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 :hicago public schools 
 
 MANUAL 
 
 SCOTT, fORESMAN AND COMPANT 
 CHICAGO - - - NEW YORK 
 
Digitized by the Internet Archive 
 
 in 2007 with funding from 
 
 IVIicrosoft Corporation 
 
 http://www.archive.org/details/artcoursechicagoOOchicrich 
 
ART COURSE 
 
 CHICAGO PUBLIC SCHOOLS 
 
 MANUAL ^ 
 
 BOOKS FOUR, FIVE, SIX, SEVEN, EIGHT 
 
 PREPARED BY 
 EMMA MARCH 
 
 AND 
 
 LUCY S. SILKE ' 
 
 Department of Art, Chicago Elementary Schools 
 
 SCOTT, FORESMAN AND COMPANY 
 CHICAGO NEW YORK 
 
I)CU20 
 
 cf 
 
 CONTENTS 
 
 PAGE 
 
 I. PURPOSE OF THE COURSE --------3 
 
 II. GENERAL PLAN OF THE BOOKS - - _ _ _ 5 
 
 IIL MATERIALS AND MEDIUMS -------9 
 
 IV. METHODS- -------------14 
 
 V. DESCRIPTION OF PAGES --------21 
 
 Copyright 1914 by 
 SCOTT, FORESMAN AND COMPANY 
 
ART COURSE 
 
 CHICAGO PUBLIC SCHOOLS 
 
 I PURPOSE OF THE COURSE 
 
 THIS course was prepared in response to a need for 
 reference material, in a form coiivenient for pu- 
 pils ' use, which should illustrate the Course of Study in 
 Art in the Elementary Schools of Chicago, and aid in 
 establishing a more definite Art standard within the 
 schools. There are five books in the series, Four to 
 Eight, inclusive. They contain reproductions of paint- 
 ings, photographs, and drawings prepared especially 
 for the course, illustrating the Art principles to be 
 taught in each grade; and in addition to these, fine 
 examples of the same principles and technique illus- 
 trated in the work of masters. 
 
 These illustrations are for the inspiration and guid- 
 ance of pupils, to stimulate their imaginations through 
 the language of Art, to awaken and strengthen percep- 
 tions of beauty, in line, form, and color, to explain proc- 
 esses, suggest suitable subjects and treatment of mate- 
 rials and furnish incentives to a practical use of the 
 Art knowledge acquired through study and practice. 
 TjLe_jmportanc e ^ -<jr-^ative- work- -^ a -knm\4^dge"'ei 
 form and color derived directly from the study of life \ 
 and nature is em^fiasized by the introduction of designs ( ^ 
 in which nature and life forms are used as units, and of . .^ 
 landscape and figure compositions in which apprecia-"' 
 tion of character in form and color is an essential 
 element. • 
 
 3 
 
 357636 
 
4^, „ ..MANUAL GHICAGO ART COURSE 
 
 The material in each book bears directly upon the 
 work of the grade, and is sufficiently varied to be 
 adapted to the needs of different neighborhoods. The 
 new points in each grade are illustrated as fully as 
 space will permit; in subsequent grades the advance 
 only is indicated. 
 
 The work in original design may be easily adapted to 
 the materials and processes used in the construction 
 work of the grade. The adaptation of a design to a par- 
 ticular material or process, such as basketry, needlework, 
 woodwork, etc., is a shop problem and is therefore a 
 matter of adjustment between the Art teacher and the 
 teacher of the craft to which it is to be applied. 
 
 The printed matter on each page explains the pur- 
 pose of the illustrations, and suggests a simple vocabu- 
 lary for the use of pupils and teachers. The terms 
 used are to be considered as part of the course. 
 
 The source and location of each work of Art are 
 noted, whether in Museum or private Art Collection, 
 whether loaned by artist, owner, or Art publication, 
 in order that pupils may know something of the re- 
 sources of their own country and locality in the way 
 of incentives to further study. Pupils are encouraged, 
 when passing to a higher grade, to take with them the 
 books of the grades below, that they may have them 
 to refer to when reviewing. The series when complete 
 may form the nucleus of an Art Library, to be added to 
 from time to time as the Art Education of the student 
 progresses. 
 
 The cordial cooperation of the contributors, whose 
 generosity and public spirit in responding to requests 
 for permission to reproduce works of Art in their col- 
 lections has made this publication possible, is called to 
 the attention of pupils and teachers in the foreword. 
 
II GENERAL PLAN OF THE BOOKS 
 
 THE illustrative material in each book may be 
 grouped as follows: 
 
 1. Object Drawings : Drawings from Nature, from Life, 
 
 and from Groups (still life). 
 
 2. Designs: (a) Arrangements in Borders, Surface Pat- 
 
 terns, and Panels, (b) Lettering, Book Covers, 
 etc. 
 
 3. Photographs from Life and from Nature. 
 
 4. Examples of Drawings from Nature and from Life, 
 
 of Figure and Landscape Composition and of 
 Applied Design, from Masters. 
 
 The pages in each book are intended to be studied 
 according to subject, not necessarily in the order in 
 which they appear. Pages may be grouped for refer- 
 ence in various ways, according to the needs of the 
 class and the requirements of the subject. For exam- 
 ple, in Book IV, when studying the page illustrating 
 drawings from the figure (page 5) attention may also 
 be directed to the examples of portraiture by a Master, 
 page 14, and of the use of the figure in illustration, 
 pages 12 and 13. The use of charcoal as a medium for 
 the expression of form and of dark and light values is 
 illustrated in the drawing of the orchard by Wm. 
 Morris Hunt, on page 10, as well as in the drawing of 
 the figure on page 5 and the birds on page 6. The draw- 
 ings of the daisy on page 4 may be referred to when 
 studying the daisy borders on page 17, to show the 
 connection between the study of flowers by means of 
 drawing and the use of flower units in design. 
 
 5 
 
6 MANUAL CHICAGO ART COURSE 
 
 The principles of unity upon which structure, as well 
 as ornament, depends are illustrated not only in the 
 simple designs shown in each book, but also in the 
 examples of fine construction and applied design in 
 textiles, wood, metal, and clay. 
 
 Other ways of grouping the reference material given 
 will suggest themselves to the teacher. Pages which 
 are already familiar to pupils through study in one 
 connection may be referred to again to illustrate new 
 points, and the book of a lower grade may be used 
 to advantage in reviewing subjects, principles, and 
 applications. 
 
 1. OBJECT DRAWINGS 
 
 Drawings from life, from nature, and from groups : 
 Flowers, Fruit, Trees, Landscapes, Figures, Birds, Ani- 
 mals, Pottery with ^fruits or vegetables. In color 
 (chalk or water color), in charcoal, in brush and ink, 
 and in pencil. 
 
 These drawings are to illustrate simple direct ways 
 of handling the different mediums suggested, to show 
 the possibilities of the medium when used by an expert, 
 and to encourage pupils to perfect their own technique 
 by using the medium in the same way. Both subject 
 and handling increase in complexity from grade to 
 grade, the aim being to arouse interest, stimulate ob- 
 servation, and encourage progress, in the expression of 
 characteristic beauty in form and color. 
 
 In order to make room for fresh material in each 
 grade, subjects and technique which have been suffi- 
 ciently explained in one book are omitted from the next. 
 In reviewing, teachers are expected to make use of the 
 preceding book when necessary. For example, when draw- 
 ing flowers in colored chalk, fifth grade pupils may refer 
 to Book IV, page 2. When drawing flowers in water color, 
 
ELEMENTARY GRADES 7 
 
 seventh grade pupils may refer to Book VI, pages 3 
 and 4. When drawing groups and landscapes in water 
 color, tree types, flowers, and figure pose in brush and 
 ink, and charcoal group without background, eighth 
 grade pupils may refer to Book VII, pages 3, 4, 5, 7, 12, 
 and 14. 
 
 2. DESIGNS 
 
 (a) Units from Nature and from Life^Flowers, Fruit, 
 
 Foliage, Birds, Animals, Figure) ; Geometric 
 Units; Arrangements in Borders, Surface Pat- 
 terns, Panels. 
 
 (b) Suggestions for Applied Design: Book Covers, 
 
 Lettering, etc. 
 
 These drawings indicate the character of the units 
 and arrangements recommended for the exercises in 
 each grade, and illustrate the principles of composi- 
 tion which are to be made the basis of the work in 
 design. They exemplify rhythm and subordination in 
 simple as well as in complex arrangements, in color and 
 in black and white, and in two or more tones. 
 
 Pupils in seventh and eighth grades may refer to 
 Book VI for examples of nature units and of free brush 
 work in design. These have been omitted from Books 
 VII and VIII in order to make room for illustrations 
 bearing more directly upon the advance work of the 
 grade. 
 
 The alphabets suggested for use in designing book 
 covers, book pages, etc., are the Roman capital and the 
 Roman small letter, the originals of our best modern 
 letter-forms. Variations of these letter-forms, illus- 
 trating the same basic principles of legibility and 
 beauty, are given in the* suggestions for book covers, 
 initials, etc., in the different books. 
 
8 MANUAL CHICAGO ART COURSE 
 
 3. PHOTOGRAPHS 
 
 Photographs from Life (Figures, Animals), and from 
 Nature (Trees, Landscapes, Buildings), are introduced 
 in the earlier books of the series (IV, V, and VI), to 
 help pupils in imaging familiar types, and in associat- 
 ing distinctive character with distinctive form. 
 
 In addition to the photographs illustrating types of 
 trees, animals, etc., examples of photographs expressly 
 selected to show the use of simple tones are given in 
 each book. ''Mother and Child," on page 14 of Book 
 IV, ''Old Deerfield," on page 12 of Book V, and "The 
 Tower," on page 20 of Book VI, are examples by 
 masters in this medium. . 
 
 4. REPRODUCTIONS FROM MASTERPIECES 
 
 (a) Flowers, Birds, Animals, Figure and Landscape 
 
 Compositions. 
 
 (b) Applied Designs: Textiles, Basketry, Needlework, 
 
 "Wood, Metal, Leather, Clay. 
 
 Reproductions from masterpieces are introduced into 
 this course for the express purpose of broadening and 
 clarifying the Art knowledge of pupils and teachers, of 
 establishing an appreciative attitude toward the best 
 in Art expression and of furnishing inspiration for a 
 higher standard of Art production in the community. 
 The selections have been made in accordance with the 
 best standards in modern Art criticism. They represent 
 well-known artists and collections, and include reproduc- 
 tions of paintings and of charcoal, pencil, and brush 
 drawings in tone and in color; also of applied designs 
 in various materials appropriate for school projects. 
 While both subject and treatment are those of a master, 
 they are in every case such as may be easily under- 
 stood by children. 
 
Ill MATERIALS AND MEDIUMS 
 1. MATERIALS 
 
 THE course contemplates the use of the following 
 materials: Manila Drawing Paper, Gray Chalk 
 Paper, Charcoal Paper, Engine Paper (colored and 
 black). Water Colors, Colored Chalk, Charcoal, Draw- 
 ing Pencils, Kneaded Erasers, Fixatif. 
 
 Manila Drawing Paper is used for pencil, charcoal, 
 water color and ink drawing in all grades, also for free 
 cutting in the preparatory work in design. Sizes 6"x9", 
 9"icl2", or 12"icl8" are used, according to the grade, 
 and to the requirements of the exercise. 
 
 Gray Chalk Paper is a heavy rough paper, specially 
 prepared for colored chalk drawing. It is furnished 
 in the same assortment of sizes as the Manila paper. 
 
 Charcoal Paper, size 12''icl8", is recommended for 
 advanced work in seventh and eighth grades. 
 
 Engine Paper is used for free cutting in the prepara- 
 tory work in design, and is furnished in packages of 
 assorted colors and black, size 5''icl0". 
 
 For Water Color Drawings, the three-color box, any 
 standard make, is recommended. Black is sometimes 
 added to this assortment for the work in design. Large 
 water color brushes are advised. 
 
 A Special Assortment of colored chalk (No. 1 quality. 
 School Crayons) is used. Each box contains six colors : 
 Carmine, Indian Red, Yellow, Dark Blue, Light Blue, 
 Dark Green. 
 
 Any standard make of drawing pencil, charcoal, 
 kneaded eraser, and fixactif may be used. 
 
 9 
 
10 MANUAL CHICAGO ART COURSE 
 
 2. MEDIUMS 
 
 1. Charcoal is preferred to pencil in the elementary 
 grades for mass drawing in dark and light. Its respon- 
 siveness to the touch, requiring no pressure, and the 
 ease with which impressions may be quickly recorded, 
 make it an ideal medium for training in appreciation 
 of mass forms and color values. Practice in using this 
 medium will help pupils to form the habit of working 
 synthetically; that is, of looking for essential charac- 
 teristics first, expressing main proportions in mass, and 
 developing details in the order of their importane^^ 
 
 Simple tones expressing the relative values of the 
 colors in the object are recommended in the earlier 
 grades for the sake of keeping the problems simple. 
 As pupils advance through the grades, color values are 
 expressed more in detail, but still kept simple. In the 
 eighth grade light and shade is included in the study 
 of values, but is not considered apart from color. 
 
 In the majority of the charcoal drawings from the 
 object no background is required. Where the addition 
 of a background simplifies the problem, as in the case 
 of white fiowers (pages 3 and 5 of Books V and VI 
 and page 9 of Book YIII), a gray paper or cloth is 
 placed behind the study to make the white masses 
 stand out more distinctly. This background is repre- 
 sented in the drawing by a charcoal tone of the same 
 value. The light masses of the flowers are then lifted 
 out from this tone with the eraser, and the leaves, 
 stems, etc., drawn into it with the charcoal. In the 
 group drawing on page 5 of Book VIII and the portrait 
 on page 10, backgrounds are included for the sake of 
 the study of relative values, and to add a new interest 
 to the composition, namely, that of a complete picture. 
 
ELEMENTARY GRADES 11 
 
 At least one fine example of charcoal handling by a 
 master has been included in each book of the series. 
 
 2. Water Color. Free brush drawing in water color 
 is recommended for training in color appreciation and 
 
 in the use of a transparent color medium. The effect of / / 
 brilliant fresh color in the examples given of brush / | 
 drawing from nature is secured by mixing the colors ' 
 in the brush and painting directly with a full brush 
 into a thoroughly dampened paper. 
 
 The same method is used for painting other subjects 
 suitable for color study but not illustrated in color in 
 the books, such as figure posing, birds or animals, trees 
 or landscapes out of doors. 
 
 Water color is also used for design in the three 
 higher grades; color schemes made from nature (flowers, A 
 etc.), or from the examples of applied design in the i? 
 books, are recommended for the introductory work. 
 Examples of the use of one color and black, two tones 
 of one color, or two or three related colors will be 
 found in every book, to aid pupils in securing harmo- 
 nious combinations. The colors are mixed in the pan 
 and applied in a flat wash on a dampened paper, or the 
 design is printed in color by means of a stencil and a 
 stiff brush. 
 
 3. Colored Chalk. Colored chalk is recommended 
 for object drawing and original illustration in the 
 earlier grades, for training in color appreciation, and 
 to give practice in the use of an opaque medium with 
 which colors may be mixed on the paper. The chalk is 
 held lightly and drawn back and forth over the paper 
 without pressure. Variations of color are secured by 
 drawing one color lightly over another without rub- 
 bing. Gray chalk paper J& preferred for this medium, 
 as the neutral tone of the paper helps to dilute the 
 
12 MANUAL CHICAGO ART COURSE 
 
 color. The examples of flower drawing in colored chalk 
 
 in Book IV show the method of handling this medium. 
 
 Figure posing, drawing from birds, animals, trees, 
 
 or landscape are also suitable subjects for this medium. 
 
 4. Brush and Ink. Free brush drawing in ink is rec- 
 ommended for training in the power of rapid and direct 
 expression of form in a medium limited to two dimen- 
 sions. When used for memory and object drawing in 
 these grades it continues and amplifies the training in 
 the study of the silhouette, begun in the grades below 
 
 |;by means of free paper tearing and cutting. By the 
 jlimination of color and tone problems, this method of 
 expression helps pupils to concentrate their attention 
 upon the essentials of form and proportion independent 
 of color. Brush and ink are recommended for memory 
 drawings of figures, birds, animals, trees, etc., as well 
 as for the drawings from nature suggested in the 
 books. The responsiveness of the brush helps to bring 
 the hand under the control of the will. 
 
 The free brush work in design, which from the sixth 
 grade up follows the free brush work from nature, 
 utilizes the power gained in controlling form, in the 
 cultivation of appreciation of rhythm and pattern in 
 space relations. 
 
 The brush should be well charged with ink and held 
 in an upright position at least three inches from the 
 point, that the arm may move freely and the ink flow- 
 readily from the brush. Practice in using brush and 
 ink w^ill give pupils confidence in painting with water 
 color. 
 
 5. Pencil. Pencil drawing is used in this course 
 wherever accurate observation and expression of the 
 details of form and structure are essential to progress. 
 Drawing in pencil outline is a valuable way of concen- 
 
ELEMENTARY GRADES 13 
 
 trating attention upon characteristic growth, structure, 
 and foreshortening in leaves, flowers, etc., preparatory 
 to the use of nature forms in original design. It is 
 also recommended in the higher grades for the study 
 of structural details in handles, spouts, etc., in connec- 
 tion with group drawing, for advanced work in draw- 
 ing from the figure or from animals, and for the draw- 
 ing required in some of the projects in design. 
 
 6. Paper and Scissors. Free cutting of units in 
 paper, either black or manila, is recommended in these 
 grades for practice work in original design. Expe- 
 rience in arranging and spacing original units in 
 accordance with definite principles of composition will 
 help pupils to understand the importance of these 
 principles and how to apply them in design. 
 
 In the earlier grades, black and manila paper or col- 
 ored papers are used for cutting and pasting units in 
 repeated patterns. In sixth, seventh, and eighth grades, 
 the use of black and manila paper is continued in the 
 introductory work in design, in making units and for 
 practice in spacing, but not for repeated patterns. 
 
IV METHODS 
 
 1. Methods in Object Drawing 
 
 In arranging studies, the age of the pupils, the time 
 available for the lesson, and the medium to be em- 
 ployed should be considered. Suitable studies for the 
 grade are illustrated on the pages devoted to object 
 drawing. For the work from flowers, groups, etc., 
 drawing paper similar to that furnished the pupils 
 is placed behind the study, to assist the eye in locating 
 the different parts of the objects and in placing them 
 correctly with reference to each other; also in deter- 
 mining color values. When it is desired to add another 
 tone to the study, as in the case of white flowers, or as 
 in the advanced work from groups in the eighth grade, 
 a gray background is substituted for the manila paper 
 and the relative values of the colors in the objects and 
 in the background are expressed in the drawing. 
 
 Sympathetic and intelligent guidance in studying 
 the essentials of form, position, proportion, color and 
 color values, with training in simple direct ways of 
 rendering them, will insure growth in the power of 
 observation and of graphic expression. The medium 
 employed is determined by the nature of the subject 
 and the needs of the class. The limitations as well as 
 the advantages of each medium, with suggestions in- 
 tended to guide teachers in their choice, are given else- 
 where in this pamphlet. 
 
 Flowers, foliage, etc., are used for object drawing 
 lessons, not only because of their intrinsic beauty, but 
 also because they furnish a wide variety of themes for 
 
 14 
 
ELEMENTARY GRADES 15 
 
 use in design. Units derived from Nature forms are 
 used in repeated patterns; pencil drawings in which 
 details of form and structure have been carefully noted 
 furnish suitable material for flower composition; also, 
 color schemes from flowers may be used in design. 
 
 Birds and animals, interesting to children as forms of 
 life, are also profitable subjects for object drawing in 
 these grades. They may be studied injthe schoolroom, 
 at home or out of doors, and drawn d^irectly from life ; 
 or they may be studied out of doors or in pictures and 
 drawn from memory in class. The distinguishing 
 characteristics of many familiar types are readily 
 utilized in design, in the making of simple units for 
 repeated patterns, and as subjects for composition in 
 panels. 
 
 Trees are studied out of doors and drawn from na- 
 ture or from memory. When studied in photographs 
 or other pictures, memory drawing is recommended. 
 Tree forms are used in illustration, in landscape com- 
 position ; also in design, as units for repeated patterns 
 or as subjects for composition in panels. 
 
 Landscapes, hiiildings, etc., are drawn from nature 
 or from memory. In city schools where systematic 
 study out of doors is not possible, memory drawing of 
 interesting buildings or localities in the neighborhood 
 is recommended; or in the higher grades, sketching 
 of interesting buildings, roofs, towers, etc., from the 
 window. Drawings from out of doors, from the win- 
 dow, and from memory may be used as the basis for 
 original work in illustration and as material for orig- 
 inal compositions. 
 
 Groups of pottery, or of fruit or vegetables with pot- 
 tery, introduce the study of the perspective relation of 
 objects to each other, and give examples of group com- 
 
16 MANUAL CHICAGO ART COURSE 
 
 position. They should be placed enough below the level 
 of the pupils' eyes to give opportunity for the study 
 of the perspective relations. Not less than three groups 
 are recommended for an ordinary schoolroom, arranged 
 so that each pupil may have a good view of the compo- 
 sition he is expected to draw. 
 
 Drawing from the Figure. The charm and variety 
 of form and color in the figures of children at work or 
 at play make them always interesting and profitable 
 subjects for object drawing in these grades. Action is 
 shown in a drawing by the location or position of the 
 various parts of the body, and likeness by characteris- 
 tic form and proportion. When the figure is at rest, 
 drawings are usually made directly from the pose, in 
 charcoal or color. When the figure is actually in mo- 
 tion, as in games, or the pose is such as can be held only 
 for a moment, the drawing is necessarily from memory. 
 When posed in the schoolroom the model should be 
 placed far enough away from the pupils to simplify de- 
 tails and to minimize the effects of foreshortening. 
 Children will draw a figure suggesting a simple definite 
 action in better proportion than one uninteresting or 
 confused. Color, as well as action, helps to define form, 
 and contrasts of color or of dark and light in hair, 
 clothing, etc., will assist the eye in rendering form. 
 For memory drawing, the use of brush and ink is 
 recommended. 
 
 \ Practice in drawing the figure in brush and' ink will 
 Wive pupils confidence in drawing from the pose in 
 1 Water color. 
 
 2. Methods in Design 
 
 The exercises in original design suggested for these 
 grades are based upon the principles so ably demon- 
 
ELEMENTARY GRADES 17 
 
 strated by Mr. Arthur W. Dow of Columbia University 
 in his work with students ; namely, that composition is 
 the fundamental process in all the arts of expression, 
 and that systematic training in original composition 
 will develop latent powers of perception, appreciation, 
 and judgment, and lead to the intelligent control of 
 space and color relationships in Representation as 
 well as in Design. 
 
 The method recommended for the preparatory wor 
 in design is free cutting and arrangement of units, in 
 black and manila paper, or in colored paper of differ- 
 ent values. The free cutting insures a simple treat- 
 ment of the form and gives opportunity for study of 
 the silhouette, an important element in the pattern. 
 When a repeated p'attern is to be made in paper, as 
 many units as possible are cut at once from several 
 thicknesses of paper. Practice in arranging and 
 spacing these units in different ways upon paper of 
 contrasting tone, illustrating some definite principle 
 of composition, is given before pasting, for experience 
 in creating patterns. 
 
 The principles of composition referred to (rhythm, 
 subordination, etc.) are explained through study of the 
 examples given in the Art Course Books. Pupils are 
 encouraged to embody these principles in their original 
 work through the free exercise of their own judgment 
 in spacing and arrangement, within the limits of the 
 problem assigned them. 
 
 Nature units are made preferably from nature or 
 life forms which have been studied through drawing. 
 They may be cut as suggested above, or drawn freely 
 with brush and ink. Free brush drawing in ink or 
 color of simple units in repeated patterns, is also rec- 
 ommended to develop the sense of rhythm in pattern and 
 
18 MANUAL CHICAGO ART COURSE 
 
 to train hand and eye to accuracy in spacing. This is 
 followed in the more advanced grades by stencil or wood 
 block printing. 
 
 For designs in squares, ohlongs, etc., in which nature 
 forms are not used, two papers of the required shape 
 and of contrasting tones (as black and manila) are laid 
 one over the other. The upper paper is divided geo- 
 metrically by free cutting and the pattern secured by 
 modifications in the contour of the parts. In the more 
 advanced work a freehand drawing is made from the 
 unit and the design developed in ink or color; or, a 
 stencil or a wood block may be made from the draw- 
 ing, and the designs printed in ink or color. 
 
 Flower and landscape compositions are drawn in out- 
 line from original sketches and developed in ink or 
 color. 
 
 Lettering. Exercises in hand lettering afford oppor- 
 tunity for the application of principles of spacing and 
 arrangement familiar to pupils through their work in 
 design, and lead to an appreciation of the close relation 
 that exists between the fine and the industrial arts. 
 
 The importance of memorizing the form and pro- 
 portions of each letter must be borne in mind in prac- 
 ticing hand lettering from a fine original; the serifs 
 also, which are the tool marks of the letter as origi- 
 nally formed, should be carefully studied. 
 
 A broad-nibbed quill or steel pen or a reed or stick 
 sharpened to a chisel edge is recommended for hand 
 lettering in these grades, in preference to either brush 
 or charcoal, which are less exact. Teachers are referred 
 to '^ Writing and Illuminating and Lettering,'^ by 
 Edward Johnston (Macmillan Co.) for the history and 
 technique of the subject, and for suggestions in regard 
 to penmaking, etc. 
 
ELEMENTARY GRADES 19 
 
 3. Methods in Memory Drawing 
 Memory drawing is recommended not only in record- 
 ing observations and experiences at home and out of 
 doors, but also as a valuable aid to the study of the form 
 of objects in classroom exercises. Free brush drawing 
 with ink is recommended for memory drawings of hirds, 
 animals, etc., from life, and of figures actually in motion, i 
 as in games. A pose suggesting a gamB or occupation,/\ 
 which can only be held for a moment or two, is suitably/ ' 
 for a memory drawing. 
 
 Interesting buildings or localities in the neighbor- 
 hood of the school are also suitable subjects for mem- 
 ory drawing. For these pencil or charcoal is recom- 
 mended, or in the earlier grades, colored chalk. 
 
 4. Methods in Illustration 
 
 Original illustration in these grades is closely related 
 to memory drawing and also to the work in composition 
 and design. Drawings illustrating individual or class 
 experiences, indoors or out of doors, are suitable in 
 every grade. The natural aptitude of the younger 
 children for this work shows in their instinctive use of 
 the principles of good composition in telling their story. 
 Beginning with the sixth grade, an effort is made to 
 explain these principles through the study of the prin- 
 ciples of composition in masterpieces, and to encourage 
 pupils to apply these principles definitely in their orig- 
 inal work. Subjects for original illustration will be 
 found in the activities of home and school life and in the 
 literature of the grade. 
 
 5. Methods in the Use of Masterpieces and Museums 
 
 ■ 
 The examples from Masters in these books.have been 
 
 selected for charm of composition, of technique, and of 
 
20 MANUAL CHICAGO ART COURSE 
 
 subject. They should be used as a means of awakening 
 appreciation of these qualities in a work of Art and of 
 inspiring pupils to embody the essential principles of 
 harmony in their ow^n work. They are not intended for 
 copying, but for study; to supply illustrative material 
 by means of which teachers may make clear to pupils 
 the meaning of the terms used in the Study Course, 
 establish standards in the handling of different me- 
 diums, and show the application in a fine way of the 
 principles of composition which govern both structure 
 and ornament in a work of Art. 
 
 The heading at the top of each page, together with 
 the title or description printed under each example, 
 will help pupils to understand the reason why the pic- 
 ture or design has been selected for study, the medium 
 used, and the place where the original may be found, 
 and suggest an Art vocabulary suited to their needs. 
 The illustrations from Masters may be used as the 
 basis for language and history lessons, and in the study 
 of different processes of reproduction and of different 
 ways of applying the principles of Art construction to 
 textiles, wood, metal, clay, etc. Pupils should be 
 encouraged to visit Art exhibitions. Museums, and 
 Libraries, to identify where possible the originals of 
 the reproductions in their books, to learn their use and 
 their history, and to discover for themselves other 
 examples of the Art principles they are studying. Spe- 
 cific suggestions for the use of each illustration are 
 given elsewhere in this pamphlet, in the section de- 
 voted to the description of the pages. 
 
V DESCRIPTION OF PAGES 
 
 BOOK IV 
 
 Pages 2, 3, and 4 
 
 Drawings from Nature, in color, charcoal, and ink. 
 These drawings indicate subjects and technique suit- 
 able for the grade and give examples of characteristic 
 form and position in leaves . and petals, details of 
 growth in stems, color, and color values. 
 
 Page 2 gives two examples of colored chalk draw- 
 ings: the Drooping Lily, fig. (a), and the Gaillardia, 
 fig. (b), to show the use of this medium in color expres- 
 sion. Pupils' attention should be called to the handling 
 of the chalk in these drawings and to the way the 
 colors blend when drawn lightly one over the other 
 without rubbing. 
 
 Page 3 shows the use of charcoal in expressing color 
 values. In the Poppy, fig. (a), leaves and petals are of 
 different colors, but are represented in the same tone, 
 because they are of the same color value. In the Petu- 
 nia, fig. (b), the dark and light colors are expressed 
 by dark and light tones. The same method of express- 
 ing color values is used in the charcoal drawings on 
 pages 5 and 6; and pupils may be referred to these 
 pages also when studying charcoal technique. 
 
 Page 4 gives three examples of free brush drawing 
 in ink : the Lady Slipper or Indian Moccasin, fig. (a) ; 
 th3 Japanese Iris, fig. (b) ; and the Daisy, fig. (c). 
 The characteristics of each specimen are well expressed 
 in the silhouette. Attention should be called to the 
 clear, firm edges of the drawing, and pupils should be 
 
 21 
 
22 MANUAL CHICAGO ART COURSE 
 
 taught from the beginning how to secure similar 
 results by correct position and brush handling. The 
 same technique is illustrated in the drawings from life 
 on pages 5 and 7. 
 
 Page 5 
 
 Drawings from the Figure. Fig. (a) is a drawing 
 made directly from the pose, showing characteristic 
 form, position, and dark and light tones of color. Fig. 
 (b) is a drawing made from memory, an out-of-door 
 subject. Fig. (c) suggests a pose which may have 
 been drawn either from memory or from the pose. 
 These drawings as well as the illustrations on pages 
 12 and 14 will be found helpful in making clear the 
 importance of attention to form, color, and position in 
 expressing character. 
 
 Pages 6, 7, and 8 
 
 Photographs and Drawings from Life and from 
 Nature. The photographs on pages 6 and 8, in addi- 
 tion to suggesting suitable subjects for study, will be 
 helpful to children whose out-of-door experiences are 
 limited, in imaging the characteristic appearance of 
 animals, trees, etc., the names of which have become 
 familiar to them through the literature of the grade. 
 The trees selected for the photographs on page 8 are 
 typical in form and show a characteristic environment. 
 
 Page 6, figs, (a) and (b), gives two drawings of 
 a Wren; fig. (c) a drawing of a Rooster; figs, (d), (e), 
 and (f) show a Greyhound, an Airedale Terrier, and 
 a Collie, in characteristic positions. Page 7 gives ink 
 drawings of a Hen, fig. (a) ; a Pigeon, fig. (b) ; a Red 
 Squirrel, fig. (c) ; and an Eagle, fig. (d). 
 
 The charcoal drawings on page 6 and the ink draw- 
 
ELEMENTARY GRADES 23 
 
 ings on page 7 illustrate the technique suited to the 
 work pf this grade. 
 
 Pages 9, 10, 11, and Fig. (b) on Page 13 
 
 Landscapes. These examples suggest suitable sub- 
 jects for memory or out-of-door sketching, also the 
 use of landscape in story illustration. Each picture 
 with its title tells a definite story. All show charac- 
 teristic features of country life and scenery. They will 
 help the pupils to image the environment in which the 
 action is supposed to have taken place, and to realize 
 the necessity for a choice of definite subjects and pleas- 
 ing arrangements in their original work. 
 
 Page 10 gives an example of charcoal technique for 
 landscape illustration. 
 
 Pages 12, 13, 14, and 15 
 
 Pictures Illustrating Child Life. Page 12, and figs, 
 (b) and (c) on page 13, give examples of different 
 environments, showing the use of the figure in illus- 
 tration. 
 
 Page 14 gives two fine examples of portraiture, show- 
 ing the treatment of the figure in simple dark and light 
 masses. Fig. (a), page 13, shows an interesting sil- 
 houette of large and small masses against sky and 
 water. 
 
 Page 15 is introduced especially to familiarize pupils 
 with a fine composition involving figures. 
 
 Pages 16, 17, 18, 19, and 20 
 
 Design. These pages illustrate the meaning of the 
 terms used in teaching design, and suggest to the pupils 
 ways of working out the problems assigned them. 
 
24 MANUAL CHICAGO ART COURSE 
 
 Pages 16 and 17 show units from nature forms, and 
 designs in which nature forms are used as repeats. In 
 studying the units at the top of page 16, figs, (a) to (f ) 
 inclusive, attention should be called to the relative pro- 
 portions of leaf and flower, flower and stem, etc. that 
 is, to the principle of subordination which they exem- 
 plify. In figs, (d), (e), and (f) this principle is illus- 
 trated in the characteristic proportions of the forms 
 used; in figs. (a),, (b), and (c) and in the units in the 
 repeated patterns on pages 16 and 17, stems have been 
 shortened, turned, etc., and leaves and flowers modified, 
 to make them conform to this decorative principle. 
 
 In studying the repeated patterns, attention should 
 be called to the rhythmical arrangement of the units 
 and to the dark and light pattern produced by the 
 spacing and arrangement. 
 
 Fig. (i) on page 16 shows the use of one of the units, 
 fig. (a), in a surface pattern. Figs, (a) and (b) on 
 page 17 show two different units derived from the 
 Daisy, a drawing of which appears on page 4. 
 
 Pages 18 and 19 show designs made by modifying 
 squares, circles, oblongs, and triangles, also borders 
 and surface patterns made with square and oblong 
 units. They illustrate the principles of subordination 
 and rhythm not only in the proportion of the units, 
 but also in the spacing of the units in the repeated 
 patterns. 
 
 Figs, (g) and (h) show a design in which the same 
 pattern is used for two different dark and light ar- 
 rangements, illustrating the importance of pattern in 
 spacing. Fig. (i) shows a motive from fig. (c) used in 
 a surface pattern. Other modifications will suggest 
 themselves to the children after they have studied the 
 designs on these pages. The examples of applied 
 
ELEMENTARY GRADES 25 
 
 design on pages 21, 22, and 23 may also be studied for 
 suggestions. 
 
 Page 20 gives an alphabet and numerals in Roman 
 capitals, and suggestions for the use of lettering and 
 decorative patterns in simple book covers. In studying 
 the alphabet for use in original work, the form and 
 proportions of each letter are to be carefully noted, 
 also the serifs which mark the beginnings and ends of 
 the longer strokes. The letters used in the titles of the 
 book covers, figs, (c), (d), and (e), are made with a 
 wooden pen. 
 
 Pages 21, 22, and 23 
 
 . Examples of Applied Design. These should be 
 studied as examples of fine rhythm and pattern in 
 design. The examples on page 21 are drawings from 
 photographs. The examples on pages 22 and 23 have 
 been selected especially to illustrate the application of 
 design to various textiles. They show how texture 
 influences pattern and how both pattern and texture 
 are enriched by color. 
 
 BOOK V 
 
 Pages 2, 3, 4, and 5 
 
 Drawings from Nature, in color, charcoal, and ink. 
 These drawings suggest subjects and technique suit- 
 able for the grade, and give examples of characteristic 
 form, position, color and color values in leaves and 
 petals, and of details of growth in stems, etc. 
 
 Page 2 gives two examples of free brush drawing in 
 water color; the Tulip, fig. (a), and the Zinnia, fig. 
 (b). Pupils' attention should be called to the simple 
 direct handling of the brysh in these drawings and to 
 the way in which the colors have been mixed in the 
 brush. 
 
26 MANUAL CHICAGO ART COURSE 
 
 Page 3 shows the use of charcoal in expressing color 
 values. In the drawing of the Crab apple, fig. (a), the 
 dark and light colors of the leaves and fruit are ex- 
 pressed by the dark and light tones of charcoal. In the 
 drawing of the Apple Blossoms, fig. (b), a gray back- 
 ground has been placed behind the flowers, thus mak- 
 ing it a three-tone study. 
 
 Page 4 gives two examples of free brush drawing 
 in ink; the Petunia, fig. (a), and the Cyclamen, fig. 
 (b). The characteristics of each specimen are expressed 
 in the silhouette. Attention should be called to the 
 clear, firm edges of the drawing, and pupils should be 
 taught how to secure similar results by correct brush 
 handling. 
 
 On page 5 the examples of free brush drawing from 
 trees illustrate the same technique. In the Pine, fig. 
 (a), the Cottonwood, fig. (b), and the Lombardy Pop- 
 lar, fig, (c), characteristic form and growth are ex- 
 pressed, and a study of these drawings will help 
 pupils to concentrate on the important elements in 
 their own work. 
 
 Pages 6 and 7 
 
 Animals, etc., from Life. The charcoal and ink 
 drawings on page 6 illustrate subjects and technique 
 suitable for drawings from life and from memory in 
 this grade. In both mediums the characteristic 
 form is expressed in the silhouette; in the charcoal 
 drawings the different colors are expressed by char- 
 coal tones. Fig. (b) on page 6 is a photograph suggest- 
 ing the use of the camera in recording characteristic 
 positions and familiar types. The photographs of the 
 Deer on page 7 and of Old Deerfield on page 12 will 
 suggest to the pupils subjects for out-of-door observa- 
 tion. The four illustrations on page 7 are full of sym- 
 
ELEMENTARY GRADES 27 
 
 pathy and understanding and will help to dignify the 
 study of animal life and to cultivate appreciation. The 
 illustrations on pages 11 and 15 may also be studied 
 in connection with this page, as showing examples of 
 animals in characteristic positions and environment. 
 
 Pages 8 and 9 
 
 Drawings from the Figure. Page ^suggests poses 
 suitable for the grade, also technique in charcoal and 
 ink. Figs, (a) and (b) are drawings made directly 
 from the pose, showing characteristic form, position, 
 and dark and light tones of color. Fig. (c) is a brush 
 drawing in ink which may have been made either 
 directly from the pose or from memory of a pose or 
 game. 
 
 In the portraits on page 9, the fine composition and 
 simple treatment of dark and light masses emphasize 
 the charm of character and proportion in the figures, 
 and call attention to the importance of care in arrange- 
 ment and of concentration upon essentials in a drawing. 
 
 Pages 10, 11, 12, 13, 14, and 15 
 
 Landscapes; from Paintings, from Photographs, and 
 from Drawings. The illustrations on these pages show 
 characteristic features of city and country scenery, 
 interesting compositions in dark and light, and the use 
 of figures and landscape in story illustration. Each 
 picture with its title tells a definite story and suggests 
 the intimate connection between the environment and 
 the action in the story. Onpages 13, 14, and 15 will be 
 found examples of charcoal drawing, the technique 
 of which will be easily ^understood by children and 
 will suggest to them ways of handling the medium in 
 their original work. 
 
28 MANUAL CHICAGO ART COURSE 
 
 Pages 16, 17, 18, and 19 
 
 Design. Pages 16 and 17 show units derived from 
 nature forms and designs in which nature units are 
 used as repeats. In studying the units at the top of 
 page 16, figs, (a) to (f) inclusive, attention should be 
 called to the relative proportions of leaf, flower, stem, 
 etc., and to the way in which they have been modified 
 in accordance with the principle of subordination, at 
 the same time retaining their characteristic form. This 
 principle, also rhythm of line and continuity of pat- 
 tern, are exemplified in the borders, etc., on pages 16 
 and 17. Fig. (i) on page 16 shows the use of a unit 
 derived from the Cyclamen, a drawing of which ap- 
 pears on page 4. Figs, (g) and (h) suggest varying 
 a design by reversing the dark and light spacing, to 
 develop appreciation of the importance of rhythm and 
 pattern in spacing. Fig. (c) on page 17 shows the use 
 of one of the units from page 16 in a surface pattern. 
 Figs, (d) and (e) on page 17 show arrangements of 
 units in panels, illustrating the same principles as the 
 borders and surface patterns. 
 
 Page 18 gives examples of designs in squares and 
 oblongs, and the use of square and oblong units in 
 repeated patterns. These show how pattern is secured 
 by modifications in the contour of the dark and light 
 spaces. 
 
 The examples of applied design on pages 20, 21, 22, 
 and 23 may also be referred to for suggestions. 
 
 Page 19 repeats from Book IV the alphabet in Roman 
 capitals and gives suggestions for the use of lettering 
 and decorative patterns and panels in simple book 
 covers. In studying the alphabet for use in original 
 work, the form and proportions of each letter are to 
 
ELEMENTARY GRADES 29 
 
 be carefully noted, also the serifs which mark the be- 
 ginning and end of the longer strokes. The letters in 
 the title of the book cover, fig. (c), are made with a 
 wooden pen ; in fig. (d) with charcoal. 
 
 Pages 20, 21, 22, and 23 
 
 Examples of Applied Design. These pages show the 
 use of design in weaving, needlework, and basketry. 
 They have been selected not only for fineness of design 
 but also to illustrate the relation between texture, color, 
 and pattern and to show how the one may enrich the 
 other. They should be studied in connection with 
 pages 16, 17, 18, and 19, as fine examples of rhythm 
 and pattern and of color harmony in design. 
 
 BOOK VI 
 
 Pages 3, 4, 5, 10, and 18. Fig. (a) on Page 6 
 
 Drawings from Nature. These pages suggest sub- 
 jects suitable for the grade and give examples of char- 
 acteristic form, foreshortening and growth in flowers, 
 foliage, etc., and of technique in charcoal, brush and 
 ink, and water color. 
 
 The Gentian on page 3 is a fine example by a Master 
 of characteristic form and nature coloring in simple 
 flat masses. 
 
 Page 4 gives two examples of free brush drawing in 
 water color; the Iris, fig. (a), and the Hyacinth, fig. 
 (b). Pupils' attention should be called to the simple, 
 direct handling of the brush in these drawings and to 
 the way in which the colors have been mixed in the 
 brush. 
 
 Pages 5 and 18 and fig. (a) on page 6, give examples 
 of charcoal drawing from nature. In the Iris, fig. (a), 
 page 5, the dark and light colors of fiowers and leaves 
 
30 MANUAL CHICAGO ART COURSE 
 
 are expressed by dark and light tones. In the Gera- 
 nium on page 6, the different colors, being of the same 
 value, are represented by similar tones. In the Peony, 
 ^g. (b), a gray background has been placed behind the 
 flowers, thus making it a three-tone study. Page 18 
 shows a drawing of a group of Willow trees, the char- 
 acteristic growth expressed in well-studied dark and 
 light masses and with simple direct handling of the 
 charcoal. Other charcoal drawings of trees may be 
 found in the landscape by William Morris Hunt on 
 page 22. 
 
 Page 10 gives two examples of fr6e brush drawing in 
 ink; the Nasturtium, fig. (a), and the Blueberry, fig. 
 (b). The characteristics of each plant are expressed in 
 the silhouette. The subjects have been selected espe- 
 cially for their interesting detail of form, with a view 
 to using them in design. 
 
 Pages 6 and 7 
 Drawings from Objects. These pages show the use 
 of charcoal in representing pottery and nature forms 
 in simple tones, indicating the value of each color. 
 The effects of foreshortening and of group composition 
 upon the appearance of objects should be studied in 
 these examples. Page 7 shows an interesting arrange- 
 ment of objects in different colors and values. 
 
 Pages 8 and 9 
 Drawings from Life. Page 8 shows animals drawn 
 from life at Lincoln Park Zoo. These drawings sug- 
 gest the wider field which the study of animals may 
 take when children are old enough to go about with a 
 sketchbook and work independently. Page 9 is a 
 memory drawing, a fine example of the use of brush 
 and ink, by a Master. 
 
ELEMENTARY GRADES 31 
 
 Pages 11 and 12 
 
 Design. Nature Units in Borders and Surface Pat- 
 terns. Page 11 gives examples of free brush drawing. 
 Figs, (a), (b), (f), and (g) show the use of units de- 
 rived directly from nature; figs, (c), (d), and (e) show 
 an imaginative treatment of nature forms from mem- 
 ory. The units in figs, (b) and (f) are from the 
 Blueberry, a drawing of which appears on page 10. 
 In studying the units at the top of page 12, figs, (a) 
 to (f) inclusive, attention should be called to the rela- 
 tive proportion of leaf and flower, etc., and to the way 
 in which both proportion and contour have been modi- 
 fied to make them conform to the principles of rhythm 
 and subordination, at the same time preserving their 
 essential character. In the borders and surface pat- 
 terns on page 12, figs, (g), (h), (i), and (j), the deco- 
 rative principles referred to above are illustrated in 
 the arrangement of the units and in the distribution 
 of dark and light spaces in the pattern. Figs, (g) and 
 (j) show the use of two of the units in repeated pat- 
 terns. Pages 24, 25, 26, and 28 may also be referred 
 to for suggestions. 
 
 Pages 13 and 14 
 
 Design. These pages give examples of designs in 
 squares and circles, and of the use of rectangular and 
 circular units in borders and surface patterns. They 
 show how pattern is secured by modifications in the 
 contour of the dark and light spaces. Fig. (f) on 
 page 13 and fig. (c) on page 14 show the use of two 
 of the units in repeated patterns. Fig. (h) on page 13 
 introduces a new problem, i. e., the use of three tones 
 in design. 
 
32 MANUAL CHICAGO ART COURSE 
 
 In the borders and surface patterns units have been 
 modified when necessary to improve the rhythm and 
 continuity of the pattern. Pupils may also be referred 
 to pages 24, 25, 26, and 28 for suggestions. 
 
 Page 15 
 
 Suggestions for Applied Design. This page gives an 
 alphabet in Roman capitals and suggests the use of let- 
 tering and decorative compositions in the making of 
 book covers, calendars, etc. In studying the alphabet 
 for use in original work, the form and proportions of 
 each letter are to be carefully noted, also the serifs 
 which mark the beginning and end of the longer 
 strokes. The letters in the title of the book cover, fig. 
 (d), and in the calendar, fig. (b), are made with a 
 broad-nibbed pen. The letters in the book cover, fig. 
 (a), are made with charcoal and in fig. (c) with a 
 brush. 
 
 Page 16 
 
 Drawings from the Figure. The drawings on this 
 page show positions of the figure suitable for object 
 drawing in this grade and suggestive of the possible 
 use of the figure in story illustration. Figs, (a), (b), 
 and (c) are quick sketches from memory, from out-of- 
 door observation or from poses held for only a brief 
 period of time. In the drawings from the pose, figs, 
 (d), (e), (f), and (g), charcoal has been used to give 
 opportunity for expressing color values. 
 
 Page 17 
 
 Landscape with Figures. This page gives a fine 
 example of composition in dark and light tones and of 
 the use of the figure in story illustration. 
 
ELEMENTARY GRADES 33 
 
 Pages 19, 20, 21, 22, and 23 
 
 Landscape Illustration. Pages 19 and 20 suggest a 
 method of studying the principles of composition, pre- 
 paratory to original work. Page 19 shows a way of 
 studying the details of composition in a fine landscape. 
 Page 20 shows a number of compositions of roofs, tow- 
 ers, etc., selected from a photograph. By the use of 
 an adjustable finder pupils may identify each of the 
 smaller compositions on these pages, figs, (b), (c), (d), 
 (e), and (f), which have been taken from the larger 
 picture, fig. (a). They may then sketch similar sub- 
 jects from the window or from out of doors, and use 
 the finder in making selections from them. The same 
 method may be applied in studying the landscapes on 
 pages 21, 22, and 23. 
 
 The landscapes on pages 21, 22, and 23 show the 
 importance of the application of the principles of com- 
 position in the making of a picture. In each picture, 
 principal and subordinate masses are so arranged as to 
 tell clearly the story indicated by the title, and the 
 dark and light masses are so distributed as to form pat- 
 terns which will be readily seen by children. Page 22 
 has been selected especially for the play of pattern 
 through the trees, and for the directness, simplicity, 
 and character in the charcoal technique. 
 
 Pages 24, 25, 26, and 28 
 
 Examples of Applied Design. These pages show the 
 application of design to different materials. They have 
 been selected not only for beauty of design, but also 
 to illustrate the relation between color, texture, and 
 pattern, and to show how the one may enrich the other. 
 They should be studied in connection with pages 12, 
 
34 MANUAL CHICAGO ART COURSE 
 
 13, and 14, as fine examples of subordination and 
 rhythm in pattern, of color harmony and distribution 
 of color in design. 
 
 Page 27 
 
 Examples of Clay Modeling. The illustrations on 
 this page show the use of the principles of composi- 
 tion in exercises in a plastic medium. Figs, (a), (b), 
 and (c) show the use of geometric design in the making 
 of tiles; fig. (d) shows a nature subject arranged as a 
 decorative panel; fig. (e) shows how clay may be used 
 in original illustration. 
 
 BOOK VII 
 
 Pages 4 and 5 
 
 Drawings from Groups. The examples given show 
 the use of charcoal and color in the representation of 
 pottery and nature forms in simple tones. They sug- 
 gest subjects suitable for the grade, illustrating the 
 principles of perspective and group composition and 
 a characteristic rendering of details of color and 
 structure. 
 
 Pages 6 and 7 
 
 Drawings from Nature. These drawings suggest 
 subjects suitable for the grade and give examples of 
 characteristic form, foreshortening, and growth in flow- 
 ers, foliage, etc., and of technique in charcoal, pencil, 
 and ink. In the drawing of the Canterbury Bells, fig. 
 (a) on page 6, the color values are expressed by tones 
 of charcoal. In the drawing of the Morning Glory, 
 fig- (b), pencil is used, to concentrate attention upon 
 the study of detail and structure. Both these examples 
 suggest the advance the nature drawings in this grade 
 should show over those in the grades below. On page 
 
ELEMENTARY GRADES 35 
 
 7, the Fuchsia, fig. (a), the Apple Blossom, fig. (e), and 
 the Checkerberry, fig. (f), suggest suitable subjects 
 for free brush drawing in this grade. The characteris- 
 tics of each plant, including details of growth and 
 position, are expressed in the silhouette. Figs, (b), 
 (c), and (d) suggest a way of studying selected details 
 with a view to making use of them in design. 
 
 Page 8 ' /-^ 
 
 Design. Flower Compositions. The examples on this 
 page suggest subjects and arrangements suitable for 
 original compositions. Pupils who have acquired some 
 appreciation of rhvjhm and pattern in the making of 
 units and repeated patterns will recognize the necessity 
 for applying the same principles in the selection and 
 arrangement of flower forms in a decorative panel. 
 Figs, (d) and (e) show a line pattern and a dark and 
 light pattern from the same study; figs, (f) and (g) 
 suggest reversing the distribution of dark and light in 
 a composition to develop appreciation of space rela- 
 tions. Figs, (a), (b), and (c) show three variations of 
 the same line pattern. The examples of flower panels 
 in color on page 26 may be studied in connection with 
 this page, also the flower panels in the book covers on 
 page 21. 
 
 Page 9 
 
 Design. The borders on this page illustrate the prin- 
 ciples of rhythm and subordination. Figs, (f) and (g) 
 suggest a method of varying a design by varying the 
 distribution of dark and light tones. Figs, (a) and (c) 
 show the use of three values. Pages 24, 25, and 27 may 
 also be referred to for examples of nature units in 
 applied design. 
 
36 MANUAL CHICAGO ART COURSE 
 
 Pages 10 and 11 
 
 Design. These pages give examples of designs in 
 squares and oblongs and of borders and surface de- 
 signs showing how pattern is secured by modifications 
 in the contour of the dark and light spaces. In the 
 surface patterns on page 10, figs, (e) and (f), rhythm 
 and continuity of pattern, both in the dark and in the 
 light spaces, are secured by skillful arrangement and 
 spacing of the units. In the borders on page 11, figs, (d) 
 and (e), the units themselves have been modified to 
 make the pattern conform to these principles. The 
 applied designs on pages 24, 25, 27, and 28 may also 
 be referred to for examples of the use of geometric 
 motives in applied design. 
 
 Pages 12 and 13 
 
 Drawings and Paintings from the Figure. Fig. (a) 
 on page 12 is a quick sketch in brush and ink from 
 memory. Charcoal has been used for the drawings 
 from the pose, figs, (b) and (c), to give opportunity 
 for the expression of color values. The examples on 
 page 13 show interesting grouping and environment in 
 figure compositions and suggest the use of the figure 
 in story illustration. 
 
 Pages 14 and 15 
 
 Drawings from Nature and from Masterpieces. Page 
 14 gives examples of simple direct characterization of 
 tree types in different mediums: The Pine, fig. (a); 
 the Birches, fig. (b) ; the Fir, fig. (c). In these drawings 
 the differences in the branching of each type are indi- 
 cated, also the grouping of its foliage masses, each 
 medium being used in a characteristic way. Page 15 
 
ELEMENTARY GRADES 37 
 
 shows the use of free brush drawing in the study of 
 landscape masses. Figs, (a) and (b) suggest the appli- 
 cation of this method in out-of-door sketches; figs, (c) 
 and (d), in the study of two compositions by Corot. 
 Any of the landscapes from nature on pages 16, 17, 
 
 18, 19, and 20 may be studied in this way, to cultivate 
 appreciation of the essential structure in a composition 
 and to give power in original illustration. 
 
 Pages 3, 16, 17, 18, 19, and 20 
 
 Examples of Landscape Composition. The land- 
 scapes on these pages have been selected especially for 
 charm and simplicity of subject and treatment. They 
 should be studied for color, for composition and for 
 story, and to make clear to pupils how the principles 
 of composition are used in story illustration. The illus- 
 trations on page 19 and fig. (a) on page 16 will be 
 helpful as examples of charcoal technique. Pages 17, 
 
 19, and 20 give examples of buildings interestingly 
 grouped, and of roof lines which make interesting 
 patterns against the sky, suitable for window sketch- 
 ing. By the use of an adjustable finder portions of 
 any of the pictures on these pages may be selected and 
 enlarged, to give opportunity for definite study of the 
 principles of landscape composition, introductory to 
 original illustration or to out-of-door or window 
 sketching. 
 
 Page 21 
 
 Suggestions for Applied Design. This page gives 
 an alphabet in small roman lettering, also an example 
 fig. (c), of the use of this lettering in a book page. 
 Figs, (a) and (b) suggefit suitable arrangements of 
 panels, titles, etc., in book covers. 
 
38 MANUAL CHICAGO ART COURSE 
 
 Pages 22 and 23 
 
 Examples of Design in Handwork. These pages 
 give examples of the application of the principles of 
 composition to designs in wood, metal, leather, and clay. 
 They show that design is a matter of structure as well 
 as of ornament, and that structure, function, and 
 material determine the character and the amount of 
 the ornament used. 
 
 Pages 24, 25, 26, 27, and 28 
 
 Examples of Applied Design. These pages show the 
 application of design to different materials. They 
 should be studied in connection with pages 8, 9, 10, 
 and 11 as fine examples of spacing, proportion, and 
 rhythm; of color harmony; and of distribution of 
 color and of dark and light in design ; and to illustrate 
 the relation of texture, color, and pattern in design. 
 
 BOOK VIII 
 Pages 4, 7, 8, and 9 
 
 Drawings from Nature. These drawings show the 
 use of water color, charcoal, and pencil in expressing 
 characteristic form, color, growth, and foreshortening 
 in flowers, foliage, etc. In the drawing of the Petunias 
 on page 4, details of color and of color value are more 
 fully expressed than in the examples given in preced- 
 ing books of the series, indicating closer study and 
 more accurate characterization of color in free brush 
 drawing. Pencil outline is used for the drawings of 
 the Wild Rose on page 7, to secure more definite study 
 of characteristic growth, foreshortening, etc. Figs, (b) 
 to (i) inclusive, suggest the study of selected details 
 for use in design. In the drawing of the Lily on page 8 
 
ELEMENTARY GRADES 39 
 
 and of the Snowballs on page 9, dark and light tones 
 are expressed more in detail than in the examples 
 given in preceding books of the series, indicating more 
 accurate characterization of color values. In the draw- 
 ing of the Snowballs a gray background has been 
 placed behind the flowers, thus adding another tone 
 to the study. 
 
 Pages 5 and 6 
 
 Drawings from Groups. The examples given illus- 
 trate group compositions suitable to the grade. They 
 show the use of charcoal and of pencil in representing 
 pottery and nature forms in mass and in outline, and 
 suggest characteristic rendering of details of form and 
 color in these mediums. In the drawing on page 5, the 
 dark and light tones are expressed more in detail than 
 in the preceding books of the series, indicating more 
 accurate characterization of color values. The relation 
 of the colors in the objects to those in the background 
 are also included in the study. Figs, (a), (b), (c), 
 (d), (e), and (f) on page 6 suggest a way of studying 
 details of structure in pottery. 
 
 Page 10 
 Drawings from the Figure. The drawings on this 
 page suggest suitable poses for the grade, and char- 
 acteristic handling of charcoal and pencil in expressing 
 form and color values. In the half length drawing, 
 fig. (a), the color values in the figure and in the back- 
 ground and their relation to each other, are included in 
 the study. Simplicity in the treatment of masses em- 
 phasizes the essential characteristics of each figure. 
 
 Page 11 
 Drawings from Nature. • These drawings show the 
 use of charcoal and pencil in the characterization of 
 
40 MANUAL CHICAGO ART COURSE 
 
 both trees and environment. The experience which 
 pupils have had in the preceding grade in selecting 
 compositions w^ith a finder from landscape pictures will 
 help them in the selection of landscape subjects out 
 of doors. 
 
 Pages 12 and 20 
 
 Studies and Compositions from Buildings. The 
 illustrations on page 12 give examples of subjects suit- 
 able for out-of-door sketching, window sketching, and 
 drawings of doorways, interiors, etc. Page 20 sug- 
 gests the use of out of door sketches in original com- 
 position, the principles involved being the same as 
 those involved in flower composition in panels (page 
 19). Figs, (b) and (c) show two compositions from 
 the same landscape, one in line and one in dark and 
 light. Figs, (c), (d), and (e) show three different dis- 
 tributions of dark and light in the same composition, 
 suggesting a valuable method of developing apprecia- 
 tion of pattern in a composition. Fig. (a) shows a 
 composition in three values. 
 
 Pages 13, 14, and 15 
 
 Examples of Landscape and Figure Composition. 
 These pages illustrate the close relation between sub- 
 ject and composition in a fine picture. They should 
 be studied for the thought they express, and as exam- 
 ples of the masterly use of line and of dark and light 
 masses in landscape and figure composition. Pages 13 
 and 14 show characteristic patterns formed by tree 
 masses silhouetted against the sky; page 15 shows a 
 group of figures making an interesting pattern against 
 buildings in the background. 
 
ELEMENTARY GilAlifig 41 
 
 Pages 3, 16, 17, and 18 
 
 Design. The designs on these pages show arrange- 
 ments in line and in dark and light, with both geo- 
 metric and nature motives. Figs, (b) and (c) on page 
 16 show two variations of a design in a square. Figs. 
 (d), (e), (f), and (g) show four variations of a design 
 in an oblong, and suggest a valuable inethod of devel- 
 oping appreciation of rhythm and proportion in spac- 
 ing. Fig. (a) shows the use of a geometric unit in a 
 border. On page 17, figs, (a), (b), and (c), designs 
 made by arranging nature motives in geometric shapes 
 are shown. Figs, (d), (e), and (f) show the use of 
 nature motives, principal and subordinate, in bor- 
 ders; fig. (e) suggests a suitable adaptation of 
 a unit to the space formed by the corner. Fig. 
 (d) on page 18 shows an alternate unit formed between 
 the geometric units in a surface pattern. The exam- 
 ples on page 3 suggest the use of color in design, in two 
 and three values. Fig. (a) shows a color scheme from 
 nature, modified so as to secure a color harmony; fig. 
 (b) shows two tones of one color; figs, (c) and (d) 
 show the use of two colors with black. Pages 22, 23, 
 24, 25, 27, and 28 may also be referred to for examples 
 of the use of nature and geometric motives in applied 
 design. 
 
 Page 19 
 
 Design: Flower Composition in Panels. The exam- 
 ples on this page suggest subjects and arrangements 
 suitable for original compositions. They illustrate the 
 principles of design upon which the original work is to 
 be based. Figs, (d) and (e) show a line pattern and a 
 dark and light pattern from the same study. Figs. 
 (a), (b), and (f) show the use of two and three tones. 
 
42 MANUAL CHICAGO ART COURSE 
 
 The flower panel in color on page 26 may be referred 
 to in connection with this page, also page 26 of the 
 Seventh Year Book. 
 
 Page 21 
 
 Suggestions for Applied Design. This page gives 
 examples of letters suitable for headings, book titles, 
 etc., in printing, needlework, or other handwork re- 
 quiring initials. Figs, (b) and (c) suggest arrange- 
 ments of lettering and decorative panels, in book 
 covers and book pages. 
 
 Pages 22, 23, 24, 25, 26, 27, and 28 
 
 Examples of Applied Design. These pages illustrate 
 the close relation that exists between structure and 
 ornament in a work of art, and between color, texture, 
 and pattern in applied design. They should be studied 
 in connection with pages 3, 16, 17, 18, and 19, as fine 
 examples of rhythm and proportion in spacing, of 
 color harmony, and of distribution of color and of dark 
 and light in design. Page 26 suggests a method of 
 studying color composition and of selecting color schemes 
 for use in original work. 
 
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