 Fig. 154 
 
^i 
 
 LEAVES, FLOWERS AND PLANTS 
 
 159 
 
 ill, 
 
 Fig. 155 
 
 10. Leaves, Flowers and Plants. 
 
 Drawing from leaves, flowers and plants should be done during the 
 spring, summer and autumn months, when specimens are easily obtained. 
 It is not always advisable to draw directly from the object when fair profici- 
 
i6o 
 
 OBJECT DRAWING 
 
 Fig. 15d 
 ency has been attained. After an object is drawn from niemory, however, 
 comparison should always be made with the object or a good picture of it in 
 order that inacc-uracies may be noted and consequently guarded against in 
 the future. 
 
I.EAVES, FLOWERS AND PtANTS 
 
 i6i 
 
 , however, 
 
 Lire of it in 
 
 against in 
 
MWNNI 
 
 162 
 
 OBJECT DRAWING 
 
 Begin by outlining single leaves, then a group of two or three leaves, 
 and lastly the whole plant. Plants with large and few leaves are much more 
 easily drawn than plants with many and small leaves. 
 
 Place the object directly in front. Place a sheet of white paper or card- 
 board to form a white background. This of course may be dispensed with 
 after a time and the plant drawn with appropriate surrounding. 
 
 The same general directions as are given for sketching outline will apply 
 here, viz., a careful examination of the whole, comparison of relative position 
 and size of parts, building up the outline by placing the parts together com- 
 mencing with the more prominent. 
 
 The wood violet in fig. 156 may be taken for an example. 
 
 Indicate the total height by sketching two horizontal lines, and the 
 width in proportion to the height by vertical lines. Sketch the main stem 
 and the two branches. Mark the position of the leaf points and sketch the 
 leaf stem; then the leaf. Mark the petal points and sketch the floweis. 
 Compare the outline with the object, make any corrections necessary and 
 line in. 
 
 A number of leaf outlines are shown in fig. 155. Plants in outline are 
 shown in fig. 158, and in fig. 159 shaded drawings. 
 
 Shading should not be attempted until a satisfactory sketch is made. 
 
 Problems, 
 
 1. Make outline drawings of the following leaves : maple, beech, apple, 
 lilac, sunflower, chestnut, ash, raspberry, violet, dog-tooth violet, mayflower, 
 cherry. 
 
 2. Draw a bunch of grapes with leaf attached. 
 
 3. Make shaded drawings of the following leaves : maple, chestnut, ash. 
 
 4. Draw a wild lily as it would appear when growing. 
 
 5. Draw the following buds : rose, apple, wild turnip, geranium. 
 
I.EAVES, FLOWERS AND PLANTS 
 
 Fig. 158 
 
1 64 
 
 OBJECT DRAWING 
 
 fig. 159 
 
THE CIRCULAR TABLET, CYLINDER AND CONE 165 
 
 11. The Circular Tablet, Cylinder and Cone. 
 
 The Circular Tablet. 
 
 By the same method of measuring with the pencil at a fixed distance 
 from the eye, notice : — 
 
 I. That, when a circular tablet is held directly in front, the horizontal 
 and vertical diameters ap^iear the same length. The tablet appears as it 
 really is — a circle. (Fig. 160.) Read first principle in Parallel Perspective. 
 
 t 
 
 Fig. 160 
 
 Fig. 101 
 
 2. That, if the position is changed by turning it to the right or left, the 
 horizontal diameter is foreshortened while the vertical diameter appears as 
 before. In this position it may be represented by an ellipse which becomes 
 narrower the farther the tablet is turned from the original position, finally 
 becoming a vertical straight line. (Fig. 161.) 
 
 3. That, if the position is again change 
 by tipping the top backward and the bottom 
 forward, the vertical diameter is foreshortened 
 and the horizontal diameter appears as before. 
 It may be represented, when in this position, 
 by an ellipse which becomes narrower as the 
 tablet is tipped farther from the original posi- 
 Fi;-. 162 tion, finally becoming a horizontal straight line. 
 
 m 
 
 n i 
 
i66 
 
 OBJECT DRAWING 
 
 4. That, if it is held in a horizontal position on a 
 level with the eye (A), it appears a horizontal straight 
 line ; but if lowered or raised (B), the receding diameter 
 is foreshortened. It may then be represented by an 
 ellipse which becomes wider as the distance above or 
 below the eye level is increased. (Fig. 163.) 
 
 Fig. 163 
 
 5. That, if held vertically with edge pointing towards the eye, it appears 
 as a vertical straight line (A) ; but if moved to the right or left (B) it appears 
 as an ellipse which becomes wider as the distance to the right or left is in- 
 creased. (Fig. 164.) 
 
 Fig. 164 
 
 Problems. 
 
 1. Draw the circular tablet in an oblique position, the horizontal diame- 
 ter receding. 
 
 2. Place the tablet in an oblique position j both diameters oblique. 
 Draw the ellipse by which it may be represented and indicate the diameters. 
 
 A tablet about 18 in. in diameter is the Tiest for class use. It should In? made of lipht colored 
 pasteboard and lield in front of a dork background. Vertical and liorizontal diameters should Ihj 
 plainly drawn in black. 
 
THE CYLINDER 
 
 167 
 
 3. Draw the circular tablet as it appears when lying on the desk in 
 front ; both diameters receding. 
 
 4. Place the circular tablet in a slanting position ; one diameter horizon- 
 tal, the other receding upward from the ground. Draw the ellipse by which 
 it is represented and indicate the diameters. 
 
 5. Draw a group of three circular tablets each in a different position. 
 
 TJie Cylinder. 
 
 Notice that the end of a cylinder is a circle, that if a thin portion were 
 sliced from the end the result would be a circular tablet, a model in every 
 respect the same as the one just experimented with. Recollect, too, that the 
 circle does not always appear as a true circle, that under certain conditions it 
 appears as an ellipse, wider at some times than others. 
 
 An object similar to a cylinder is said to be cylhidrkal. 
 
 Place a cylinder in a vertical position and below the i-ivel of the eye. 
 
 The top surface is really a circular tablet, in a horizontal posi .ion, below 
 the eye. 
 
 Sketch the horizontal diameter. Measure the foreshortened diameter 
 and sketch it in proportion to the one already drawn. Sketch the ellipse. 
 
 The vertical curved surface meets the circular surface at the extreme 
 right and left. Sketch two vertical lines to define the boundaries. Compare 
 the height with the width and indicate the height on the vertical lines. 
 
 The base is also a circular tablet, the edge of which is only partly visi- 
 ble. Since this face is farther from the eye level, the ellipse to represent it 
 should be wider. Sketch the diameters and then the ellipse. 
 
 Line in visible edges. (Fig. 165.) 
 
i6S 
 
 OBJECT DRAWING 
 
 Fig. 105 
 
 Place the cylinder in different positions. Draw and compare with fig. 
 1 66 and 167. 
 
 In fig. 166 three outline sketches are shown. A may be described as to 
 the left ; B, in frant ; C, to the right. 
 
 To faciliato the takiiiR of ineasurements of foreshortened diameters, indicate two diameters 
 at rigiit angles and talce muasurements along these. 
 
 A cylinder for class use should be at least 2 ft. long, 1 ft. in diameter and of a light color, the 
 diameters being in black. 
 
THE CYLINDER 
 
 169 
 
 (,■■ 
 
 Fig. 106 
 
 The greatest difficulty in making drawings like fig. 167 will be to suggest 
 the idea of rest or repose. 
 
 J'rofi/ems. 
 
 1. Draw a log in three positions ; length ten times the diameter. 
 
 2. Draw a cubical block upon which stands a vertical cylinder ; bl»ck 
 below the eye, top of cylinder above. 
 
 3. Sketch the outline of an ordinary land roller. 
 
 4. Outline an ink bottle in a vertical position. 
 
 5. Draw a stump m which an axe is sticking. 
 
 Fig. 167 
 
170 
 
 OBJECT DRAWING 
 
 For other cylindrical objects see page 116. Place these in different 
 positions and draw their outline. Draw others from memory. A teapot, a 
 a cup, a sugar bowl, a goblet, a fruit can, a bottle, a post, a barrel, a pail and 
 a link of stove pipe are good examples. 
 
 6. Sketch a cylinder in a vertical position ; below the eye ; height to 
 width as 3 to 2. Show a part cut from the left side. (Fig. 168.) 
 
 Fig. 168 
 
 In problems like No. 6, it is best to work from the centre. Sketch the 
 diameter of each end. Mark the centres, A and B. Join these points by a 
 straight line. Upon this line indicate the length of the piece to be cut away, 
 C and D. With C and D as centres, sketch two cross sections. Through 
 the centres C and D sketch diameters to cut out the part desired. Line in 
 the visible edges. 
 
THE CYLINDER 
 
 171 
 
 ■:1| 
 
 'Jrl 
 
 m i 
 
 Fig. 109 
 
 7. Roll an ordinary sheet of foolscap, place it in a vertical position in 
 front so that the light falls upon it from the right. Sketch the outline and 
 indicate shade and shadow. 
 
 Fig. 169, submitted as an answer to problem 7, is somewhat irregular. 
 The principles of this section, however^ may be applied. 
 
 8. Draw the following : — 
 
 1. A nutmeg grater. 
 
 2. A water trough. 
 
 3. A sap trough. 
 
 4. A quarter cylinder. 
 
172 
 
 OBJECT DRAWING 
 
 9. Draw a half cylinder ; below the eye ; rectangular surface receding at 
 right angles to the picture plane. (Fig. 170 and 171.) 
 
 Fig. 170 
 
 Fig. 171 
 
 The Cone, 
 
 Fig. 173 shows the construction lines necessary to outline the cone. 
 The apex is directly above the centre of the base when the base is horizon- 
 tal. The base of the cone is a circular surface and will appear as a circular 
 tablet. 
 
 Fig. 172 
 
THK CONK 
 
 Fig. 173 
 
 173 
 
 To show a part cut from a cone 
 proceed in the san.e manner as 
 ^vith the cylinder. The necessary 
 construction lines are shown in 
 "g- 174. 
 
 • Such objects as an ink bottle, a 
 funnel and a top are similar in form 
 to the cone. See fig. ,72. 
 
 The Hemisphere. 
 
 Cut a sphere in two. What is 
 the form of the flat surface ? 
 
 Draw the hempishere in different 
 
 pos.fons. Two positions are shown 
 in fig. 175. 
 
 
 i:ni 
 
emmmmmm 
 
 174 
 
 OBJECT DRAWING 
 
 Fig. 175 
 
 Hafid/es. 
 
 To show the appearance of a handle attached to a cylindrical object is 
 a most difficult thing to do well. An ordinary saucepan is a good example 
 to begin with. 
 
 
 I ■' '/. 
 
 .,»' 
 
 -A 
 
 •v 
 
 Fig. 176 
 
HANDLES 
 
 175 
 
 _.v 
 
 Fig. 177 
 
 Sketch the outline. Mark a point on the ellipse at which the handle is 
 to be attached. (Fig. 177.) From this pomt sketch a diameter of the 
 ellipse. From the points where the diameter meets the circumference (A 
 and B), erect perpendiculars. Indicate, on the nearest of these, the total 
 heiglit from the handle to the ground. If the diameter recedes, a line from 
 this point will converge tc meet it. Make I) B slit'htly less than A C. Join 
 DC and produce it towards that side to which the handle is attached. A 
 point marking the top of the handle will be in this straight line. The farther 
 this point is taken from A C the greater slant will be given. 
 
 For construction lines necessary, when the handle is on a Icvd with the 
 top, see fig. 176. E G, F H, A C and B D are vertical. E A and F B con- 
 verge to meet the same vanishing point. 
 
 V ! *a 
 
T76 OBJECT DRAWING 
 
 Problems, 
 
 1 . Draw a cone : — 
 
 (a) Base below the eye ; horizontal. 
 
 {p) Base above the eye ; horizontal. 
 
 {c) Base oblique ; curved surface resting on the ground. 
 
 2. Draw a butter dish (circular top) ; below the eye. 
 
 3. Draw a plate with vertical wire handle ; below the eye. 
 
 4. Draw an Indian wigwam. 
 
 5. Draw a tent ; lower part, cylindrical ; top, conical. 
 
 6. Draw a saucepan ; handle on the farther side ; below the eye. 
 
 7. Draw a wooden pail ; handle vertical ; below the eye. 
 
 8. Show the outline of a cup and saucer. 
 
 9. Cut an apple in two equal parts. Place them below the eye level 
 and about 3 ft. in front. Draw them. 
 
 10. Draw the outline and show the construction lines necessary to 
 fasten a handle to a frying-pan. 
 
 11. Sketch the outline of a cylinder as it appears hung from the ct Hng 
 above the eye. 
 
 12. Draw a group or four cylindrical objects. 
 
 13. Draw a lamp. 
 
 14. Show the appearance of a cylindrical hole in the ground a few feet 
 in front. 
 
 15. Draw three links of stove pipe, one lying across the other two. 
 
 16. Show a cone in outline; one-quarter cut away. (Fig, 178.) 
 
 It is not thoupht necessary lo introduce cubical objects In Part III., as the same principles 
 applied to the square tablet will apply to the cube. The cube und cubical objects are fully treated 
 ill Part IV. 
 
TREES 
 
 177 
 
 few feet 
 
 principles 
 illy treated 
 
 Fig. 178 
 12. Trees. 
 
 The trunk or stem is the foundation upon which to construct the out- 
 line. It is usually in a vertical position and the limbs and foliage spring 
 
 ROPL/KH 
 
 spjf^uce 
 
 YOUfifO FV/^f" 
 
 Fig. 170 
 
 ■lU 
 
mmmmmmmm 
 
 178 
 
 OBJECT DRAWING 
 
 from it outward and upward. The branches, however, are connected with 
 the stem according to a particular plan, which is different in different kinds 
 of trees. 
 
 The trunk of the poplar is vertical and the branches shoot out and up- 
 ward forming acute angles with the stem. 
 
 The spruce and pine have branches almost at right angles to the stem. 
 In the spruce the branches curve slightly down. 
 
 The trunk of the willow practically ends at the first branches. Limbs 
 and foliage spring outward and upward in long slender branches. 
 
 
 f\ 
 
 fM 
 
 m 
 
 ' OP\K 
 
 Fig. 180 
 
 The stem of the oak rises to about the middle of the top. The branches 
 curve up and are very rugged and crooked. 
 
 The maple stem and limbs are more graceful and slender than the oak. 
 The general form is much the same, although it lacks that sturdy appearance 
 peculiar to the oak. 
 
TREES 
 
 179 
 
 ^■i*"^^y^. 
 
 tL'j PINE 
 
 BEEf^H 
 
 Fig. 181 
 
 The stem of the beech is quite straight and reaches nearly to the top of 
 the tree, where it breaks up into branches that slant upward. The other 
 branches are quite long and slender and turn up gently at the ends. The 
 lower branches droop. 
 
 An elm tree divides at the first limbs which spread outward and upward, 
 then downward in gentle curves. 
 
 The top of the apple is much like a hemisphere. The trunk is short 
 and lost at the first branches. 
 
 As a general rule, the outline of the foliage is controlled by the arrange- 
 ment of the branches. A knowledge of this arrangement will aid in memory 
 drawing. 
 
 \^ 
 
i8o 
 
 OBJECT DRAWING 
 
 Fig. 182 
 
 The farther away a tree is, the less distinct it appears, 
 by light lines. 
 
 Problems. 
 
 Represent such 
 
 1. Show, by a drawing, the general construction of the trunk and 
 branches of a cherry tree. 
 
 2. Draw a small house, in front of which is a maple tree. 
 
 3. Show an ordinary board fence receding and along which is a row of 
 poplars. 
 
 4. Compose a simple scene in which the horizon is suggested, and on 
 the left of the picture a group of elms. 
 
 5. Outline a group of three pines. 
 
 4:1 
 
DRAWING FROM THE FLAT 
 
 iSi 
 
 
 
 
 MAPLE 
 
 Fig. 183 
 
 13. Draivingr From the Flat. 
 
 It has been argued that the hand develops conjointly with the power to 
 interpret impressions received through the eye. This may be true when the 
 hand and eye have equal opportunities. "We are able to draw better with the 
 right hand than with the left, simply because the right hand has had more 
 practice. In fact any organ will develop with practice properly taken. If 
 the desire is to suggest intelligently all that is see.j, the hand must be given 
 opportunities of actually doing so. Drawing from the flat — copying the 
 drawings of others — while not affording as good training to the eye as draw- 
 ing from the object, will give the hand excellent practice, if judiciously con- 
 ducted. Too much drawing from the flat tends to blunt personal effort. 
 There is a tendency, too, as soon as an object is recogni/.ed, to refer it to a 
 type already learned, and, if care is not exercised, the drawings thus made 
 exert an undue influence. Occasioiial exercise in copying has the advantage 
 of lefuling profit by others experience. Good copy, too, will present good 
 methods of representation and cultivate a taste for better illustration. 
 
I82 
 
 OBJECT DRAWING 
 
 Choose then, only such drawings as are worthy of imitation and make 
 as accurate a copy as possible. 
 
 Here, as in drawing from the object, proper proportions of size and 
 relative position of parts must be accurately observed. All work should be 
 done without instruments and all distances judged by the unaided eye. No 
 construction lines should be drawn on the copy, although, in first exercises, 
 it is quite legitimate to use light construction lines in making the outline. 
 
 Fig. 184 
 
 To make a copy of fig. 184, some such construction lines as are shown 
 in fig. 185 may be used. These will aid in fixing the position of the points 
 marked. Some definite distance, say E to H, should be taken as a unit of 
 measurement and all other distances judged in proportion to it. The more 
 prominent points are indicated by letters. 
 
 At first, drawings should be made the same size as the copy. Reducing 
 and enlarging is much more difficult. 
 
 A shaded drawing is much more difficult to copy than an outline. Fig. 
 187 shows the method of making an outline preparatory to adding the shade. 
 
DRAWING FROM THE FLAT 
 
 183 
 
 Fig. 185. 
 
 Copy fig. 186, enlarging it to 6 in. in width. Examples, in addition to 
 those that follow, are found in many of the sections preceding. 
 
 ihown 
 )oints 
 
 Init of 
 more 
 
 ^ucing 
 
 Fig. 
 shade. 
 
 Fif. ISO 
 
iS4 
 
 OBJECT DRAWING 
 
 "^J 
 
 Fig. 187 
 
DRAWING FROM TIIK FLAT 
 
 185 
 
 Flir. 188 
 
 Fig. 189 
 
IMAGE EVALUATION 
 TEST TARGET (MT-3) 
 
 7^ 
 
 / 
 
 O 
 
 {./ 
 
 
 
 L^ \ 
 
 i< 
 
 
 
 1.0 
 
 I.I 
 
 1.25 
 
 lit 
 
 IM 
 
 2.2 
 
 li 
 
 1.4 
 
 |||M 
 1.6 
 
 m 
 
 e 
 
 /a 
 
 J^ 
 
 
 
 
 V 
 
 /A 
 
 Photographic 
 
 Sciences 
 Corporation 
 
 23 WEST MAIN STREET 
 
 WEBSTER, NY. 14S80 
 
 (716) 872-4S03 
 
4is 
 
 K° 
 
 ^ 
 
 <> 
 
m- 
 
 i86 
 
 OBJECT DRAWING 
 
 1 i 
 
 1 
 
 
 [ 
 
 1 
 
 1 
 
 If 
 
 I 
 
 ! 
 
 1 
 
 t 
 
 
 Fig. 190 
 
PART iv: 
 
 APPLIED PERSPECTIVE, GROUPING, SHADE 
 AI^HD SHADOW. 
 
 
 -^^- 
 
 ^d' 
 
 «-. 
 
 1. The jt^^ .izcn. 
 
 Look out over a large body of water, a lake or the sea, or look down a 
 long level road. The sky seems to slope downward to the earth. On the 
 water where there are no trees or hills the place of meeting a pears to be a 
 horizontal line. This Horizon Line is always on a level with the eye. Stand 
 at the edge of the water. The sails of a boat, a few rods from the beech, 
 appear above the horizon. See fig. 191. But stand on the bank above the 
 beech where the eye is much higher than before and the scene is changed. 
 The horizon can be seen plainly above the sails, or at least nearer to the 
 top. Other objects that seemed to shut out the horizon before are now be- 
 low it. See fig. 192. No two persons then see the same horizon line unless 
 tlieir eyes are on the same level. 
 
 Notice, too, that the position of an object may be termed relative^ that 
 is, although the object may remain stationary, its position in relation to the 
 eye and to other objects changes when the position of the spectator is 
 changed. We move to the right or left of an obstacle to see what is behind 
 it ; the same result would be obtained were we able to move above or below. 
 
 187 
 
M'r r:^ 
 
 iS8 
 
 APPLIED PERSPECTIVIv 
 
 Fig. 191 
 
 The horizon is not always visible. It may be shut out from view by 
 other objects, such as trees or buildings. For convenience, however, especi- 
 ally when drawing from memory, it is better to indicate the position of the 
 
 Fig. 192 
 
 horizon line. It will serve as a guide in representing objects below or above 
 the level of the eye. See fig. 193. 
 
 In fixing the position of the horizon line it is very necessary to consider 
 the conditions under which an object is likely to be seen. A table, for ex- 
 
PARALLEL PERSPECTIVE— CUBE 
 
 1S9 
 
 Fig. 103 
 
 ample, is about half the height of an ordinary person. It is generally seen 
 when the spectator is on the same ground. If standing, the height of the hori- 
 zon line from the bottom of the table should be about double the height of 
 the table. Compare the height of the object with the height of the eye 
 above its lowest part and fix the position of the horizon line accordingly. 
 
 2. Parallel Perspective. 
 
 The Cube. 
 
 A pane of glass about 16 inches wide and 20 inches long, two small 
 cubes about 6 inches a side, a table and a pointed piece of hard soap are 
 required for the following experiment : 
 
 Place the glas in a vertical position on t! e table. Place one of the 
 cubes near the left and on the farther side of the glass, so that one of the 
 races is in contact. Place the other near the right and a few inches awav, 
 but having one face parallel to the glass. Sit or stand directly m front, on 
 
w^ 
 
 r^ 
 
 190 
 
 APPLIED PERSPECTIVE 
 
 Fig. 194 
 
 that side opposite to the cubes, so that the eye is slightly below the top, but 
 above the cubes. The appearance is shown in fig. 1 94. 
 
 Indicate on the glass, by making dots with the soap, the position of each 
 visible corner of the cubes. While doing this, it is best to keep one eye 
 closed. Be careful to keep the eye always in one position. 
 
 Remove the cubes and join the points by straight lines to represent 
 the edges. The drawings thus made are perspective outlines of the cubes 
 in this po.ition. 
 
 Perspective Drawing signifies looking through^ which suggests something 
 through which to look. This something is an imaginary, transparent plane 
 somewhere between the eye and the object. It is represented in our experi- 
 ment by the pane of glass which we shall call the picture plane. It is 
 always perpendicular to the direction in which we are looking. The 
 drawing paper, as we have before intimated, represents this picture 
 plane. Drawings should be made on paper as if the object were seen 
 
PARALLEL PERSPECTIVE-CUBE 
 
 X9I 
 
 ^ 
 
 Fig. 195 
 
 through and traced upon it in the same manner as upon the glass. To 
 actually do this with an opaque piece of paper is impossible. Important 
 principles, however, may be deduced from this and other expertments to aid 
 in representing on paper what we see. 
 
 An examination of the drawings, (Fig. 195), shows that the outline fig- 
 ures representing the faces which were parallel to the picture plane are 
 perfect squares. So are those faces of the cubes. The sides of the squares 
 are vertical and horizontal. So are those edges of the cubes. It is easily 
 seen too, that no matter how the cube is turned, those faces which are kept 
 parallel to the picture plane, are represented by perfect squares the sides of 
 which will be oblique if the edges of the cube are oblique or vertical and 
 horizontal if the edges are so. 
 
 Notice too, that the edges which were vertical are represented by 
 vertical lines and that those edges which were horizontal and parallel to the 
 picture plane are represented by horizontal lines. 
 
193 
 
 APPLIED PERSPECTIVE 
 
 
 jFirsf Principle : Surfaces or edges which are parallel to the picture plane 
 are represented as they actually are, that is, they are not foreslwrtened. 
 
 By reference to the same figure it will be seen that the two faces which 
 were parallel to the picture plane, although represented by perfect squares, 
 are not represented by squares of the same size. These two faces of the 
 cubes are of the same size, but the farther face is represented by the smaller 
 square. All vertical edges, although represented by vertical lines, arc 
 represented by lines of different lengths. The edges of the cubes are all of 
 the same length, but the farther edge is represented by the shorter line. 
 Read also Effect of Distance. 
 
 Second Principle: The farther an object is removed from the picture plane 
 the smaller will be the representation of it. 
 
 &tL 
 
 Fig. 196 
 
 Receding edges are those which if produced towards the picture plane 
 will cross it. Produce the lines representing receding edges until they 
 meet. If the experiment has been performed accurately it will be found that 
 these lines will converge to meet at a point {a vanishing point), and that this 
 point is on a level with and directly in front of the position of the eye when 
 viewing the objects. It is the Centre of Fision. See fig. 196. 
 
 JM 
 
PARALLEL PERSPECTIVE-CUBE 
 
 193 
 
 Third Principle : Ail receding edges which are perpendicular to the picture 
 plane are represented by lines which converge to meet at the centre of vision. 
 
 These three principles, if understood, will be a great help, especially in 
 memory drawing. Care, however, should be exercised to guard against 
 being entirely guided by them. They will not solve all difficulties. 
 
 The centre of vision is a fixed point upon which the eye is directed. 
 All other points are described as relative to it. The horizon passes through 
 the centre of vision. It is represented in the drawing by a horizontal line 
 called the horizon line. The position of tiie person viewing the object or 
 landscape, as the case may be, is such that the eye is directly opposite and 
 on a level with the centre of vision. He or she is represented by a vertical 
 line crossing the horizon line at the centre of vision. This line is called the 
 Spectator. See fig. 197. 
 
 Above and to the left. 
 
 HORIZON 
 
 CV 
 
 Above and to the right. 
 L I N R. 
 
 Below and to the left. 
 
 O 
 H 
 
 < 
 
 W 
 
 Oh 
 
 Fig. 107 
 
 Below and to the right. 
 
 [plane 
 
 they 
 
 Id that 
 
 It this 
 
 when 
 
 The position of an object is described in reference to these imaginary 
 lines and points. Fig. 198 shows the positions of nine cubical blocks, each 
 in a different position, and all having one face parallel to the p'cture plane. 
 
 In tliese experiments the picture plane is s ipjiosefl t > l>e in contact with tlie object or group 
 to be represented. The ground therefore is a horizontal line touching the bottom of the nearest 
 object. 
 
194 
 
 APPI,1ED PERSPECTIVE 
 
 Fig. 198 
 
 Each position may be de cribed as follows : — 
 
 1. To the left and above; sides of the parallel face (parallel to the 
 picture plane) oblique. 
 
 2. To the left and above ; sides of the parallel face vertical ; right side 
 in line with the spectator. 
 
PARALLEI. PERSPECTIVE— CUBE 
 
 »95 
 
 3. To the right and above ; sides of parallel face vertical. 
 
 4. To the left and below ; sides of the parallel face vertical ; top in line 
 with the level of the eye. 
 
 5. Directly in front ; sides of the parallel fa''e vertical. 
 
 6. To the right ; top above and lottom below the level of the eye; 
 sides of the parallel face vertical. 
 
 7. To the left and below ; sides of the parallel face vertical. 
 
 8. In front, slightly to the right and below ; sides of the parallel face 
 vertical. 
 
 9. To the right and below ; sides of the parallel face oblique. 
 Notice, in all these drawings, that there are but two classes of lines, 
 
 representing two classes of edges : — 
 
 1. Edges whi h are parallel to the picture plane, represented by lines 
 drawn in actually the same position as the edges they represent. 
 
 2. Receding edges, represented by lines which converge to meet in the 
 centre of vision. 
 
 Place an ordinary chalk box directly in front but below the level of the 
 eye, so that the nearest face is parallel to the picture plane ; edges vertical 
 and horizontal. 
 
 The nearest face is parallel to the picture plane and therefore not fore- 
 shortened. Represent this face by a rectangle, the sides of which are in 
 proportion to the edges of the box. The size of the rectangle will determine 
 the size of the finished fi ure. 
 
 There are two receding parts visible. Represent them by lines con- 
 vergirg to meet at the centre of vision. 
 
 Compare the height of the box with the distance that the eye is above 
 
 the ground (that upon which the box rests^ The height of the box, in this 
 
 case, we suppose to be about one-third of the height of the eye from the 
 
 ground. Sketch the horizon line, so that the distance between the bottom 
 
 of the rectangle and the horizon line is about three times the height of the 
 
 rectangle. 
 
 Choose a point, in the horizon line directly above the rectangle, to 
 represent the centre of vision. 
 
 11 ■ 
 
^ 
 
 196 
 
 I 
 
 APPLIED PERSPECTIVE 
 
 JioRnoH c yj Us^K 
 
 bl 
 
 ! ) 
 
 11 1^!^ 
 
 Fig. 199 
 
 Compare the height of the farther visible edge with the height of the 
 box and sketch a horizontal line in a corresponding position to represent 
 the farther edge. This line is between the converging lines already drawn. 
 The inside visible ccners are vertical. Represent the visible parts by verti- 
 cal lines. These vertical lines are between the horizontal lines representing 
 the tops of the sides. 
 
APPLIKD PER.SPKCTIVK— CUHE 
 
 197 
 
 !l 
 
 Fig. 200 
 
 Line in and represent shade and shadow. See fig. 200. 
 
 It is not advisable in a first attempt to represent the thickness of 
 material. This may be attempted after the principles have been fairly well 
 understood. 
 
 Fig. 201 shows the construction lines which may be used in outlining a 
 cha^k box from memory. The outline is strengthened so that the lines re- 
 quired may be clearly seen. The position may be described as below the 
 eye and to the lefc. 
 
 Fig 202 is a shaded dr^iwing of the same box, built upon an outline 
 made in the same manner as fig. 201. 
 
 An edge may be parallel to the picture plane ami still l>e vertical, horizontal or oblique. 
 Since the picture plane is supposed to be vertical, all vortical edges are parallel to it, but all hori- 
 zontal or oblique lines are not parallel to the picture plane. 
 

 
 
 i 
 
 t 
 
 i 
 1 
 
 198 
 
 APPtlED PERSPECTIVE 
 
 Fig. 201 
 
 Fig. 203 requires no explanation. The principles before stated are ap- 
 plied here as one face of each cubical block is parallel to the picture plane. 
 
 Fig. 204 is a finished drawing of the same group. 
 
 Although many objects are cubical in form, they do not possess the 
 hard, exact outline of a cube. Care should be taken, in such cases, to lepre- 
 sent such points of detail that will give the object a natural appearance. 
 
 The square tnMct is an excellent model to use in the first exercIseB of this pection. Since It 
 practically rtpresenls one surface of a vulte, it may be used to advantape Ijefore drawing from the 
 cul<e a« a whole. It is thouglit unnecessary to introduce it because of it being used in the section 
 ou FuTithortening. 
 
PARALLEI, PERSPECTIVE— PROBLEMS 
 
 199 
 
 1^ 
 
 are ap- 
 plane. 
 
 tcss the 
 
 |o jepre- 
 
 iarance. 
 
 since it 
 
 from the 
 
 lie sfction 
 
 Fig. 202 
 
 While this is necessary, the outline sketch upon which the finished drawing 
 is based, should be carefully and accurately made. (Fig. 211.) See also 
 figure of the old well in Shade and Shadow. 
 
 Problems. 
 
 9. A basket. 
 
 10. A cigar box. 
 
 11. An ink bottle. 
 
 12. A pile of wood. 
 
 1. Draw the following cubical objects as they appear when one face is 
 parallel to the picture plane : — 
 
 1. A trunk. 5. A wagon box. 
 
 2. A biscuit box. 6. A cross. 
 
 3. \ pencil box. 7. A book. 
 
 4. A brick. 8. A valise. 
 
 2. Draw the following objects as they appear when one edge recedes at 
 right angles to the picture plane : — 
 
 1. An envelope. 3. A sheet of paper. 5. A pane of glass. 
 
 2. A slate. 4. A card. 6. A shingle. 
 
 Fig. 205 may be submitted as an answer to No. 2 of problem 2. 
 
 3. Draw three cubical blocks, one to the left, one to the right, one 
 directly in front ; all below the eye level. 
 
200 
 
 APPLIED PERSPECTIVE 
 
 Fig. 203 
 
 4. Draw a cubical block, one face parallel to the picture plane, to the 
 right and below the eye. Show a square opening, receding through the 
 centre of the block. (Fig. 206.) 
 
 In fig. 206 first sketch the parallel face and outline the square opening. 
 The inside edges of this opening recede at right angles to the picture plane, 
 and arc represented by lines converging to meet at the centre of vision, in 
 the same manner as the receding edges of the cube. 
 
 Sketch all receding lines. 
 
 Measure the distance the vertical edge E F appears to the left of A B. 
 Sketch E F (vertical) and F G (horizontal). Sketch the invisible edges E N, 
 
PARALLETv PRRSPKCTIVR -rRORTJ<:MS 
 
 20 1 
 
 1" ■ 
 
 Fig. 20-i 
 
 ining. 
 
 )lane, 
 
 Ion, in 
 
 AB. 
 EN, 
 
 Fig. 205 
 
^^pp 
 
 302 
 
 APPLIED PERSPECTIVE 
 
 
 Fig. 206 
 
 DNandGN. These of course will be hciizontal, .eceding and vertical. 
 By producing the vertical edges of the opening H L M K downward to X 
 and Y on the lower edge and sketching receding lines from these points to 
 I and 2, two points are found directly below the opening in the farther face 
 FENG. The edges of this opening are easily found by sketching vertical and 
 horizontal lines between the converging lines as PQ, RO, PO and QR, out- 
 lining the opening Q R P O. Line in all visible edges. 
 
 5. Draw a cub' ock, showing a part cut away in such a manner that 
 
 one of the faces thu . .v/imed recedes at right angles to the picture plane. 
 <Fig. 207.) 
 
PARALLEL PERSPECTIVE— PROBLEMS 
 
 203 
 
 
 I 
 
 
 % 
 
 Fig. 207 
 
 kical 
 to X 
 
 its to 
 face 
 
 ill and 
 out- 
 
 that 
 klane. 
 
 There will be no difficulty with problem 5 if the foreshortened faces are 
 carefully measured with the pencil and compared with some part already 
 drawn and taken as the standard. If the drawings are made from memory 
 the appearance desired is the only guide. 
 
 6. Draw a rectangular tablet standing upon a cubical block, one face of 
 each being parallel to the picture plane. 
 
 7. Draw in outline a cubical block ; one edge resting upon the ground 
 and the lower face upon another cubical block ; one face of each block 
 parallel to the picture plane. 
 
 In many of the problems in this section the object may be represented in different positions 
 and still fulfll the conditions stated. 
 
^^^m 
 
 204 
 
 APPIJED PERSPECTIVE 
 
 8. Draw a book-shelf; above the eye level. Show the thicknesss of the 
 material. 
 
 9. Make an outline drawing of- an ordinary kitchen table; directly in 
 front ; side parallel to the picture plane ; below the eye level. 
 
 Horizon 
 
 Fig. 208 
 Fig. 208 shows the method of outlining a table in this position. 
 
THE SQUARE PYRAMID 
 
 205 
 
 the 
 ly in 
 
 \ 
 
 10. Draw a rectangular board in the centre of which stands a vertical 
 rod ; below the eye ; directly in front ; edge parallel to the picture plane. 
 
 Fig. 209 
 
 To find the position of the bottom of the vertical rod in problem 7, 
 sketch the diagonals of the foreshortened face. The rod will stand on the 
 point of intersection of the diagonals. (Fig. 209.) 
 
 T/ie Square Pyramid. 
 
 II. Draw a square pyramid ; one edge of the base horizontal and par- 
 allel to the picture plane. 
 
 Sketch the nearest edge of the base (AB). Those edges of the base 
 that recede at right angles to the picture plane are represented by lines con- 
 verging to meet in C.V. M»;asure the distance the point C appears above 
 B. Sketch CE. Sketch the diagonals of the base. The vertex D is direct- 
 ly above the point of intersection of the diagonals. Sketch a vertical line 
 and indicate upon it the height of the pyramid. Join the point D with the 
 corners of the base. Line in the visible edges. (Fig. 210.) 
 
 I: 
 

 206 
 
 APPLIED PERSPECTIVB 
 
 D 
 
 
 Fig. 210 
 
 12. Draw the outline of a square pyramid; base, below the eye level; 
 vertex, above ; directly in front ; one edge parallel to the picture plane. 
 
 ---:;^ <-::--.. 
 
 ry nu 
 
TRIANGULAR PRISM 
 
 ao7 
 
 .'11 11 
 
 i 
 
 Fig. 212 
 
 T^ Jrian^ilar Prism. 
 
 i.-^. Draw in outline, a triangular prism; triangular face parallel to the 
 picture plane. (Fig. 212.) 
 
 Such objects as a tent, the top part of a house and a trough resemble 
 the triangular prism in form. The method of construction is clearly shown 
 in fig. 213. 
 
 14. Draw a house ; lower part cubical ; upper part like a triangular 
 prism ; one face parallel to the picture plane. 
 
 15. Draw a plank balanced on a cubical block; one face of e^ch 
 parallel to picture plane. 
 
 Care should Ix; taken to place the vanishing point in such n position that the outline is not 
 distorted. Such outlines as fig. 212 arc really \».xX of a whole picture as the object when vieweil 
 li>y the spectator is naturally in front. FIk. 212 would form part of a group of objects in 
 such a position as fig. 204. The measuring of distance into the picture— from the picture plane— is 
 not treated here as it properly belongs to Linear Perspective. Be guided iu this matter by iu- 
 structioQS given iu Fbresliortcning, 
 
w 
 
 \ Jt J^ 
 
 aoS 
 
 APPLIED PERSPECTIVE 
 
 Fig. 213 
 
 
 . 
 
 3. Angular Perspective. 
 
 Angular perspective is the representation of an object or group of 
 objects the edges of which are neither parallel nor perpendicular to the pic- 
 ture plane. 
 
 In the accompanying illustration (i) is represented in parallel perspec- 
 tive and (2) in angular. 
 
 I li 
 
ANGULAR PERSPECTIVE 
 
 209 
 
 Fig. 214 
 
 In addition to experiments similar to those outlined under Parallel 
 Perspective carefully perform the following : — 
 
 Place a number of sticks, about a foot in length, each in a vertical posi- 
 tion on the table in front. Notice that although your position may be 
 changed to the right or left they always appear to be vertical. To be fully 
 
 Fig. 215 
 
mm 
 
 2IO 
 
 APPLIED PERSPECTIVE 
 
 convinced that this is true, tie a weight to a piece of string and hold this 
 plumb line in line with the eye and each stick. Change your position and 
 repeat the experiment. 
 
 First Principle : Vertical edges are represented by vertical lines. 
 
 Place a piece of string, about three feet long, under the cover of a book 
 so that about equal portions are on each side. Close one eye, pull the 
 
 Fig. 216 
 
 string tight and slowly raise the hands until the string is in such a position 
 that the two sections are in direct lines with the eye and two edges of the 
 book. Change the position of the book and repeat the experiment. The 
 book and string will appear as shown in fig. 216. 
 
 Second Principle : All parallel receding edges are represented by lines 
 which converge to meet at the same point. 
 
ANGULAR PERSPECTIVE 
 
 an 
 
 Fig. 217 
 
 Repeat the experiment allowing 
 the book to lie flat on a level table 
 and the string to intersect at a 
 point vertically above the edge to 
 which it is attached. The point of 
 intersection is on a level with the 
 eye— in the horizon. (Fig. 217.) 
 
 Place something under the 
 book so that the farther edge is 
 raised. Proceed as before. The 
 point of intersection now is above 
 the horizon. (Fig. 218.) 
 
 Change the support so that the 
 edges recede downward. Where is 
 the point of intersection now? 
 (Fig. 218.) 
 
 «! 
 
 //bAVZO/V 
 
 Fig. 218 
 
tI9 
 
 APPLIED PERSPECTIVE 
 
 Fig. 219 
 
 Change the position of the book so that the edges recede towards the 
 right and notice that the point of intersection is to the right of a point direct- 
 ly in front of the eye. (Fig. 219.) 
 
 c 
 
 V; rioni2.0N 
 
 
 
 ^^^© 
 
 ^' 
 
 
 —^~— -— 
 
 -^ 
 
 ■ — . 
 
 Fig. 220 
 
ANGULAR PERSPECTIVE 
 
 213 
 
 Allow the edges of the book to recede towards the left. Where is the 
 point of intersection now? (Fig. 220 ) 
 
 Third Principle: The converging or vanishing point for lines representing 
 parallel edges will he : — 
 
 (/) In the horizon when the receding edges represented are horizontal. 
 
 (^) Above the horizon when the edges represented recede up:c\ird. 
 
 ( j) Belorv the horizon when the edges represented recede downzcard. 
 
 {4) To the right of the centre of vision when the edges represented recede 
 towards the right of the spectator. 
 
 (5) To the left of the centre of vision when the edges represented recede to the 
 left of the spectator. 
 
 Here again, do not rely entirely upon the principles just laid down. 
 The eye and hand will be cultivated by exercise, and by trusting them con- 
 fidence in their ability is increased. A knowledge of these principles will 
 aid the eye to see and the hand to represent more accurately what is seen. 
 
 Draw the cube in different positions. Apply the principles of this sec- 
 tion. 
 
 Fig. 221 
 
 It is net always convenient nor yet possible to show the vanishing point 
 for converging lines and great care is necessary in representing receding 
 
 : 
 
^Iff^ 
 
 214 
 
 APPLIED PERSPECTIVE 
 
 edges. It is well sometimes to produce the lines as far as the paper permits, 
 as this will give a better opportunity to judge of their correctness. Under 
 ordinary circumstances it is safe to assume that if a picture looks right the 
 drawing is correct. (Fig. 222.) 
 
 HoRIZ. ON 
 
 L/NE, 
 
 Fig. 222 
 
 Problems. 
 
 Draw the following objects according to the instructions given : — 
 
 I. A chalk box : — 
 
 (rt) Resting on the bottom ; \ osition horizontal ; end, side and top 
 visible. 
 
 (l>) Resting on the bottom ; horizontal ; end and side visible. 
 
 {c) Resting on the bottom ; end visible. 
 
 {d) Resting on one end ; cover removed ; horizontal ; end, side 
 and part of the inside visible. 
 
 {e) Nearer end resting on the ground ; farther end supported by a 
 block ; end, side and part of the inside visible. 
 
 (/) Farther end resting on the ground ; nearer end supported by a 
 block ; end, side and part of the inside visible. 
 
 The plumb line is an excellent device to show the distance that one point appears to the 
 right or left of another. 
 
 i 1 
 
 .91 \ I 
 
 !i 
 
i-ROBLEMS 
 
 215 
 
 (g) Farther end resting on the ground ; nearer end supported by a 
 block ; end and part cf the inside visible. 
 
 (A) Suspended by a string ; end up ; lower end, side and part of 
 the inside visible. 
 
 side 
 by a 
 by a 
 
 |to the 
 
 Fig. 223 
 
 2. A chair in five different positions. (Fig. 223.) 
 
 3. A cylinder lying on its curved surface. 
 
 4. A pen box in three positions. 
 
 The same experiments as outlined with the string may be performed successfully with a 
 pane of glass as in Parallel Perspective, 
 
lU., ^ ip 
 
 2l6 
 
 APPLIED PERSPECTIVE 
 
 Fig. 224 
 
 5. A funnel in five positions. 
 
 6. A stove-pipe elbow. 
 
 7. A school globe. 
 
 8. A washboard in five positions. 
 
 9. A trunk ; bottom, side and end visible. 
 10. A table in five positions. See fig. 224. 
 
PROBLEMS 
 
 217 
 
 .■ 'i 
 
 Fig. 225 
 
 11. Draw five objects found in the parlor, each in such a position that 
 one edge recedes from the picture plane at an angle greater or less than a 
 right angle. See fig. 225. 
 
 12. Sketch the outline of a pile of three planks, lying one across the 
 other. 
 
 13. Draw a chair below the level of the eye so that a line connect- 
 ing two of the legs does not recede at right angles to the picture plane. 
 
 i 
 
^w^ 
 
 2l8 
 
 SHADE AND SHADOW 
 
 14. Draw a box; lid open at right angles iv. the top ; no faces parallel to 
 the picture plane. 
 
 15. Draw a three-legged stool ; no edges parallel to the picture plane. 
 
 4. Shade and Shadow. 
 
 The suggestion of shade and shadow is possibly the most difficult de- 
 partment of drawing, yet the most powerful means of representing an object. 
 
 S/mde is not a material substance, but merely an effect produced upon 
 some part of an object because of its receiving less light than some other 
 part. T/i/s shaded part is always opposite to the light. It is necessary to 
 exercise great care, especially when drawing from memory and in grouping, 
 in order that shaded parts are placed in proper position and properly graded. 
 If the light falls from the left, shaded parts will be seen on the right and vice 
 versa. Because shade is an effect produced on the object itself, it is really 
 part of the object. 
 
 Fig. 22G 
 
 Shadow ib an enec' produced in the same manner as shade. Shadow, 
 however, dififs from thade in that it is not a part of the object, but an effect 
 produced outside of it because of the object intercepting the light. In fig. 
 226 the dark side of the cylinder is termed shade, the dark effect upon the 
 ground, shadow. 
 
RELIEF 
 
 219 
 
 The application of shade and shadow will aid in making the drawing of 
 an object stand out from the background and from surrounding objects. 
 This effect is called relief a.nd is well illustrated in fig. 226. 
 
 It will aid, too, in giving prominence to any part of a picture. The 
 house, for example, in fig. 227, attracts attention before the trees, the hills 
 or the ship. Emphasis is given to the house. 
 
 li 
 
 11 
 
 i i 
 
 n 
 
 Fig. 227 
 
 Ihe 
 
 Compare the drawings of the cylinder in fig. 228. A much better idea 
 of the roundness of the object is given by B than A, although one is an 
 exact tracing of the other. Shade and shadow here again aid in suggesting 
 roundness or thickness. This is termed solidity. 
 
 That medium which requires the least attention is the best for a be- 
 ginner, Por outline drawing and sketching there is nothing better than the 
 
p^ 
 
 220 
 
 SHADE AND SHADOW 
 
 Fig. 228 
 
 pencil. For shaded work, too, the pencil has advantages over charcoal, 
 brush or pen. These of course have their advantages, but the pencil is quite 
 suitable for all ordinary purposes and requires comparatively no attention 
 from the student, thus allowing all the energy to be directed to the object. 
 With the pencil, too, any grade of drawing may be done, from that of 
 simplest outline to the many gradations of shade and shadow in the most 
 complicated subject. Pen and ink as a medium for drawing is one always 
 obtainable. It has the advantage of compelling the utmost care on the part 
 of the user, as well as developing a certain dexterity in the use of this partic- 
 ular medium, a very important matter when we consider how much it is 
 used in the ordinary business of every-day life. 
 
 The methods that follow have been found to be the best when pencil or 
 pen is used : — 
 
 I. Cross hatching : This is done by drawing quick, short lines across one 
 another, grading the shade by {a) the number and {b) the blackness of the 
 lines. 
 
PARAIvLEL LINES 
 
 221 
 
 Exercises like the following should precede an attempt to make a shaded 
 drawing. 
 
 Sketch a rectangle 6 in. by i in. Divide it into six equal squares. The 
 white paper of the left square represents the lightest shade — the hig,hest 
 light. Draw quick, short parallel lines across the second square to represent 
 a shade darker than that of the first. In the third draw two sets of similar 
 lines crossing each other to represent a shade sti 1 darker. In the fourth 
 square three sets, etc., until in the last a perfect black is obtained. Great 
 care should be exercised to make a proportionate grade of shade from a very 
 light to a very dark. The number, strength and closeness of the lines should 
 be considered. (Fig. 229.) 
 
 I ! 
 
 :==_. .- .. -tiiiiiMllitt^aMaauaifflgi 
 
 Fig. 229 
 
 2. Parallel Lines : By this method the lines are drawn in the same 
 manner but all practically in the same direction. 
 
 Sketch a rectangle and divide it into squares as before. Allow the first 
 to remain white. In the second, draw light horizontal or vertical lines some 
 distance apart to represent a shade darker. In the third, increase the num- 
 ber of lines by drawing them closer together. Proceed in the same manner 
 in the other squares, making each square proportionately darker, until in 
 the last the darkest shade is represented. (Fig. 230.) 
 
 A very pretty effect is produced by using almost the same number of 
 lines but representing the darker shades by darker lines as in fig. 231. 
 
222 
 
 SHADE AND SHADOW 
 
 Fig. 230 
 
 A combination of these is a better method than either. 
 
 These methods are adapted to the use of pen or pencil, but more espe 
 cially the pen. Even when the pencil is used, if the lines are drawn as in fig. 
 230 a richer shade is produced than by using the flat side. The white of the 
 
 
 Fig. 231 
 
 paper as seen through the lines gives a cleaner, clear-cut appearance. The 
 method that is best to use is largely determined by the object represented. 
 
 i I 
 
 Fig. 232 
 
BLENDING 
 
 223 
 
 Fig. 232 shows the proper method (B) and the wrong method (A) of 
 laying on the lines, unless of course the object is to suggest a rough surface. 
 
 3. Pencil: By this method the side of the pencil is used, the gradation 
 of shade being produced by pressure. The use of two or three differently 
 graded pencils is a good plan. Use the hard for light and the soft for dark 
 shades. 
 
 The stump is a very useful instrument in pencil shading. It is made of 
 soft paper, tightly rolled and sandpapered to a point like a pencil. With it 
 rub lightly over the pencil shading. In this manner the lines left by the 
 pencil are well blended, producing a very pretty effect. Be careful in the use 
 of the stump, as much less color is required. The amount of color left on it 
 after rubbing hea/y lines is often quite sufficient to produce the lighter 
 shades. 
 
 Blending. 
 
 By this is meant a even gradation from the lightest to the darkest. 
 There is no distinct line between the shades. Fig. 233 shows the different 
 effects of crosshatching and parallel line shading. 
 
 M 
 
 Fig. 233 
 Direction of Lines, 
 
 The direction of the line is a very important mattet- to be considered as 
 a reference to fig. 234 will show. As a rule, when parallel lines are used. 
 
234 
 
 SHADE AND SHADOW 
 
 vertical surfaces are shaded by vertical lines, horizontal surfaces by horizontal 
 lines and oblique surfaces by oblique lines. Curved surfaces arc often nicely 
 shaded by curved lines. This, however, is not always necessary. There is 
 one serious objection to the use of curved lines in representing a curved sur- 
 face. It is this, that curved lines are very difficult to make uniform in 
 strength and direction, a very necessary matter in suggesting a smooth 
 surface. 
 
 Fig. 234 
 
 Fig. 235 shows the method of applying crosshatching in representing 
 the smooth, curved surface of a sphere. Many of the figures in The Circular 
 Tablet^ Cylinder and Cone illustrate parallel line shading as applied to curved 
 surfaces. 
 
 The Model. 
 
 It is almost impossible in an ordinary school room to obtain the proper 
 conditions of light to afford good examples to begin with. As a rule, there is 
 no definite outline in nature and the more indefinite the shades and shadows 
 are the more difficult it is to suggest them. 
 
 Use such objects under such conditions that the shades and shadows 
 are as definite as possible. To obtain the best results observe the following 
 directions : — 
 
onzoni.';! 
 en nicely 
 There is 
 rved sur- 
 liform in 
 smooth 
 
 fTfrnT'JTT 
 
 ■l 
 
 S 
 
 resenting 
 
 \Cirai!ar 
 
 curved 
 
 proper 
 there is 
 shadows 
 
 thadows 
 blowing 
 
 THE MODEL 
 
 335 
 
 Fig. 2;}5 
 
 Begin with a w^hite cube made of plaster of Paris or white paper placed 
 upon a white ground. Allow the light to enter the room from the left side 
 only, slightly above and to the rear. Place the cube a few fe^-t in front and 
 below the eye level so that three faces are visible. Sketch the outline in the 
 usual way. Examine the shades on each face carefully. It is not so neces- 
 sary that the exact shade of each face should be represented as it is to give 
 2i proportionate value to each. The vertical face to the right is the darkest ; 
 the vertical face to the left the lightest, and the top, although lighter than the 
 right side, is darker than the left. Represent the lightest shade first and 
 grade each accordingly. See fig. 236. 
 
 Examine the shadow. It is darker nearer the cube. Sketch its outline. 
 Observe in the shadow that its darkest part is slightly darker than the dark- 
 est side of the cube. 
 
 I % 
 
 ■ n 
 
236 
 
 SHADE AND SHADOW 
 
 Fig. 236 
 
 Curved surfaces should be attempted after some ability has been at- 
 tained in representing flat surfaces. 
 
 Prodkms. 
 
 1. Draw an ink bottle. Show shade and shadow. The light falls from 
 the left. 
 
 2. Draw a book in three positions : — 
 
 (a) Light from the right. 
 
 (i) Light from the left. 
 
 (c) Open ; some of the leaves vertical ; light from the left. 
 
 3. A piece of two-inch plank about 3 ft. long and a foot wide stands on 
 the ground, directly in front and below the eye, the two-inch face towards 
 you. Outline the plank and represent shade and shadow. The light falls 
 from the left. 
 
 4. Draw a group of three apples ; light from the right. 
 
 5. Sketch the outline of an ordinary straw hat, shade it and show the 
 shadow. The light falls from the right and above. 
 
UNITY 
 
 227 
 
 5. Oroupingr- 
 
 Grouping is the drawing of more than one object in a picture. 
 Attractive groups show Unity^ Harmony^ Variety and Repose. 
 
 been at- 
 
 "alls from 
 
 tands on 
 ; towards 
 ight falls 
 
 ihow the 
 
 Fig. 237 
 
 Unity is obta'ned by placing the units of a picture in such a manner as 
 to form a connected whole. Give much attention to arrangement. Make 
 
228 
 
 GROUPING 
 
 one picture and not a number of pictures closely placed together. Compare 
 A and B of fig. 237. 
 
 7 ^*ff 
 
 Fig. 238 
 
 Harmony is the result of making the group pleasing by observing the 
 character of the objects and their artistic arrangement. Select those objects 
 having something in common and so arrange them that the whole may have 
 a pleasant appearance. The geese, the barrow and the gardener, seen in the 
 rear of a large residence, produce a harmonizing picture. (Fig. 238.) 
 
HARMONY 
 
 )are 
 
 229 
 
 Fig. 2:39 
 
 Fig. 240 
 
230 
 
 GROUPING 
 
 Variety is obtained by grouping such objects that are unlike each other 
 in shape, size or quality. Be careful that a desire to produce variety does 
 not destroy the harmony Similar objects should be placed in different 
 positions or so that they are partly hidden. Slightly emphasizing parts will 
 also add variety. (Fig. 240.) 
 
 Fig. 241 
 
 Repose gives a feeling of rest to the eye. So arrange the parts that 
 each will appear to be perfectly at rest. Shadows will aid in this respect. 
 (Fig. 241.) 
 
 The same general directions previously given for drawing single objects 
 apply to the drawing of groups. Conceive of the group first as a whole and 
 proceed to build it up by placing the parts together. 
 
GROUPING 
 
 «3i 
 
 Fig. 242 
 
 First endeavor to see only the general outline of the whole group 
 Lose s^ght, m fact of all points of detail. Think of the group as the sal 
 houette shown in fig. 243. ^ ^ " 
 
 Fig. 24;{ 
 
 «r. c^r f ^ *^f """^""^ '''""^'" '° ^S- ^'^^^ ^^'^^ proportions of the whole 
 are satisfactorily arranged, fill in the detail as in fig: 245. 
 
332 
 
 GROUPING 
 
 Fig. 244 
 
 Fig. ^45 
 
 The brief hints given in this section must not be regarded as arbitrary, 
 as it is impossible to lay down any hard i nd fast rules. Let every picture 
 tell its own story. This story, of course, will depend largely upon the mood 
 and tempermcnt of the composer, and even then interpretation by different 
 persons may be entirely different. To some fig. 239 suggests but little, but 
 there are others to whom it tells a long,, long story. 
 
 In addition, strive to obtain : — 
 
 1. Variety of lines both in character and direction. 
 
 2. A light, free touch of pen or pencil. 
 
 3. Pleasing and suggestive positions of the units composing a group. 
 
 At the same time avoid : — 
 
 1. Long unbroken lines. 
 
 2. Undue emphasizing of lines. 
 
 3. Lines which are heavy and cumbersome. 
 
 4. The employment of more lines than are absolutely necessary. 
 
GROUPING 
 
 233 
 
 Fig. 246 
 
-f; 
 
 234 
 
 GROUPING 
 
 5. The use of mechanical means in drawing lines. It is often desirable 
 to break up a hard a- d mechanical outline. Examine the illustrations of the 
 old well on page 233. 
 
 Fig. 247 
 
 The outline sketches on page 235 will suggest a number of groups. 
 Procure such objects as are given and group them. Make the drawings in 
 the usual way. 
 
GROUPING 
 
 235 
 
236 GROUPING 
 
 Problems. 
 
 Draw groups of the following : — 
 
 I. A camera, case and tripod to suggjst that the owner was examining 
 his kit previous to a trip into the country. (Fig. 186.) 
 
 2. Pail, broom and mop. 
 
 3. Axe and block of wood. 
 
 4. Cube, sphere and cylinder. 
 
 5. Rake, hoe and shovel. 
 
 6. Opera glasses and case. 
 
 7. Knife, pencil and scribbler. 
 
 8. Hat and coat. 
 
 9. Boots and rubbers. 
 10. Chair and table. 
 
 I I. Lamp and books. 
 
 1 2. Cup, saucer and teapot. 
 
 1 3. Pump, fence and water-trough. 
 
 1 4. Hand-sleigh and wood pile. 
 
 15. Globe and chalk box. 
 
 16. Bat, ball and lacrosse stick. 
 
 17. Rocking chair, table and lamp. 
 
 18. Knife, fork and plate. 
 
 19. Mucilage bottle and brush. 
 2 0. Glass, bottle and spoon. 
 
 6- Position of the Picture Plane. 
 
 What may be termed the focal capacity of the eye is, on an average, 
 aboul 60 degrees ; that is, we are able to see at one time all objects within 
 two lines drawn from the eye at an angle of 60° to each other, 30' on each 
 side of the line representing the direction in which we are looking — the line 
 of sight. 
 
POSITION OF PICTURE PLANE 
 
 237 
 
 Fig. 249 
 
 iin 
 ich 
 |ne 
 
 Fig. 249 represents the part of a room that may be seen without chang- 
 ing the position of the eye. If the distance between the eye and the black- 
 board were lessened, less of the room would be visible, and vice versa. The 
 farther away a group of objects is, the more of the group is visible, unless, of 
 course, the distance be so great as to cause it to be indistinct. 
 
 The whole view visible at one time is in the form of a circle of such a 
 size that, if lines were drawn from two opposite points on the circumference 
 
238 
 
 GROUPING 
 
 to the eye, they would form an angle of 60°. The centre of vision is the 
 centre of this circle and the horizon passes through this centre, so that in 
 reality, every time the position of the eye changes, a new picture is presented 
 to the mind. There is a new C. V. and a new horizon. 
 
 This focal capacity of the eye often necessitates many changes of posi- 
 tion in getting a view of even one object. This is especially the case when 
 viewing a large object like a building, or when viewing an object close to the 
 eye. A person in reading a newspaper is able to see a small portion of it at 
 one time. The position of his eyes must be changed frequently before all 
 has been seen. 
 
 Fig. 250 
 
 In fig. 250 the dotted lines represent the different lines of sight at 
 different positions of the eye. It is quite necessary to move the eye in this 
 
THE HUMAN FIGURE 
 
 939 
 
 manner to get a view of many objects. Our impressions of an object, then, 
 are often the result of many pictures being presented to the mind at different 
 times. True, the time intervening between the presentations is very short, 
 so short that the view is taken in almost at a glance. 
 
 The picture plane is always perpendicular to the line of sight. There 
 is, therefore, a new plane every time the eye changes its position. It is clear 
 that if all these planes are combined to form one plane, it would be the 
 shape of the inside covering of a sphere. 
 
 The natural position of the body is vertical and the muscles of the eye 
 are in their easiest position when the line of sight is horizontal. A photo- 
 grapher, in setting his camera, is careful to place it in this position. Pictures 
 are hung upon the wall, when above the eye, in such a position that they 
 appear as they would if vertical when on a level with the eye. In memory 
 drawing, it is safe to be guided by principles governing the representation of 
 objects as they would appear on a vertical plane. 
 
 Cubical objects, represented as the box seen upon the floor in fig. 249, 
 are, strictly speaking, a part of another larger picture. This is true of almost 
 €very drawing. ^ 
 
 The best view of an object, however, is obtained when it is at or near 
 the centre of vision, and, as before intimated, care must be exercised to 
 guard against placing it so far from the C. V. as to cause distortion. This is 
 often noticed in a photograph where the focal capacity of the lense has beea 
 insuffieient to cover the whole plate properly. 
 
 I 
 
 at 
 "khis 
 
 7. The Human Figure. 
 
 We fully recognize the fact that efficiency in drawing the human figure 
 cannot be attained without a long course of hard study. Our object, how- 
 ever, in introducing the subject here, is not to outline a course of this kind, 
 but to merely suggest another means of excellent and interestitig practice 
 which will tend to cultivate the power to see and to express what is seen. 
 
240 
 
 GROUPING 
 
 Rg. 251 
 
 B^ by drawing diflTcrcnt articles of clothing in different positions. 
 Hang a coat, for example, on the wall a few feet in front. A dark coat 
 
THE HUMAN FIGURE 241 
 
 against a light background or a light coat against a dark background is the 
 best. Sketch the outline. (Fig. 251.) 
 
 Try at first to use as few lines as are necessary to suggest the outline 
 and folds of the cloth. Avoid the too common error of scratching down 
 lines promiscuously without regard to their significance. Every line should 
 mean something. Do not draw a line until satisfied that it is required to 
 make the drawing more suggestive. Notice the very few lines used in fig 
 254- 
 
 Fig. 252 
 
 The face is more easily outlined in profile, although it is more diflficult 
 to give expression in this position. In first attempts, do not be discouraged 
 
242 
 
 GROUPING 
 
 
 253 
 
 if a likeness is not obtained, but be quite content with getting fair propor- 
 tions in general. See drai^ings on page 247. 
 
 Study carefully the construction of the hand, (fig. 252). Compare 
 length with width, length of fingers with each other and with the whole hand. 
 Notice the number and length of joints, etc. Draw the left hand in different 
 position's. Such exercises as this will aid in the expression of the whole 
 figure, although the detail of the hands may not be shown. (Fig. 253.) 
 
 
THE HUMAN FIGURE 
 
 243 
 
^ 
 
 244 
 
 GROUPING 
 
THE HUMAN FIGURE 
 
 245 
 
 Fig. 256 
 
246 
 
 GROUPING 
 
 Study the feet in the same manner. Good practice may be obtained by 
 rawing a pair of boots in different positions. 
 
 When posing a model for a first attempt, it is best to have the face 
 shown in profile and the arms so arranged that the hands are not fully visi- 
 ble. See fig. 254. 
 
 The three outlines shown on page 247 illustrate the method of making 
 a quick sketch. No. 3 is after a character sketch by that well-known pen- 
 and-ink artist, Phil. May. Although such drawings as these are apparently 
 made quite freely, a great deal of care is necessary in their production. 
 
 The space at our disposal will not allow but few drawings of the human 
 figure. The few presented will give some idea of the methods that may be 
 employed. Our object is attained by merely suggesting it as a model for 
 practice. 
 
 Problems. 
 
 1. Draw your left hand. 
 
 2. Make an outline sketch of your left foot as it appears when extended 
 in front. 
 
 3. A lady is sitting by a table upon which lies a book that she is read- 
 ing. Make a drawing of the lady, chair, book and that part of the table 
 supporting the book. 
 
 4. Make an outline sketch of a little girl ; face towards you ; arms folded. 
 
 5. Copy the drawings shown on pages 244-5-8-9. 
 
 6. Draw a lady's head showing the arrangement of the hair, (i) back 
 view ; (2) side view. 
 
 7. A boy sits in a rocking chair, reading the newspaper. Make a draw- 
 ing showing a side view of the group. 
 
 8. Draw from memory, the right hand holding a pencil. 
 
 9. A little girl is writing a letter to her grandma. Illustrate by a draw- 
 ing. 
 
 10. Make an outline sketch of a boy standing in a position to catch a 
 ball. 
 
 1 1. Two boys are standing by a large box, talking. Draw the group. 
 
THE HUMAN FIGURE 
 
 247 
 
 12. Copy any good picture of Queen Victoria, Lord Roberts or Mr. 
 Gladstone. 
 
248 
 
 GROUPING 
 
 Fig. 258 
 
IHE HUMAN FIGURE 
 
 249 
 
aso 
 
 GROUPING 
 
 13. Little Will and his large Newfoundland dog are having their picture 
 taken. Show by a drawing what the group would look like. 
 
 14. Sketch an oval about 4 inches long. Inside the oval sketch the 
 Queen's head. Show two Union Jacks, one draped on either side. 
 
 15. Copy outline sketches of Sir Wilfrid Laurier and Sir John Mac- 
 donald. 
 
 In letting this little book pass from our hands, we desire to express the 
 great pleasure we have enjoyed in preparing it. 
 
 The work will fall short of its purpose if it does not lead the teacher, into 
 whose hands it may fall, to allow the activities of children the greatest free- 
 dom even to the extent of encouraging, under his judicious guidance, their 
 flights of fancy in a humorous direction. 
 
 During the progress of the work we have had as our constant compan- 
 ions — in imagination — the bright and pleased faces of thousands of the 
 children of the public schools, to whom we hope, through its pages, soon to 
 speak in reality. In so far as we have been enabled to interpret their diffi- 
 culties, we have endeavored to suggest a means to surmount them. We 
 believe that a training along the lines herein suggested will be a means of 
 removing many of the clouds, lightening many of the burdens and doing 
 away with much of the drudgery that too often accompanies the student's 
 work in this otherwise fascinating subject. - 
 
ure 
 the 
 ac- 
 
 :he 
 
 ito 
 ;e- 
 2ir 
 
 ri- 
 le 
 to 
 fi. 
 ^e 
 
 g