,transcriber's ,note3 ,bold text will be displayed using the equals sign3 ,this is bold text4 ,these books were planned in a series of conferences and consultations with leading art teachers and educators1 among whom were the following3 ,miss ,bonnie ,e4 ,snow1 ,formerly ,director of ,art1 ,public ,schools1 ,minneapolis1 ,minn4 ,miss ,wilhelmina ,seegmiller1 ,director of ,art1 ,public ,schools1 ,indianapolis1 ,ind4 ,miss ,harriette ,l4 ,rice1 ,director of ,art1 ,public ,schools1 ,providence1 ,r4 ,i4 ,mr4 ,walter ,scott ,perry1 ,director of the ,art ,department1 ,pratt ,institute1 ,brooklyn1 ,n4,y4 ,mrs4 ,m4 ,e4 ,riley1 ,director of ,art1 ,public ,schools1 ,st4 ,louis1 ,mo4 ,dr4 ,hugo ,muensterberg1 ,professor of ,psychology1 ,harvard ,university4 ,mrs4 ,alice ,w4 ,cooley1 ,department of ,education1 ,university of ,north ,dakota4 ,mr4 ,john ,s4 ,clark1 ,boston1 ,mass4 ,,text ,,books ,,of ,,art ,,education ,,book ,,iv4 ,,fourth ,,year ,,by ,,hugo ,b4 ,,froehlich ,,formerly ,,instructor ,,in ,,pratt ,,institute ,,brooklyn1 ,n4,y4 ,,and ,,bonnie ,e4 ,,snow ,,formerly ,,supervisor ,,of ,,drawing ,,in ,,the ,,public ,,schools ,,of ,,minneapolis1 ,,minn4 ,illustration ,,the ,,prang ,,educational ,,company ,,new ,,york ,,boston ,,chicago ,copyright1 #aijd1 ,by ,,the ,,prang ,,educational ,,company ,copyright1 #aijf1 ,by ,,the ,,prang ,,educational ,,company ,preface4 ,in presenting to the public the series of ,text ,books of ,art ,education1 of which this volume is a part1 it is desired to state briefly the aims and purposes of the plan upon which the series is based4 ,it is not necessary to review the history of art education in public schools1 nor to present argument for the introduction or retention of drawing as an important study4 ,these questions have been exhaustively treated1 and need no fresh discussion4 ,the school that does not offer to its community some kind of systematic art instruction is today an exception4 ,education along specific lines should conform to the philosophy which is accepted as fundamental in general educational work4 ,the educational principles adhered to in these books are1 therefore1 in accord with the psychological laws of child development which are endorsed by the leading educators of the present time1 and the effort has been made to work out in these books a series of lessons that shall be not only educationally sound and artistically correct1 but at the same time adapted in the different stages to the child's ability to comprehend and his power to express4 ,with this end in view1 the lessons in the ,text ,books of ,art ,education have been divided into three groups which may be known as the ,observational or ,objective ,group1 in which the study of things is the aim2 the ,subjective ,group1 in which the study of principles or laws of beauty is the aim2 and the ,creative ,group1 in which the application of accumulated knowledge and ability is the aim4 ,in furthering the work of the first group1 the topics so familiar to the art teacher of our modern schools are treated--landscape1 plants1 life1 and still life4 ,in the second group are presented the principles of perspective1 of industrial drawing1 of color harmony1 and most important of all1 the principles of pure design4 ,in the third group are placed creative exercises in composition1 in decorative design1 and in many forms of manual training4 ,while the same division of work is kept throughout the course1 the manner of presentation differs greatly in the different years4 ,in the primary grades1 the work is largely objective in its character4 ,children are taught to see and to do4 ,in the intermediate grades1 the children are introduced to the principles of arrangement1 ,balance1 ,rhythm1 and ,harmony1 which have been adopted as the working basis of this series of books1 and in the light of which the subjective and creative work of the upper grades is planned4 ,as the work progresses through the different years1 the subjective and creative sides are more and more emphasized1 and the study of objects is felt to be merely a means necessary to an end4 ,all through the series1 there is a definite1 logical progression1 so that in schools where these ideas are put into practice1 there should be no ground for the complaint that the work of the intermediate and grammar grades falls below the work of the primary grades1 in general excellence4 ,these books are the outgrowth of years of experience in practical fields of work4 ,they have been prepared with a keen appreciation of the obstacles which have confronted the art teacher in public education1 and with an intimate knowledge of the child mind1 in its various stages of development4 ,never before has an attempt been made to put into the hands of children a text of lessons in art4 ,the illustrations serve the double purpose of illuminating the text and of furnishing the children with standards of work in the various mediums4 ,for the ,theory of ,color ,relations used in these books1 special acknowledgment is due to ,dr4 ,denman ,w4 ,ross1 of ,harvard ,university4 ,the lessons in design are preparatory to the fuller exposition in the upper books of ,dr4 ,ross's principles of arrangement--,balance1 ,rhythm1 and ,harmony4 ,we are indebted to ,messrs4 ,little1 ,brown1 and ,company1 for permission to use ,miss ,dickinson's poem1 ,the ,railway ,train1 on page #eh1 and to ,mr4 ,charles ,g4 ,blanden for the lines from his poem1 ,plea of the ,poets1 used on the page facing page #a4 ,the lines used on page #af are from ,james ,russell ,lowell's ,epistle to ,george ,william ,curtis1 and the verses on page #cj are from ,a ,boy's ,song1 by ,james ,hogg4 ,contents ,,page ,,out ,,of ,,doors 7,landscape7 #a ,use of a ,finder in ,selecting ,material for ,landscapes2 ,autumn1 ,winter and ,spring ,effects in ,color and in ,value2 ,the ,same ,landscape ,expressed in ,different ,arrangements of ,values2 ,trees in ,foliage and with ,bare ,branches2 ,pictures from our ,surroundings2 ,study of a ,masterpiece2 ,home ,exercises4 ,,growth1 ,,blossom1 ,,fruit 7,flowers and ,plants7 #af ,bittersweet1 ,iris1 and ,geranium in ,color2 ,use of the ,finder in ,sketching most ,interesting ,part of a ,growth for a ,sketch2 ,flowers and ,leaves in ,different ,positions2 ,growth of ,stems1 ,joints1 ,buds1 ,leaves1 and ,sprays2 ,root ,growths2 ,use of the ,accented ,outline2 ,composition from ,plant ,forms4 ,,life ,,and ,,action 7,the ,human ,figure1 ,animals1 and ,birds7 #cj ,brush ,studies in ,color from ,pose2 ,the ,same ,pose in ,different ,positions2 ,different ,steps in ,pose ,drawing2 ,proportion and ,action ,shown in ,leading ,lines or ,skeleton ,figures2 ,hands and ,feet2 ,dog and ,pigeon in ,leading ,lines1 in ,outline and in ,values2 ,study of a ,masterpiece2 ,home ,exercises4 ,,beauty ,,in ,,common ,,things 7,still ,life7 #dd ,beauty in ,common ,objects2 ,a ,bowl in ,four ,different ,mediums2 ,principles of ,grouping2 ,the ,accented ,outline in ,object ,drawing2 ,japanese ,lanterns ,studied in ,values2 ,use of the ,finder in ,making ,beautiful ,compositions2 ,home ,exercises4 ,,apparent ,,direction ,,of ,,edges ,,and ,,outlines 7,perspective7 #eh ,the ,circle in ,three ,positions2 ,foreshortened ,surfaces in ,common ,objects2 ,how to ,test ,foreshortened ,surfaces and ,converging ,lines2 ,foreshortened ,circle seen in ,beautiful ,historic ,baptismal ,font4 ,,measuring ,,and ,,planning 7,geometry7 #ff ,making ,simple ,tools with which to ,measure and ,plan2 ,drawing and ,dividing ,circular1 ,square1 ,oblong1 and ,triangular ,spaces2 ,how to ,place ,decorations within these ,divisions2 ,planning of ,patterns for ,portfolio1 ,box1 ,envelopes1 and ,pocket-book2 ,making ,case for ,newspaper ,clippings2 a ,simple ,alphabet and ,how to ,draw its ,plan2 ,initial ,letters4 ,,design #gf ,the ,color ,chart ,related to the ,scale of ,values2 ,colors in ,full ,intensity2 the ,neutral ,value ,scale1 ,showing ,seven ,steps ,between ,black and ,white2 ,dividing a ,space into ,large and ,small ,areas2 ,use of ,values in ,expressing ,light and ,dark ,effects2 ,space ,divisions to ,form ,plaids2 ,design ,motives from ,nature1 and ,their ,application in ,simple ,rhythms and ,balanced ,designs2 ,color ,schemes from ,nature1 and their ,application2 a ,portfolio whose ,beauty ,depends on ,arrangement and ,proportion of ,values2 ,pottery ,forms4 ,makers of song1 did you say8 ,finders of song1 be it told3 ,the music we fashion today ,is centuries old4 ,only we look and we see1 ,only we hear and we sing3 ,only we find in the tree ,and we find in the spring ,the beautiful thing4 ,,out ,,of ,,doors ,illustration ,,he ,,owns ,,the ,,bird ,,songs ,,of ,,the ,,hills2 ,,the ,,laughter ,,of ,,the ,,april ,,rills2 ,,and ,,his ,,are ,,all ,,the ,,diamonds ,,set ,,in ,,morning',s ,,dewy ,,coronet1-- ,,and ,,his ,,the ,,dusk',s ,,first ,,minted ,,stars ,,that ,,twinkle ,,through ,,the ,,pasture-,,bars ,,and ,,litter ,,all ,,the ,,skies ,,at ,,night ,,with ,,glittering ,,scraps ,,of ,,silver ,,light2 ,,the ,,rainbow',s ,,bar1 ,,from ,,rim ,,to ,,rim ,,in ,,beaten ,,gold1 ,,belongs ,,to ,,him4 ,,james ,,whitcomb ,,riley4 ,illustration ,the ,out-of-,door ,world in ,autumn4 ,have you ever been in the country1 or in a city park1 after the green of the maple-trees has turned to scarlet and gold8 ,if you have noticed the trees in their gorgeous hues1 you have probably found that the grass1 also1 shows patches of color not seen in the summer-time4 ,the sky is often very blue1 and its color is reflected in the quiet water of a lake or pool1 or in a gently flowing stream4 ,a smoky haze hangs over the distant trees1 and softens1 though it does not hide1 their brilliant coloring4 ,study the sketch on this page4 ,then paint an autumn picture4 ,show a bright blue sky1 a field or hillside1--once green1 but now touched with russet and brown1--a path or a pool of water1 distant foliage1 and one large tree4 ,save your picture to use in another lesson4 ,illustration ,making and ,using a ,finder4 ,if you look on page #d you will see three little pictures that seem quite complete in themselves1 and yet look like parts of the picture on page #b4 ,the upper sketch shows the same big tree by the stream1 and the lower right sketch has been taken from the left side of the large picture4 ,a small part near the middle of the large picture was then selected1 and this part was enlarged to make the third sketch shown4 ,you can often find some parts of your large sketches that are more interesting than others4 ,on this page are some drawings of a little device which will help you to do this4 ,it is called a finder1 and is simply an oblong opening cut from a piece of paper so as to leave all around it a margin an inch or two wide4 ,it looks like a little mat for a picture1 or like a window-frame4 ,two square corners or ,l-shaped pieces of paper can be placed together so that the size of the opening can be changed by pushing the uprights nearer together or by pulling them farther apart4 ,an adjustable finder like this 7shown in the right sketch7 can be used in a number of ways4 ,draw on a sheet of #i x #ab paper1 an oblong seven inches high and three1 four1 or five inches wide4 ,around the oblong1 which is to be cut out1 leave a margin of at least an inch4 ,slip this large finder over the autumn sketch you made in the lesson on page #b1 until you have found the part you like best4 ,cut this part out1 and mount it on a large sheet of fresh paper1 leaving a pleasing margin4 ,the class sketches will make a fine exhibition4 ,illustration ,illustration ,illustration ,illustration ,shapes and ,growth of ,trees4 ,no one can study out-of-door pictures without wishing to know how to draw trees4 ,this can best be done by observing from a distance some tree as it grows4 ,the pictures on this page tell you plainly that the willow and the sycamore1 or buttonwood tree1 were chosen for the sketches1 yet not a single leaf is shown as you would see it if you held it in your hand4 ,what is it1 then1 that tells the story8 ,it is the truthful drawing of the big things--the shape of the mass of foliage1 the height and width of the trunk below the boughs1 the size and direction of the branches1 and the way they grow from the trunk4 ,in the sketch of the willow1 the many small branches are plainly seen1 and you can easily understand why it is that the willow bends and sways so gracefully in the wind4 ,the brush strokes show something of the slender1 pointed character of the leaves4 ,the sycamore is not round and regular like the willow1 but shows patches of foliage and stretches of bare branches in a ragged and uneven way4 ,its shape is very different from the shape of the willow4 ,make a large drawing with ink or crayon1 from some tree out of doors4 ,illustration ,shapes of ,bare ,trees4 ,winter is the best time in all the year to study the growth of trees4 ,although the leaves are gone and the branches are bare1 the trees themselves are beautiful4 ,it is well to study a tree that is at some distance from you1 so that its dark branches may be seen against the light sky4 ,the willow and the sycamore are shown without their leaves on this page1 and their shapes stand out clearly4 ,you can see the strong trunk1 and the branches that spring from it4 ,the trunk of the sycamore becomes smaller as it throws off its boughs1 and all the branches and twigs taper at the end4 ,measure the height of the sycamore tree in the sketch1--from the topmost twig to the ground1--and see what part of the whole height the trunk below the foliage measures4 ,is it half as high1 or only a fourth or a third8 ,notice trees out of doors and see how much of their height is above the trunk4 ,children sometimes draw trees with tall1 stiff trunks and short1 stunted tops4 ,study and draw a beautiful tree without leaves4 ,make it of large size and use brush or crayon4 ,try to tell in your picture just what tree you studied4 ,illustration ,what fun it is to gather nuts in the fall6 ,see the children in the picture4 ,one boy clubs the tree until the nuts come rattling down and are half hidden in the grass and dry leaves4 ,recall some pleasant time you have had gathering nuts or apples4 ,draw a picture showing where you were1 what you gathered1 and the kind of a tree on which the fruit grew4 ,show distant bushes and trees1 and place the main tree so that its branches rise against the sky4 ,make your picture tell an interesting story4 ,illustration ,sunset in ,winter4 ,when you painted autumn landscapes1 you thought1 no doubt1 that the world was more beautiful in ,october than at any other season4 ,perhaps it seemed to you that the cold1 snow-covered earth could never be so interesting to paint4 ,look at this winter picture4 ,the sky is bright and the distant trees look violet4 ,did you ever notice that the snow at sunset does not seem to be white as you look across it to the horizon8 ,if you hold a sheet of white paper in your hand and glance from that across the snow-covered fields at sunset1 you will see that the whiteness of the snow has changed to violet-gray4 ,sometimes1 too1 the snow seems to be tinted by the rosy light of the sunset4 ,as you study out-of-door objects1 you will find that their colors appear different at different times of the day1 or as they are near you or far away4 ,paint a winter sunset4 ,try to see and to paint truthfully the color of distant trees1 snow-covered ground1 a far-off steeple or tower1 or a tree near at hand4 ,illustration ,a ,sunset ,picture in ,values4 ,we can show with black crayons1 with charcoal1 or with brush and ink many pictures of out-of-doors that are rich in color4 ,even a sunset sky can be shown in grays1 so that we will think of the lovely colors that the grays1 or values1 express4 ,here is our winter sunset1 shown in values4 ,you will remember that by values we mean the different degrees of light and dark used to express color4 ,compare the two sunset pictures4 ,the light gray-violet of the snow is shown in a light gray or neutral value in the picture on this page4 ,the trees are very much darker1 and the sky is neither as light as the snow nor as dark as the trees4 ,the little rabbit makes a dark spot in the snow1 and the foreground--that part of the picture that seems to be nearest--is white4 ,you see that it has taken about four values to express the colors seen4 ,draw in values the sunset picture you painted in the lesson on page #h4 ,which of all the colors used do you think should be shown in darkest value8 ,which in lightest8 ,make your picture large1 and use charcoal1 crayon1 or brush and ink4 ,then with your finder select that part of your picture which you like best4 ,cut out this part1 and mount it neatly4 ,illustration ,a ,different ,arrangement of ,values4 ,o ,moon6 in the night ,i have seen you sailing1 ,and shining so round and low6 ,when you are out of doors or are looking through a window at some of nature's pictures1 think how you would paint or draw in values the different things you see4 ,notice which objects appear darkest1 which lightest1 and which might be expressed by a half-way gray1 or middle value4 ,if you learn to see these light and dark effects in the world about you1 pictures1 photographs1 and out-of-door scenes will become matters of great interest to you4 ,on this page is the same little piece of the world we saw under sunset skies4 ,the sun has gone to rest1 and the bright colors in the sky have given place to darkness4 ,but in the midst of the darkness the moon rises1 and sheds its white light over the sleeping world4 ,how beautiful out-of-doors is now6 ,see the darker value of the sky at night1 and the pleasing contrast made by the big white moon4 ,a soft gray shadow is over all the snow4 ,the moonlight on the snow does not dazzle our eyes1 as the sunshine does by day4 ,paint with ink or draw with crayon a moonlight picture4 ,illustration ,a ,beautiful ,composition4 ,in painting or drawing a picture1 it is not enough to put down a number of shapes or lines without regard to their relation to each other4 ,we must arrange or compose them1 just as we arrange furniture in a room4 ,we must study to place things where they will best satisfy our idea of beauty4 ,in the picture on this page1 painted by ,alexander ,harrison1 an ,american artist1 the horizon line is placed above the middle1 so that the artist might show how the waves broke on the shore1 and sent rippling1 flowing lines of water along the shining sand4 ,the motion of the water is as regular as if it were keeping time to music4 ,can you see how the big curves seem to mark the beats8 ,notice1 too1 the arrangement of values--the light foam1 the darker sky and ocean1 the wet sand1 and the solid mainland4 ,only four things are shown--sky1 moon1 sea1 and shore--but they are so drawn as to give the necessary variety4 ,pictures from ,our ,own ,surroundings4 ,out of ,doors in the ,city4 ,if all the beauty of out-of-doors were in the country1 what a sad thing it would be for the boys and girls who spend their lives in cities and towns6 ,it is true that we think of the country when we speak of the landscape1 and many artists go there when they wish to gather material for pictures4 ,but often the things you see out of doors in a city or town are as interesting to sketch as country landscapes4 ,keeping a ,journal4 ,did you ever hear of a person who kept a journal1 and wrote in it the interesting things that happened from day to day8 ,have you ever tried it yourself8 ,you need not think your life dull because you do not take journeys or see great sights or do unusual deeds4 ,some of the best journals we know about have been kept by people who lived quiet lives4 ,they wrote about the little things they saw and heard and did4 ,it was the way in which they told these things that made their journals as interesting as storybooks4 ,an ,artist's ,journal4 ,artists and people who love to make pictures keep a kind of journal that they call a sketch-book4 ,they are always on the lookout for material for pictures4 ,they see much more than people do who are not trained to observe4 ,some ,leaves from a ,sketch-book4 ,look at the sketches on page #ac4 ,they are leaves from an artist's sketch-book4 ,he tells of a shady road winding by a little church in a village2 of freight-boats on a canal or river2 of a view from a high window in a city office building2 of a fine stone arch1 and beyond it a bridge with a railroad train rushing across it2 of a fountain in a city park1 and of a grimy1 noisy factory1 with its long low roofs1 its smoke-stacks1 and its line of waiting cars4 ,have you thought of looking for pictures in places like these8 ,pictures in ,your ,own ,town4 ,where are the interesting places in the town in which you live8 ,is the town near the water8 ,then there are boats and bridges4 ,is there a machine shop1 a mill1 or a quarry8 ,then you will find something to draw1 as interesting as the factory in the artist's sketch4 ,does a railroad run through the place8 ,there is the station1 the switch tower1 the engines and the freight cars4 ,or1 perhaps there is a blacksmith shop or a trolley car4 ,keep your eyes open1 and find the things in your town that show the life of the people4 ,tomorrow1 bring a sketch showing some picture you have seen in the place where you live4 ,illustration ,illustration ,the ,colors of ,springtime4 ,one of the earliest shrubs that blossoms in the springtime is the forsythia4 ,its blossoms cover the whole bush before the leaves come1 making a mass of yellow in the midst of the green grass4 ,yellow and green are favorite colors of springtime4 ,choose some flowering tree or shrub to paint in a picture4 ,in painting a landscape like the one on this page1 one good way is first to draw with a brush line and very light violet color1 the shapes that must be carefully placed4 ,then add the sky and foreground washes and drop on the damp paper the colors you see in the bush or tree4 ,draw the trunk of the tree1 or the branches of the shrub1 in dark gray-violet4 ,a path or road may be wiped out of the foreground with the nearly dry brush1 and a little red and yellow added to give the color of sandy ground4 ,paint a spring landscape1 not like the one in the book4 ,home ,exercises4 #a4 ,draw an elm-tree as it looks in winter4 #b4 ,paint a maple-tree as it looks in ,october4 #c4 ,use a large finder on one or both of your tree sketches4 ,decide in which space the tree looks best4 ,then cut out this selection and mount your picture neatly4 #d4 ,show a snow man in a winter landscape4 #e4 ,paint a sunset on the lake or river4 #f4 ,show in a picture the time of year you like best4 #g4 ,make a brush drawing to illustrate3 ',lady ,moon1 ,lady ,moon1 where are you roving8' ',over the sea4' ',lady ,moon1 ,lady ,moon1 whom are you loving8' ',all who love me4' ,illustration ,illustration3 ,,growth 4 ,,blossom 4 ,,fruit ,i know the charm of hillside1 field1 and wood1 ,of lake and stream and the sky's downy brood1 ,of roads sequestered rimmed with sallow sod1 ,but friends with hardhack1 aster1 goldenrod1 ,these were my earliest friends1 and latest1 too1 ,still unestranged1 whatever fate may do4 ,illustration ,green ,things ,growing4 ,oh1 the green things growing1 the green things growing1 ,the faint sweet smell of the green things growing6 ,i should like to live1 whether ,i smile or grieve1 ,just to watch the happy life of my green things growing4 ,oh1 the fluttering and the pattering of those green things growing6 ,how they talk1 each to each1 when none of us are knowing2 ,in the wonderful white of the weird moonlight ,or the dim dreamy dawn when the cocks are crowing4 ,i love1 ,i love them so1--my green things growing6 ,and ,i think that they love me1 without false showing2 ,for by many a tender touch1 they comfort me so much1 ,with the soft mute comfort of green things growing4 ,dinah ,maria ,mulock4 ,illustration ,brush ,studies of ,grasses4 ,grasses and sedges are some of the green things that need but little encouragement4 ,in fact1 they grow to greatest size in some neglected fence corner or in places so wet that other plants do not flourish4 ,grasses lack the bright colors of flowers1 but they are fine studies to draw1 because of their simple1 direct growth and the interesting shapes of their leaves and heads4 ,you will enjoy brush drawings1 using color or ink1 of different kinds of grasses4 ,select three or four of large size and place them in a bottle4 ,they will then fall gracefully into a natural position4 ,behind the bottle place a tall background of some kind1 so that the shapes of the grasses will be clearly seen4 ,use paper large enough to show in life size the grass heads and part of the leaves and stems4 ,before beginning the study1 practice drawing grass leaves with one stroke of the brush1 without first outlining their shapes4 ,then draw from the arrangement before you1 working freely with the brush4 ,in studying the leaves1 notice where the greatest width is seen4 ,observe the size and direction of the stems1 and draw them so that they express the upright growth and the grace of the plant4 ,grass stems are not like the stems of flowering plants or vines4 ,try to see and express the difference4 ,selecting with a ,finder the ,most ,interesting ,part of a ,sketch4 ,illustration ,do you see what has been done with the drawing of grasses8 ,a finder was moved about on the sketch until a pleasing arrangement of shapes appeared within the opening4 ,you will notice it was not necessary to show the whole of each leaf and head4 ,the sketch on this page would be quite satisfactory1 if it were cut out along the inner edges of the finder and mounted upon another sheet of paper4 ,brush drawings of grasses and common weeds are beautiful when drawn in color upon a tinted background4 ,you can tint paper with water-color in much the same way that you put on landscape washes4 ,dampen a sheet of paper1 and then apply a very little red1 blue1 and yellow1 washing the three colors down the sheet4 ,a little practice will teach you how to use the color to get a green-gray1 a yellow-gray1 or a blue-gray tint4 ,tint several sheets at one lesson4 ,using a sheet of your tinted paper1 make a brush drawing in color1 from a growth of grass or sedge4 ,draw in large size1 and make a finder picture from your sketch4 ,illustration ,autumn ,leaves and ,berries4 ,if you have never seen the bitter-sweet vine growing over a dead tree1 you have missed a beautiful sight4 ,in the fall its bright berries hang in graceful clusters1 and stay on the vine long after its leaves have fallen4 ,the real berry is held in the close grasp of a several-parted case until a sharp frost bursts the outer covering and shows the scarlet fruit within4 ,the sketch on this page is from a spray of bittersweet before the leaves have dropped4 ,you can see that in the leaves more yellow than is usual was used1 because their color is decidedly yellow-green4 ,most of the berries are shown1 still held in their orange-colored cases4 ,can you tell what two colors were used in painting the berries8 ,sometimes yellow and green alone do not give you the green you may desire2 if you add a little red it will soften1 or make gray1 a green that seems too bright4 ,choose a bright spray of autumn leaves and place it against a background4 ,study the growth1 the different shapes of leaves and berries1 and the color4 ,paint in life size just what you see4 ,a ,flower and ,its ,growth ,expressed in ,color4 ,illustration ,members of the iris family are found in many places4 ,the dwarf garden iris blossoms very early in the spring1 and has short1 stout stems1 bearing several flowers4 ,the common blue flag found in wet places is a country cousin of the garden iris4 ,both are related to the flower-de-luce1 the stately lily of ,france4 ,they are unlike other flowers in shape1 and are beautiful in color1 with sword-shaped leaves4 ,the sketch on this page shows two different colors of the iris4 ,if you cannot find flowers like them1 choose a stalk of blue flag or early garden iris4 ,flowers of all kinds must be painted with fresh1 clean colors1 used directly from the box4 ,do not mix or stir color in the palette4 ,colors that are handled too much become muddy and dead4 ,one color may be dropped in another1 allowing them to blend on the paper4 ,you have made stained glass effects in this way4 ,sometimes two colors may be taken in the brush at once4 ,they will flow together as you draw4 ,for instance1 if you fill your brush with yellow and dip it lightly in blue1 you can make a brush stroke of green4 ,in painting the violet iris1 red may be dropped in blue4 ,before painting your flower study1 practice drawing leaves and large petals in this direct way4 ,illustration ,a ,flower in ,different ,positions4 ,suppose that in the sketch on page #bj1 each leaf had been of the same size and shape4 ,would you have liked the picture as well8 ,plants that are regular in their growth1 like the fern or the ivy1 are seldom chosen for sketches4 ,we like to see a variety of shapes and sizes4 ,even when the leaves of a plant have the same general shape1 their positions make their shapes appear unlike4 ,so it is with flowers4 ,on this page are three different drawings of the same flower4 ,can you tell why they are not alike8 ,it is because the flower was held in three different positions4 ,when the flower-head is turned toward you1 as in the first sketch1 its shape is quite like a circle4 ,in the second sketch1 the shape is much narrower from front to back1 and some of the petals appear shorter4 ,can you tell how it was held8 ,the third sketch shows the back or under side of the flower1 and the shape is again different4 ,you see1 then1 that every flower you draw must be studied carefully1 to find the shape as it really appears to you4 ,take a large flower1 like the brown-eyed ,susan or the sunflower1 and draw it in different positions4 ,use brush or crayon for your sketches4 ,illustration3 ,,silver ,,poplar ,,balm ,,of ,,gilead ,,dogwood ,,horse ,,chestnut ,,lilac ,growth and ,shapes of ,tree ,buds4 ,in the bright days of ,february or early ,march1 before spring has really come1 place some branches of common trees and shrubs in water1 and keep them near a sunny window in the house4 ,you can then watch the buds swell1 as they waken from their long winter sleep4 ,every day will show some change in their shape and size4 ,you will enjoy making sketches of the twigs1 from day to day1 as the buds grow and the little leaves appear4 ,on this page are some drawings that show us different forms of growth1 and the different ways in which ,mother ,nature protects her tender baby leaves4 ,make some sketches from the beautiful tree buds of early spring4 ,illustration ,a ,study of the ,geranium4 ,in any window box of growing plants1 you will be almost sure to see the geranium4 ,it lifts its bright blossoms among the green leaves1 and grows thrifty and strong1 if its simple needs are supplied4 ,the sketch shows you a stalk of geranium4 ,the leaves were very similar in shape as they grew1 but in the sketch their position has given them four different shapes4 ,when you study your own stalk1 see if the leaves show you the same interesting variety4 ,do you notice that the flower-head does not show each blossom1 separate and distinct8 ,the shape of the whole cluster is expressed1 with a few petals showing more plainly near the outside of the cluster4 ,a good way to get the bright scarlet of the flower cluster is to paint it in with a yellow wash2 then drop in red4 ,you will need red to soften the green of the leaves1 and probably you will see a rosy color in some parts of the stalk and stems4 ,paint a stalk of geranium against a background1 at some distance from you4 ,illustration ,root ,growths of ,spring4 ,on your walks through the woods in the early spring days1 you surely have discovered these plant growths from roots which have lived all winter4 ,they are the bloodroot1 the hepatica1 and the fern4 ,the hepatica comes first1 with its pale violet blossoms nearly hidden under a thick covering of the dead leaves of the forest4 ,its little buds seem to be protected from the cold by soft garments of fur4 ,all winter long the spotted leaves of last autumn have stayed on the plant4 ,they are beautiful now1 in shape and in color4 ,the bloodroot has a large round leaf which folds close about the flower-bud until the snow-white blossoms open4 ,its root is a sort of underground stem1 and has a bright orange or red juice1 from which the plant is named4 ,find some of the root growths of early spring4 ,dig them up carefully1 without shaking the earth from the roots1 and place them where their whole growth can be seen4 ,make charcoal or brush drawings of the whole plant4 ,illustration ,the ,growth of ,leaves4 ,there are certain forms of growth that belong to different plant families4 ,in drawing from flowers and plants1 these family likenesses must always be truthfully shown4 ,a rose leaf does not grow like the leaf of a thistle1 and a pine needle is not at all like the thick1 round pad of a water-lily4 ,on this page are shown different growths from trees and plants that you know4 ,find the sketch of the slender leaves of the pine2 the palmate or hand-like leaves of the horse-chestnut1 with its seven leaflets growing from one footstalk2 the honeysuckle1 whose leaves sit closely on the stem2 the familiar clover1 with its three-parted leaf2 the rose1 and the wandering jew1 or joint plant4 ,study the ways in which these different growths are expressed4 ,bring twigs or sprays of different trees and plants1 and draw them carefully with pencil4 ,these are good studies for your sketch-book4 ,interesting ,growth of a ,vegetable4 ,illustration3 ,,tomato ,vegetables from the garden make fine studies to draw and to paint4 ,almost any fruit or vegetable is more interesting if studied as it grows4 ,we do not often choose to paint or draw a single flower without its stem1 leaves1 buds1 and all of the parts that are included when we speak of its growth4 ,it is the presence of all of these shapes that gives variety to a drawing4 ,do you not think the sketch of the tomato is much more interesting because it shows the growth of the plant8 ,the leaves1 stems1 stalks1 and the large and small tomatoes make an attractive arrangement of shapes4 ,they were first drawn just as they appeared1 and then the finder was moved about upon the sketch1 to find its most beautiful part4 ,illustration ,beans1 peas1 beets1 turnips1 radishes1 and many other vegetables may be brought from the school garden or from the garden at home1 to use in a drawing lesson4 ,a growth of cucumber vine would be an interesting study4 ,make a brush or charcoal drawing from something of this kind1 and then use your finder to select the most interesting part4 ,cut out your finder picture and mount it neatly4 ,the ,growth of the ,orange ,tree4 ,a ,familiar ,fruit4 ,when you see the bright pyramids of oranges on fruit-stands or in store windows1 do you wonder where the fruit comes from1 or upon what kind of a tree it grows8 ,in certain parts of our country there are a great many orange trees1 and the children of ,florida and ,southern ,california know them as well as the children of the north know apple or cherry trees4 ,the ,orange ,tree4 ,look at the picture of the tree1 on page #bi4 ,it is not a tree that one would choose to put in a landscape1 because it is not what is called picturesque--it is too trim1 even1 and regular4 ,its chief beauty is in its coloring4 ,its spheres of golden sunshine hang in the midst of glossy1 dark green leaves1 and sometimes the fruit stays on the tree until the buds and blossoms of a new crop appear4 ,it is no uncommon sight to see an orange tree bearing leaves1 buds1 blossoms1 and fruit1 all at the same time4 ,one of the sketches shows you a spray of orange blossoms4 ,they are white and waxy1 with a strong1 sweet fragrance4 ,gathering the ,fruit4 ,sometimes1 the trees are so heavily laden with fruit that props are put under the branches to keep them from breaking off before the crop is ready to be gathered4 ,the fruit is not allowed to fall from the tree1 but when it is ripe an army of pickers1 each one provided with a cutter and a canvas bag1 comes to the grove4 ,the pickers do not climb the tree and shake the boughs1 as you would do if you were gathering nuts1 but they mount ladders1 carefully cut each orange from its twig1 and put it in the bag4 ,the bags1 when filled1 are emptied into boxes1 which are carried to the packing house4 ,there the oranges are sorted into lots1 according to size1 wrapped in tissue-paper--each orange by itself--and packed in boxes for shipment4 ,you have seen them in their tissue wrapping1 after they have reached their journey's end4 ,designs from the ,orange4 ,one of the sketches on page #bi shows the growth of some oranges with their leaves and twigs4 ,below is a design made by repeating the shapes of the orange1 its leaves and stem4 ,any shape or group of shapes that is repeated in a design is called a unit4 ,do you know what suggested the unit shown in one of the small sketches above the tree8 ,sketch from the growth of any fruit you can get4 ,try to make from the shapes you find in your own study1 a simple unit of design4 ,illustration ,illustration3 ,,life ,,and ,,action ,where the pools are bright and deep1 ,where the gray trout lies asleep1 ,up the river and o'er the lea1 ,that's the way for ,billy and me4 ,people and ,animals4 ,an ,out-of-door ,picture4 ,on the opposite page is a picture that seems to invite you to close your books and go into the country for a picnic or for a day's fishing4 ,you cannot look at the grassy meadow1 the little river1 the tall trees1 the distant hills and woods1 without wishing that you might be there4 ,what fun it would be to sit on those big1 flat stones and dabble your feet in the water while you ate your lunch1 or to hold your fish-pole over one of the deep pools1 where the gray trout lies asleep6 ,a ,new ,interest4 ,if any one should ask you to tell what part of the picture interested you most1 what would you say8 ,would you think first of the stream1 its pleasant banks1 the tall trees1 the large stones1 the distant hills and fields8 ,or would you say at once that it was the presence of the boys in the picture that first attracted you8 ,you wonder where they came from1 where they are going1 what they are carrying over their shoulders and in their hands4 ,you are glad that there are two boys instead of one in the picture1 for in your own sports and games the pleasure is doubled if some one is with you4 ,our ,companions and ,friends4 ,suppose you were able to live in that part of the world that seems most beautiful to you4 ,do you think that the landscape alone1 or the most interesting of plants and flowers would be enough to make you happy8 ,no matter how much you enjoyed these things1 or how much you might love the beautiful country1 nothing could take the place of companions and friends4 ,no books or toys or fine houses could keep you from being lonely if you had no one to talk to or to play with4 ,our brothers and sisters and friends are worth all the books and toys and fine houses in the world4 ,our ,friends among the ,animals4 ,we have many good friends1 too1 among the animals4 ,it is true they cannot talk with us1 but some of them seem to understand what we say to them1 and they show us in many ways what they think and how they feel4 ,do you not know when your dog is glad or sorry1 thirsty or hungry1 proud or ashamed8 ,how does he tell you8 ,drawing our ,friends4 ,in the chapter that follows1 you will study your playmates1--the boys and girls that you know and like1--and some of your friends among the animals4 ,you will learn to draw them as they look1 and to express their action just as you expressed what you discovered about flowers4 ,the world is so full of a number of things1 ,i'm sure we should all be as happy as kings6 ,illustration ,drawing from a ,pose4 ,little children with their bright dresses and picturesque bonnets make delightful studies for us to draw and to paint4 ,they are generally glad to pose for a few minutes1 while having their pictures taken4 ,the sketch of this little child was made from the pose1 in a school-room4 ,the little girl stood on a table in front of the pupils and held a string1 which was fastened to a toy boat4 ,the color and shape of her sunshade and of the color-mass of her dress1 the position of her arm1 the size and length of her legs and feet1 were all carefully studied and drawn4 ,the blue waters of the lake1 the sail-boat1 and the sandy shore1 were added from memory to complete the picture4 ,make a pose drawing from your small brother or sister1 or from some little friend4 ,a pink or blue bonnet might be used as part of the costume1 instead of a hat4 ,let the pose represent some character or occupation4 ,add a very simple landscape4 ,use water-color or colored crayons4 ,illustration ,different ,positions of the ,same ,pose4 ,in your study of plants you found that the appearance of a leaf or flower depended upon its position4 ,in making a picture of a daisy as it grows1 we do not show the exact size and shape of leaves and petals1 as they would look if we laid them on paper and traced around them4 ,such a drawing1 while it might show certain facts of the plant1 would not tell the truth about its appearance4 ,in drawing from boys and girls1 also1 we must study appearances4 ,we know that our model has two eyes and two ears1 and that the nose is in the middle of the face4 ,yet the model may stand so that we do not see all or any of those features4 ,study the four drawings above1 and tell how the girl is standing in each sketch4 ,one of your schoolmates will pose while you make four five-minute sketches from four different positions of the same pupil4 ,make large drawings1 using charcoal or crayon4 ,your model should not stand more than five minutes without resting4 ,illustration ,three ,steps in ,pose ,drawing4 ,when you drew the shapes of trees1 you found that if you made a mistake in the proportions of a tree you could not make the picture truthful by drawing the branches1 the foliage1 or the little twigs ever so perfectly4 ,so it is in drawing from the figure4 ,suppose you plan a sketch that is ten inches from the top of the head to the foot4 ,a good way to do would be to draw a light line or place two dashes1 to indicate the height4 ,then decide how much of that height is needed for the head2 for the waist2 for the length of skirt or trousers2 for the legs and feet4 ,next1 think about the width and shape of these various parts1 and sketch them in as lightly and brokenly as the lines are in the first sketch on this page4 ,if your work is correct up to this point1 you can finish the shapes a little more1 as in the second sketch4 ,you will now have studied the shapes and proportions of the things of most importance in the sketch4 ,then the masses of light and dark may be expressed4 ,from the pose of one of your schoolmates1 try one large sketch1 done by the three stages shown above4 ,use charcoal or crayon4 ,illustration3 #a ,illustration3 #b ,illustration3 #c ,illustration3 #d ,some ,proportions of the ,human ,figure4 ,although these skeleton figures are stiff and angular in appearance1 from them you can learn something about the human figure that you will be glad to know4 ,in each of them the thigh line is exactly half way between the top of the head and the foot4 ,the knee-joint is half way between the thigh line and the foot4 ,the shoulder line is placed at the base of the neck1 and the elbow-joint is between two slanting lines that represent the lower and upper arm4 ,a knowledge of these things will help you in drawing the garments or clothes of a pose4 ,the waist is a little above the thigh line1 and is so drawn in ,figure #d4 ,the bottom of the blouse in ,figure #b is a little below the waist line1 but is still above the thigh line4 ,stand up and hold your arms close to your sides1 and notice where the tip of the middle finger comes1 in relation to the knee-joint4 ,be careful not to draw the arms too short or too long4 ,draw two skeleton figures like ,figure #a4 ,make them at least four inches tall4 ,on one skeleton draw the garments of a boy1 carefully studying the clothes worn by a real boy4 ,the other is to be dressed like a girl4 ,illustration3 #a ,illustration3 #b ,illustration3 #c ,illustration3 #d ,actions and ,attitudes of the ,human ,figure4 ,action and attitude1 as well as proportion1 can be expressed by the simple line figures on this page4 ,you do not need the second and fourth sketches to tell you of the action expressed in the first and third4 ,in the figures on page #ce1 the lines were nearly all vertical and horizontal2 the figures were standing still4 ,in ,figure #a on this page1 you notice that every line is slanting2 the figure expresses action4 ,stand erect1 and think of the direction of lines that your body takes4 ,then push hard with both hands against a wall4 ,you can feel that your erect position is changed4 ,the vertical lines become slanting1 or oblique4 ,study the lines and their changed relations in ,figure #c4 ,draw several line sketches that express a familiar action1 such as walking1 jumping1 running1 lying1 or sitting4 ,clothe these action sketches4 ,illustration ,hands and ,feet4 ,you have drawn from the figure long enough to find out that hands and feet are by no means the easiest things in the world to draw4 ,like almost everything else1 they change their appearance with every change of position4 ,we cannot learn to draw a hand or a foot so that we can use it in all kinds of poses4 ,we can only learn to see the different sizes and shapes which each new position shows1 and try to draw them as they appear4 ,the sketches on this page are good studies for you to copy4 ,when you can do this well1 try to draw the hands or feet of one of your friends4 ,sometimes a pair of boots or rubbers may be placed in exactly the same position that they would be in were the pose actually standing4 ,practice drawing from studies like these until you are better able to see shapes1 and to draw them truthfully4 ,an ,animal ,pose4 ,have you a dog that will sit up and beg1 or carry a basket8 ,perhaps he would not object to posing in school1 with his master or mistress4 ,illustration ,if your teacher can arrange for a lesson of this kind1 choose large paper1 and sketch rapidly with charcoal or crayon4 ,begin with the dog1 for he will change his position soon1 and you must get quickly the main lines that will show his attitude and shape4 ,then you can sketch the figure of the boy or girl after the dog has grown tired4 ,do you notice in the picture1 the fine arrangement of light and dark8 ,the boy's light waist contrasts well with his dark trousers and cap4 ,the little dog1 too1 is more attractive because of his white spotting4 ,finish your drawing by adding dark masses1 as suggested by the pose4 ,illustration ,actions and ,attitudes of ,animals4 ,you will enjoy making skeleton sketches of animals4 ,on this page are shown three different positions of a dog4 ,very few lines are used in ,figure #a1 yet they are so placed that you know at once the animal that is represented1 its attitude1 and its shape4 ,lines that tell the important facts about an object are called leading lines4 ,the skeleton figures we have been studying show us the leading lines in certain attitudes of people and animals4 ,if the leading lines of any object are correctly drawn1 the finished sketch is almost sure to be good4 ,from the pose of a dog1 or of any other animal that you can study1 make leading line sketches4 ,before you try to clothe these skeletons1 study carefully the proportions expressed by your first drawing4 ,if a mistake is there1 correct it4 ,then study and draw the shapes and sizes of head1 legs1 tail1 ears1 etc4 ,sometimes parts of your leading lines can be used1 as parts of the finished outline4 ,use pencil or charcoal for work of this kind4 ,these are good studies for your sketch-book4 ,illustration ,the ,spotting1 or ,light and ,dark ,values1 of ,animals4 ,when you wish a more finished sketch of an animal1 you should first study and draw the leading lines1 just as you did in the lesson before this4 ,the proportions and shapes of all parts of the sketch must be true1 before any thought is given to the planning of eyes1 ears1 nose1 or any other small feature4 ,if you are able to express quickly1 with a few lines1 the most important facts1 it will not matter so much if the pose moves about or changes position4 ,we cannot expect a dog or a pigeon to keep one position until we have made a finished sketch4 ,the quick use of eyes and pencil will enable you to make notes of something that you can work on after the pose has changed position4 ,study an animal pose1 and plan to make a large sketch that will show its coloring1 or values of light and dark4 ,a black and white cat1 or a spotted rabbit will do as well as a dog4 ,let the animal take a natural position on a table before the class4 ,sketch the leading lines that show this position4 ,then draw the shape of the head and body1 the legs and tail4 ,when all these shapes and proportions are truthfully expressed1 add the dark masses that show the spotting of the animal4 ,illustration ,study of a ,pigeon4 ,in the beautiful city of ,venice is one of the most celebrated cathedrals in the world4 ,it is called the ,cathedral of ,st4 ,mark4 ,the front of the building faces a large open space1 which is surrounded on three sides by ancient palaces of marble4 ,these old buildings1 with their arches and towers1 and the nooks and crannies of the cathedral1 form fine nesting places for pigeons1 and hundreds and thousands of them are found flying about the square4 ,years ago1 the pigeons were fed at the city's expense1 and any one who injured or killed one of them was fined or put in prison4 ,the people thought that the pigeons brought peace and prosperity to their city1 and kept it from being swallowed by the waves4 ,if you should visit the square today1 and should bring with you one of the little bags of corn that the street venders sell for a penny1 you would be instantly surrounded by pigeons4 ,study a pet pigeon1 which some one will bring to school4 ,notice the oval shape of the body1 the beautiful curve of the wings1 and the lovely spotting of light and dark values4 ,the legs are set far back on the body1 and they and the little feet are as red as a rose4 ,draw the leading lines with a brush stroke of light gray4 ,study carefully the proportions of head1 body1 wings1 tail1 legs1 and feet4 ,when these are correctly drawn1 add the dark and middle values1 to show spotting4 ,illustration ,life and ,action ,shown in a ,masterpiece4 ,of all pictures in the world probably none are more interesting to us than those which tell us of the lives of people2 of their work1 their times of rest1 their joys and their sorrows4 ,you probably know many of the pictures of ,millet1 who painted the simple country life of ,french peasants1 as they worked in the fields1 watched their flocks1 or cared for their children at home4 ,millet's pictures make us feel great respect for a man or woman who works4 ,the picture shown you on this page is from a painting called ,loading the ,cart1 by ,anton ,mauve1 a native of ,holland4 ,he1 like ,millet1 was a painter of quiet country landscapes and farm life4 ,in this picture1 notice how few are the shapes and masses he has cared to paint4 ,he seems to have thought only of the big things--the sky1 the ground1 a clump of trees1 a bending figure1 a patient horse1 a loaded cart4 ,it is the artist's task to show us the beauty which lies in a simple country scene like this4 ,anton ,mauve was born in #ahdh and died in #ahhh4 ,he made his first exhibition of paintings in ,america at ,philadelphia in #ahgf4 ,home ,exercises4 #a4 ,paint from the pose of a little girl dressed as ,red ,riding ,hood4 #b4 ,make six brush drawings showing different positions of any pet animal that you have at home4 #c4 ,make a skeleton drawing in illustration of the following3 ,jack be nimble1 ,jack be quick1 ,jack jump over the candlestick4 #d4 ,illustrate in a brush or outline drawing any one verse of ,old ,mother ,hubbard4 #e4 ,show in a drawing the game you like best to play4 #f4 ,show by a skeleton drawing the action expressed by the figure of the man in the picture on page #db4 ,illustration ,,beauty ,,in ,,common ,,things ,illustration ,,we',,re ,,made ,,so ,,that ,,we ,,love ,,first ,,when ,,we ,,see ,,them ,,painted1 ,,things ,,we ,,have ,,passed ,,perhaps ,a ,,hundred ,,times1 ,,nor ,,cared ,,to ,,see4 ,,fra ,,lippo ,,lippi4 ,,robert ,,browning4 ,learning to ,see ,beauty4 ,how ,we ,see ,things4 ,the best thing that our lessons in drawing and painting can do for us is to teach us to see4 ,to truly see a thing means that eyes and brains must work together4 ,our eyes must look and our brains must think2 that is what gives us the power to see4 ,interesting ,things ,out of ,doors4 ,when you were making a special study of landscape1 you found that many things out of doors that you had not thought about before1 became very interesting to you4 ,you began to notice the colors of the sky and earth1 the shapes of trees1 the forms of clouds1 the change from day to night4 ,these things had always been around you1 but you had not thought about them1 and so you had not really seen them4 ,observing ,our ,surroundings4 ,your lessons from flowers and plants1 and from birds and animals help you to see and enjoy much more in nature than you did before4 ,a walk in the country1 or even along the city street1 is never dull to one who is interested in what is going on around him1 and whose eyes are trained to really see4 ,beauty in ,common ,things4 ,not all of the beauty of the world is out of doors4 ,things about us in our homes are often interesting in their character1 and they should be beautiful as well4 ,the picture on the opposite page shows you an old-fashioned kitchen fireside4 ,the wide hearth1 the logs of wood1 the andirons1 the pots and kettles hanging over the fire1 all give you a sense of homely comfort and cheer4 ,would you not like to draw your chair close to the blazing logs on a cold winter night1 and roast apples1 or pop corn1 while the wind howled and roared up the big chimney8 ,there is real beauty in this picture of home and the common things of every-day use4 ,finding and ,expressing ,beauty4 ,in the houses we live in nowadays1 there may be no kitchen fireplaces like this2 but the thought that we get from the picture is that beauty may be found in those things for which we sometimes care the least4 ,let us study the common dishes we cook with1 the vegetables that come from market or garden1 the furniture we use every day4 ,let us discover for ourselves whether these things are beautiful or ugly4 ,if beauty is there1 let us find it1 and show it to others4 ,if we enjoy those things which are really beautiful1 we shall find them everywhere1 and if we try1 we ourselves shall be able to do something which will add1 in some small way1 to the beauty of the world in which we live4 ,illustration ,a ,bowl in ,charcoal ,mass4 ,the bowl from which this sketch was made is of common earthenware1 not unlike the clay used in making flower-pots or tiles4 ,although this material is neither costly nor rare1 articles made from it are beautiful1 if they are pleasing in shape and proportion1 tasteful in coloring1 and well adapted to their uses4 ,this little bowl was probably meant to hold short-stemmed flowers4 ,notice that it is low and broad1 with a wide mouth or top4 ,it will hold plenty of water for its purpose and will not easily be upset4 ,the inner curve near the top suggests a vase or flower holder4 ,a bowl designed for holding liquids or liquid food would probably be without this curve in its outline4 ,the simple coloring of the bowl has also been carefully planned4 ,it is not by accident that the glaze on the inside is in darker value than the outside color4 ,this contrast of light and dark is one of the elements of beauty4 ,look for it in things about you1 and try to show its effect in sketches that you make4 ,choose a bowl of simple form showing light and dark contrasts4 ,place it at some distance from you1 so that you can see a little way into it4 ,draw the bowl in charcoal mass1 using the flat side of a short piece of charcoal or crayon4 ,illustration ,a ,wash-,drawing of the ,bowl4 ,the drawing on this page1 the one on the page before this1 and the two on pages #dh and #di1 are all pictures of the same bowl4 ,they do not look alike1 because they are done with different materials1 or1 as we sometimes say1 with different mediums4 ,it is well for us to know how to draw with charcoal1 brush and ink1 pencil1 crayons1 and water-color1 so that we can choose the medium or material that seems best suited to the particular object which we may wish to represent4 ,a good workman understands the use of many tools4 ,drawings that are made with a brush and water mixed with ink or color are sometimes called wash-drawings4 ,in such work1 light and dark effects are shown1 rather than actual color4 ,wash-drawings differ in character from drawings made with pencil1 charcoal1 or crayons4 ,you can easily tell which sketches of the bowl were made with a wet medium and which with a dry medium4 ,in the sketch on this page do you see that there are two values shown on the inside of the bowl8 ,although the inner glaze was everywhere the same color1 the deep shadows in the bowl give the effect of a darker value4 ,make a wash-drawing of the bowl you studied in charcoal mass4 ,do not draw its outline first4 ,wash in the shape of the top1 and then the mass for the front or outer surface4 ,notice the use made of the white line in suggesting the edge4 ,illustration ,the ,bowl in ,outline4 ,you know that the true shape of the top of this bowl is a circle4 ,but when the bowl is placed on a table in front of you1 its top appears narrower from front to back than it does from left to right4 ,the shape that you have often drawn to show this appearance is called an ellipse4 ,in a circle1 all diameters are equal4 ,in an ellipse1 one diameter is always longer than the other4 ,some ellipses are more beautiful in their proportions than others4 ,if the bowl had been placed in a position where the width of the ellipse looked twice as great from front to back as it is shown here1 the sketch would be less pleasing4 ,generally1 a narrow ellipse is more beautiful than a wide one1 and in arranging objects like the bowl for studies1 we should be careful to place them so that the ellipses do not appear too wide from front to back4 ,the beauty of the proportions of an ellipse has much to do with the beauty of the whole drawing4 ,make an outline drawing from a bowl1 carefully studying its shape1 and the proportions of the ellipse seen at the top4 ,sketch the ellipse first1 beginning at the middle of the front edge1 and drawing the shape with one stroke of the pencil4 ,try to draw the sides of the bowl just alike4 ,place a table-line in the proper place4 ,a table-line suggests a surface on which an object may rest4 ,illustration ,the ,bowl in ,color4 ,artists and other people who draw and paint often speak of objects such as you have lately been studying as still life4 ,still life means objects without life1 like most of those studied in this chapter1 although fruits and flowers are also frequently included4 ,mounted birds and insects or other animal forms from which life has gone are also classed as still life4 ,it would be correct to speak of the drawing on this page as a study of still life4 ,the group on page #ej1 the familiar objects shown on page #ea1 and the lanterns on page #ed are all examples of the kind of objects that are included under the head of still life4 ,the little bowl appears again1 now1 perhaps1 in its most attractive way4 ,it is always a delight for us to see a beautiful bit of color4 ,in studying the sketch1 you can see how freely and simply the brush has done its work1 showing the fresh1 clear color of the bowl1 the darker value of the inner lining1 and the gray-violet shadow cast upon the table4 ,make a water-color painting of a simple piece of still life1 choosing a color not too brilliant4 ,make the entire drawing with the brush1 trying not to work your colors until the life and freshness are lost4 ,illustration ,a ,group of ,still ,life4 ,here are two common articles that might be found in any kitchen4 ,the dish is a sort of earthenware kettle1 and shows that it was designed for cooking purposes4 ,it is provided with short legs and a handle or bail4 ,the legs serve as supports for the kettle1 and keep its rounding surface from rocking1 while the handle is useful in lifting the kettle and its contents from the fire4 ,the kettle is simple in form1 of pleasing proportions1 and shows a good contrast of light and dark values4 ,as you study the sketch1 notice the drawing of the rim4 ,is it of the same thickness at every point8 ,study the appearance of rims in different bowls1 and find out where they appear thickest4 ,the beet is decidedly darker in value4 ,it is less regular in shape1 and its surface differs in quality from the hard1 smooth surface of the kettle4 ,choose for a group two common objects of household use1 that seem to belong together4 ,in your group you should have something large and something small2 something tall and something short2 something light and something dark2 something near and something far4 ,sketch your group lightly in outline1 and finish in charcoal mass4 ,illustration ,illustration ,a ,growing ,plant4 ,hyacinths and tulips grow easily indoors1 and their bright blossoms fill the florists' windows just at the time when we are beginning to grow tired of winter and to look forward to the coming of spring4 ,you can plant bulbs so that they will grow and blossom in the school-room4 ,there is nothing more beautiful for a window decoration than a row of tulips1 hyacinths1 or daffodils4 ,a growing plant of this kind is a fine study in still life4 ,we enjoy looking at it1 and we become much interested in trying to express its beauty4 ,we are beginning to understand some of the elements or laws of beauty4 ,let us study the drawing on this page4 ,we have found that a group of still life1 a spray of plant growth1 or a landscape should show variety in shapes1 in sizes of shapes1 and in light and dark1 or values4 ,does the hyacinth show these contrasts8 ,notice the shape of the mass of bloom1 as differing from the shapes of the long1 slender leaves1 the stem1 and the flower-pot4 ,you will also find large shapes and small in different parts of the sketch4 ,the flower-pot and the mass of bloom are large in proportion to the leaves and stem4 ,contrast and variety in color you can easily see4 ,make a drawing with colored crayons or with water-colors from a growing plant1 in bloom4 ,select one that shows simple growth1 few leaves1 and a bright mass of color in the blossom4 ,the ,plant in ,values4 ,illustration ,it is often well to paint in grays a study that you have painted in color4 ,on page #i is a picture in values of the sunset scene on page #h4 ,while we cannot express the actual color of objects with anything but color1 we can show the light and dark effect of color with a gray medium1 such as pencil or charcoal1 ink or charcoal-gray water-color4 ,in using a gray medium1 we must try to keep our contrasts as well marked as though we were using the actual color itself4 ,suppose in this wash-drawing of the hyacinth1 the flower1 the leaves1 and the flower-pot had all been of the same value4 ,can you not imagine how much such a picture would lose in interest8 ,the difference in values1 in the picture on this page1 suggests to us the difference in color seen in the plant4 ,if you look again at the drawing of the hyacinth on page #eb1 you will see that the darkest colors in it are the red-violet of the blossom and the red-gray of the flower-pot4 ,these are represented in the wash-drawing by dark gray4 ,the gray-green of the leaves is shown in a lighter gray value4 ,in washing in the flower-pot1 the flange1 together with the ellipse for the top1 should be drawn first4 ,then the base can be added1 in a value which is deepened a little directly under the flange4 ,select a plant in bloom1 from which to make a wash-drawing4 ,a tulip or a daffodil would make a good study4 ,study its growth1 the shapes and sizes of its different parts1 the values of its blossom1 leaves1 and stems1 and of the jar in which it grows4 ,show how beautiful a picture of a plant and its bright flower may be made1 without the use of color4 ,illustration3 ,a ,illustration3 ,b ,the ,accented ,line4 ,have you ever heard any one read aloud in an even tone of voice1 without changing the pitch or giving what is called expression to the story8 ,you soon grow tired of listening to such reading even though the words are distinctly spoken4 ,the same thing read with the right accent and inflection will hold your attention4 ,you will enjoy and remember what is well read1 because more truth and beauty are brought out by beautiful expression4 ,it is so in our drawing4 ,we can make pictures of objects in a way that will give the facts of their forms and proportions1 and still will not show the real beauty and character of those objects4 ,compare the two sketches of the barrel at the top of this page4 ,sketch ,b gives the facts of the barrel as well as ,sketch ,a4 ,but who would care for a picture that expressed so little of real interest8 ,in ,sketch ,a you feel the roundness or width of the barrel from back to front1 and the quality of its rough and splintered surface4 ,the line that is used to express all this is called an accented line4 ,such a line is varied in strength1 being deepened in some places to express certain accents of form or color1 and lightened in others4 ,sometimes it is broken off altogether1 the eye seeming to continue the outline4 ,it differs from the even1 uniform line used in ,sketch ,b just as the even1 monotonous voice in reading differs from the voice that is full of expression and feeling4 ,select a basket1 or a wooden box of somewhat rough surface1 and make an outline sketch1 using the accented line4 ,illustration ,japanese ,lanterns in ,values4 ,the wash-drawings on this page show some ,japanese lanterns that are beautiful in their light and dark quality1 as well as in their color4 ,they are fine studies in values4 ,the lantern on the left was red1 with violet spots2 the light one just behind was yellow1 with blue and red spots2 and the right lantern was a soft dark green at the top1 blending to light green at the bottom4 ,the dark bands and the wooden hangers provide sharp contrasts in values1 and give character and accent to the picture4 ,choose two or three lanterns of contrasting colors1 sizes1 and shapes4 ,arrange them on a cord1 hung across the corner of the room4 ,it does not matter whether they hang above or below the level of your eyes4 ,paint them in values of ink or charcoal-gray4 ,illustration ,illustration ,selecting with a ,finder an ,interesting ,arrangement of ,shapes4 ,you will remember that you used a finder upon certain sketches1 in order to select parts that seemed more interesting than others4 ,any drawing looks much better if the space around it is carefully planned and adapted to the shapes shown in the drawing4 ,this is the reason we use a finder on a sketch like that on page #ee4 ,although the lantern on the right is well drawn and is a pleasing part of the whole sketch1 it seems to have received added beauty in the left sketch on this page4 ,it has been taken away from other interests1 and placed within an enclosure which is well adapted to its shape1 size1 and color4 ,the gray oblong at the bottom brings the eye to a part of the picture1 not so important as the lantern4 ,this oblong would be a good place for the initials or name of the artist1 which should be as thoughtfully placed as any other part of the sketch4 ,see what a different enclosure is used in the second selection4 ,the two lanterns make a large dark mass which needs more space4 ,the dark name-place on the right is placed just where it is most needed4 ,use a finder on the sketch of lanterns you made4 ,find a beautiful arrangement of shapes1 adjusting the finder until you have found the enclosure and the shapes that suit you best4 ,cut out your selection and mount it neatly4 ,home ,exercises4 #a4 ,make an outline drawing of an empty flower-pot1 standing upright4 ,carefully study the rim1 and show where it appears thickest4 #b4 ,draw in outline a plain glass dish1 with three apples in it4 #c4 ,make a wash-drawing of any cooking-bowl which shows light and dark values4 #d4 ,find at home any one of the objects pictured on page #ea4 ,group some other suitable object with it1 and make a sketch in charcoal1 showing light and dark effects4 #e4 ,find five drawings in this book in which the accented line is used4 #f4 ,make a large outline drawing of a boy's straw hat4 ,show the use of the accented line4 ,illustration ,,apparent ,,direction ,,of ,,edges ,,and ,,outlines ,,the ,,railway ,,train4 ,i ,,like ,,to ,,see ,,it ,,lap ,,the ,,miles1 ,,and ,,lick ,,the ,,valleys ,,up1 ,,and ,,stop ,,to ,,feed ,,itself ,,at ,,tanks2 ,,and ,,then1 ,,prodigious1 ,,step ,,around ,a ,,pile ,,of ,,mountains1 ,,and1 ,,supercilious1 ,,peer ,,in ,,shanties ,,by ,,the ,,sides ,,of ,,roads2 ,,and ,,then ,a ,,quarry ,,pare ,,to ,,fit ,,its ,,sides1 ,,and ,,crawl ,,between1 ,,complaining ,,all ,,the ,,while ,,in ,,horrid1 ,,hooting ,,stanza2 ,,then ,,chase ,,itself ,,downhill ,,and ,,neigh ,,like ,,boanerges2 ,,then1 ,,punctual ,,as ,a ,,star1 ,,stop--,,docile ,,and ,,omnipotent-- ,,at ,,its ,,own ,,stable ,,door4 ,,emily ,,dickinson ,illustration ,the ,circle in ,three ,positions4 ,in order to understand the sketches on this page1 you must place a large bowl on a table in front of you1 so that its top will be exactly opposite the level of your eyes4 ,you can manage this by putting some books on the table for the bowl to rest upon1 piling them up until just the right height is reached4 ,then sit directly in front of the bowl1 and at some distance from it1 as you would naturally do when making a sketch4 ,hold your pencil straight out in front1 at arm's length1 so as to hide the entire upper edge of the bowl4 ,if the top of the bowl is exactly opposite your eyes1 your pencil will be exactly horizontal when it hides the edge from you4 ,you will not be able to see into the bowl1 nor to find that the edge curves above or below the pencil4 ,the appearance of the circular top1 in this position1 will be a horizontal line4 ,if you lower the bowl a little1 you will find that you can no longer hide the top with a horizontal pencil4 ,the top looks more natural in this position4 ,you have often drawn a narrow ellipse for the appearance of a circular shape seen slightly below the eye4 ,if the bowl is lowered still more1 the ellipse will appear wider from front to back4 ,make sketches from a bowl1 in these three positions4 ,illustration3 #a ,illustration3 #b ,illustration3 #c ,illustration3 #d ,illustration3 #e ,illustration3 #f ,the ,foreshortened ,circle4 ,when a surface1 because of its position1 appears less wide than it really is1 we say that it is foreshortened4 ,the circular top of the bowl appears in three positions on page #ei4 ,in the first picture it is foreshortened to such an extent that its width from back to front has disappeared altogether4 ,in the second1 the foreshortened circle appears as a narrow ellipse4 ,in the third1 the ellipse is wider1 because the bowl is seen further below the eyes4 ,on this page are some sketches of a half-orange and a half-apple4 ,can you tell the positions in which they were held8 ,notice the foreshortened circle in ,sketch #b4 ,the sections of the orange are changed in appearance very much as the petals of the daisy are foreshortened1 in the middle sketch on page #bb4 ,read again the lesson on page #dh4 ,then decide which sketch of the half-orange is most pleasing4 ,which picture of the half-apple do you like best8 ,draw a half-lemon in a position showing a foreshortened circle of pleasing proportions4 ,illustration ,the ,foreshortened ,square4 ,circular shapes are not the only ones that are foreshortened when they are seen under certain conditions4 ,figure #a on this page is a picture of a square hat-box1 showing the top and two sides4 ,not one of the three shapes is seen as it would actually measure4 ,the top looks like a long narrow diamond4 ,it is not so different from the shape of a narrow ellipse as you might at first suppose4 ,if you changed the straight lines into curved lines1 rounding off the four corners or angles of the diamond1 you would have an ellipse4 ,you could also place a box like this turned cornerwise1 so that its top would look like a straight line4 ,where would the top be to look like that8 ,the two sides of the box are also foreshortened in this position2 they appear shorter from front to back than they really are4 ,you can see that the two farther vertical edges or corners appear shorter than the nearer one1 just as trees in the distance appear smaller than trees of equal size near you4 ,the lines on the top and bottom of the box appear to slant upward1 instead of keeping their actual direction1 which is horizontal4 ,figure #b shows the same box with the cover off4 ,the inside was lined with colored paper and the dark value of the diamond-shaped mass adds interest to the picture4 ,place cornerwise1 on a table in front of you1 a large box with a square top4 ,see if the three faces in sight are foreshortened4 ,notice if the edges appear changed1 in direction and in length4 ,make a sketch in outline1 showing just how the box appears to you4 ,illustration ,measuring a ,foreshortened ,surface4 ,a good way to prove to yourself that the appearance of a surface or shape differs from its reality1 is to test it in some way4 ,the girl in the picture is measuring the appearance of a book4 ,she has put two books on the desk1 with their backs facing her4 ,under the cover of the top book she has placed a string long enough to allow her to hold both ends of it in one hand1 in such a way as to hide the two ends of the cover4 ,she knows that in reality the ends of the cover do not slant2 they are perfectly horizontal4 ,but she finds that to hide the ends of the cover she must bring the lines made by the string toward each other4 ,this proves that the ends of the book in this position must be represented by slanting lines4 ,when the strings hide the ends of the cover1 she finds that they meet directly opposite the eye4 ,holding the string tight1 and keeping their meeting point exactly opposite the eye1 she slips a horizontal pencil between the two lines1 starting near the place where they meet1 and moving down until the pencil hides the further edge of the cover4 ,the appearance of the cover is shown in the space bounded by the horizontal pencil1 the nearer edge of the cover1 and the two slanting parts of the string seen between them4 ,arrange a large book on the desk in front of you4 ,with a string1 make the test that has been explained4 ,draw in values what you see4 ,the ,study of ,perspective4 ,what a ,picture may ,show ,us4 ,the pencil sketch on the next page would be quite difficult for you to draw1 but it is not too difficult for you to understand and enjoy4 ,it is one that will help you to use your eyes intelligently1 in trying to find out of doors some of the things that are shown you in pictures4 ,one of the best things that pictures can do for us is to help us to see in our own surroundings things that are interesting and beautiful4 ,perspective4 ,the lessons in this chapter have helped you to see how surfaces and shapes change in appearance1 as they are seen under different conditions4 ,you have also found that certain edges and outlines appear to change their direction1 when seen in different positions4 ,there is a name given to the study of these things1 which you will often hear used4 ,it is perspective4 ,perspective is only another name for the study of appearances1 as differing from facts4 ,you will hear some one say1 for instance1 that a certain sketch or picture is good in perspective2 you will understand that the picture shows1 in some interesting way1 the effect of distance and position1 or how certain appearances differ from actual facts4 ,perspective of the ,railroad4 ,one of the best places in which to study perspective is on a bridge over a railroad track4 ,you have noticed1 no doubt1 how the rails seem to come together as they stretch into the distance1 and how the telegraph poles seem to grow shorter and shorter1 until they disappear altogether4 ,you know that the rails are just as far apart a mile away from you as they are at your feet1 but a sketch drawn so would not be correct in perspective1 because it would not show how the track looked4 ,perspective ,affecting ,apparent ,size4 ,the sketch on page #eh will interest you4 ,have you watched an engine grow from a mere speck in the distance to its full size as it rushes past you1 and then grow smaller and smaller again as it hurries away1 and finally disappears in the far-off horizon8 ,perspective of a ,street4 ,do you see anything on page #fd that makes you think of the railroad8 ,if you stand in the middle of the street and look down its length you will notice that the lines of the sidewalk seem to run together1 that the trees and houses decrease in height as they are seen farther away1 and that people in the distance appear smaller than people near you4 ,when you can see these effects for yourself1 you will begin to understand what the study of perspective means4 ,illustration ,illustration3 ,,font ,,baptistery ,,in ,,parma ,,xiii4 ,,century4 ,a ,beautiful ,baptismal ,font4 ,in the fine old city of ,parma1 in northern ,italy1 is a beautiful cathedral1 built hundreds of years ago4 ,near the cathedral is a building much smaller in size called a baptistery1 a place where baptisms are made in connection with church services4 ,this baptistery is built of red and gray marble1 and is one of the finest in ,italy4 ,it contains but one room1 and in the middle of its floor1 under the beautiful dome1 is a very large font1 carved from one piece of yellowish red marble4 ,in one corner of the room is a smaller font--the one shown you on this page4 ,it is standing on a lion whose paws are set upon the head of a ram1 and it is richly carved in foliage and in strange animal forms4 ,to it are still brought for baptism all the children born in ,parma4 ,,measuring ,,and ,,planning ,,if ,,we ,,care ,,to ,,continue ,,the ,,search1 ,,we ,,may ,,find ,,an ,,arc ,,extended ,,to ,a ,,semicircle1 ,a ,,spiral1 ,,or ,,even ,,to ,a ,,complete ,,ring1 ,,almost ,,as ,,true ,,as ,,if ,,struck ,,with ,a ,,compass1 ,,and ,,with ,,the ,,telltale ,,drooping ,,or ,,broken ,,grass-,,blade ,,still ,,at ,,work ,,with ,,every ,,stir ,,of ,,the ,,breeze4 ,,fairy ,,rings ,,the ,,children ,,used ,,to ,,call ,,them4 ,i ,,have ,,pictured ,,both ,,the ,,ring ,,and ,,the ,,fairy4 ,,william ,,hamilton ,,gibson ,,in ,,sharp ,,eyes4 ,some ,tools ,with ,which to ,measure and ,plan4 ,by the time you have come to this chapter in your book1 you will have drawn a great many pictures of objects4 ,in doing this you have depended on your eyes and hand alone4 ,you have not used a ruler to measure with1 nor any tool that would tell you the exact length of a line or the exact size of any shape4 ,illustration3 ,i ,but sometimes it is necessary that a line or shape should be of exact length or size4 ,on this page are shown some very simple tools which you can make yourself1 and which you will find useful in carrying out the lessons in this chapter on ,measuring and ,planning4 ,figure ,i is a circle maker4 ,it can be used in place of a compass4 ,to make it1 take a strip of cardboard seven inches long and one inch wide4 ,bisect its short edges and rule a line connecting these points4 ,upon this line1 mark off1 by measuring with a ruler1 inch1 half-inch1 and quarter-inch spaces4 ,through these points draw lines1 and pierce holes with a pin where they cross the center line4 ,a pin placed through the first hole will act as a pivot4 ,push a sharp pencil through one of the other holes1 just far enough to allow the lead to make a mark4 ,the pin marks the center1 and the pencil swings around it1 as shown in the sketch at the top of page #fh4 ,the line drawn by the pencil is the circumference of the circle4 ,the distance between the center and the circumference is the radius of a circle4 ,we speak of one radius and of two or more radii of a circle4 ,illustration3 ,,ii ,figure ,,ii is a little tool that will help you to draw square corners4 ,mark with a ruler upon an end and one side of the back of an envelope1 the spaces for inches1 and their divisions into halves and quarters4 ,square corner is another name for right angle4 ,you will often wish to use this measure1 called a test square1 in squaring corners1 and in drawing lines at right angles to each other4 ,a ,no4 #i envelope will be a good size to use1 as the long edge will serve as a ruler4 ,you can make the drawings in this chapter with a ruler and compass1 or you can use these simple tools1 made by yourself4 ,illustration ,illustration3 ,b ,illustration3 ,c ,illustration3 ,d ,illustration3 ,e ,illustration3 ,f ,illustration3 ,g ,dividing a ,circular ,space4 ,there are many ways in which a circular shape may be divided and decorated4 ,sketch ,b shows two circles drawn around the same center1 with different radii4 ,such circles are called concentric4 ,sketch ,c shows the circle divided into fourths4 ,to do this1 place the angle of your test square at the center of the circle and rule two radii4 ,repeat to secure four right angles at the center of the circle4 ,sketches ,d1 ,f1 and ,g show circles divided into sixths1 by setting off the radius six times on the circumference1 and drawing diameters connecting these points4 ,sketch ,e shows a circle divided into thirds4 ,set off the radius six times on the circumference2 draw a radius from every other point4 ,draw concentric circles1 and divide them into halves1 fourths1 thirds1 and sixths4 ,illustration3 ,a ,illustration3 ,b ,illustration3 ,c ,some ,divisions of ,square ,spaces4 ,a square is said to be on its diameters when one of its diameters is vertical and the other horizontal2 it is said to be on its diagonals when the diagonals are in this position4 ,sketch ,a shows the larger square on its diameters and the small inner square on its diagonals4 ,to draw a square on its diameters1 place your test square to locate the lower left corner of the square1 and draw the two sides at right angles1 extending the lines to the desired length4 ,use your test square in drawing all other corners of your square4 ,for the diameters1 bisect each side and connect the points of bisection4 ,for a design plan like ,sketch ,a1 bisect the semi-diameters and connect these points4 ,diameters of a square bisect opposite sides2 diagonals bisect opposite angles4 ,in ,sketch ,b1 each side is quadrisected1 or divided into fourths1 and the opposite points connected4 ,this division of a square may be used for a decorative plan in a number of ways1 one of which is shown in the sketch4 ,to draw a square in the position of ,sketch ,c1 use your test square1 and draw the diagonals first1 dividing them into inch spaces4 ,connect the ends of the diagonals to get a square4 ,in the plan for the border design in ,sketch ,c1 connect the outer points on the diagonals to form the space for a border decoration4 ,draw two squares1 one on its diameters1 and one on its diagonals4 ,show by divisions made in each1 some plan for a design4 ,illustration3 ,a ,illustration3 ,b ,illustration3 ,c ,how an ,oblong ,space ,may be ,divided4 ,you can draw an oblong with your test square in the same way that you drew a square1 measuring the sides to get the length you wish4 ,in ,sketch ,a the semi-diameters are bisected and the points connected1 forming a diamond-shaped space1 something like a square on its diagonals4 ,in making the unit used in the upper half of this space1 the lines of the triangle are changed very slightly1 but this change makes an interesting decoration4 ,in ,sketch ,b the sides are quadrisected1 and the space is divided by connecting some of the opposite points1 making an oblong on its diameters for the middle space4 ,in the upper half of this space a simple shape1 very like a square1 is used4 ,it can be reversed1 as can the triangular shape in ,sketch ,a1 to fill the lower half of the space4 ,sketch ,c shows a plan for dividing the oblong into many small squares4 ,in each of these1 or in every other one1 a simple unit could be placed1 to make an all-over pattern4 ,draw an oblong1 and by dividing its sides1 make a plan for a decorative design4 ,show how a decoration can be made by slightly changing the lines of an enclosing shape4 ,illustration3 ,a ,illustration3 ,c ,illustration3 ,b ,illustration3 ,d ,the ,equilateral ,triangle4 ,with the help of your circle maker or compass you can easily draw an equilateral triangle4 ,rule a horizontal line of any desired length1 for the base of your triangle--that side upon which the triangle seems to rest4 ,place the pivot of your circle maker at one end of the line1 and take a radius equal to its length4 ,draw above this line part of the circumference of a circle1 called an arc4 ,then take as a center the other end of the horizontal line1 and with the same radius1 draw an intersecting arc4 ,rule lines from the intersecting arcs to each end of the line4 ,you have drawn an equilateral triangle4 ,sketches ,a and ,b show you how an equilateral triangle may be divided4 ,sketch ,c shows how one line may divide the triangle into two shapes1 whose outlines may be slightly changed or modified1 to make a decoration4 ,for a surface covering like ,sketch ,d1 construct one equilateral triangle and carry the base line across the paper4 ,rule a line parallel to this1 passing through the apex of the triangle4 ,set off upon these lines lengths equal to one side of your triangle4 ,draw lines connecting these points1 as shown in the sketch4 ,repeat this process for a surface covering4 ,illustration3 ,a ,,case ,,for ,,clippings ,illustration3 ,b ,a ,case for ,newspaper ,clippings4 ,when you know how to measure accurately and can plan good proportions1 you can make many simple articles1 both useful and beautiful4 ,to make the case for newspaper clippings shown on this page1 cut an oblong of stiff manila paper1 #h-a_/b x #i-a_/b inches4 ,use your test square in measuring all corners1 to get right angles4 ,then cut an oblong #i-a_/b x #aj-a_/b inches of cover paper1 of some good color4 ,fit the manila oblong within this1 in such a way as to leave an inch margin of colored paper all around it4 ,fold over this margin1 pasting it down neatly4 ,cut an oblong #h-a_/d x #i-a_/d inches1 of tinted paper of lighter weight4 ,lay this oblong as an inside lining to the cover1 pasting to leave a narrow margin of the dark cover paper around the lining4 ,place the cover on your desk1 with the long edges from left to right4 ,fold the nearer edge to meet the farther edge4 ,crease well4 ,bisect the crease1 and place a point #c_/h of an inch up from the crease4 ,measure three inches from each end1 and place points at these distances1 #c_/h of an inch up from the crease4 ,within the folded cover1 place six or eight ,no4 #i envelopes1 the bottom edges of the envelopes touching the crease4 ,fit the envelopes within the cover1 to leave an equal margin around the front and ends of the case4 ,holding the envelopes firmly within the cover1 make holes with an eyelet punch at the points placed for them4 ,tie the envelopes in the case with raffia1 tape1 or cord4 ,illustration3 ,,design ,,for ,,box ,illustration3 ,,designs ,,for ,,envelopes ,illustration3 ,,design ,,for ,,portfolio ,how to ,draw ,letters4 ,before the ,days of ,printing4 ,there was once a time when all the books in the world were lettered by hand4 ,this hand printing was done by men called monks1 who lived in monasteries1 away from the noise and bustle of the world1 and who often devoted their whole lives to the lettering of religious books4 ,they did this lettering on sheepskin or parchment instead of on paper1 and they spared no pains in making these manuscripts as beautiful as possible4 ,color was often used for initials and for capital letters1 and sometimes artistically designed borders were placed around the lettering1 making each page in these manuscript books as beautiful as a picture4 ,the great amount of time that was necessary to make one of these books made them very expensive1 and only people of great wealth could own them4 ,type and the ,printing ,press4 ,when type and the printing press were invented1 the printer at first tried to make his pages look like the manuscript pages of the monks4 ,for this reason1 the earlier printing was artistic1 although the letters were not as clear and perfect as type letters are now4 ,the first books printed from type were also expensive1 but little by little the process was made cheap1 until at last type letters lost much of their beauty4 ,lately1 however1 printers have realized that single letters are like design units in an all-over pattern4 ,the size of the letters1 their shapes and thickness1 the spaces between them1 and the spaces between the lines are all of great importance4 ,a ,simple ,alphabet4 ,on the next page is a simple alphabet1 planned on squared paper4 ,you can print in this style1 any title or words you may wish on a program or book-cover4 ,plan your printing on a separate piece of paper1 marking the height of the space you intend to fill with the letters4 ,quadrisect this height and draw through these points horizontal lines4 ,lay off on the lower horizontal1 distances equal to the quadrisection4 ,from these points erect vertical lines1 using your test square4 ,mark in a sketchy way the width of each letter in the word you are planning1 making the thickness of each letter the width of a square1 and leaving the same distance 7the width of a square7 between each letter4 ,be careful to keep uniform thickness in slanting lines and curves1 as in ,k and ,c4 ,avoid angles in your curves4 ,if you have more than one word in your line1 leave three squares for the space between the words1 and if more than one line of printing is used1 guard against too much space between the lines4 ,the width of two squares would be a safe distance in a style like this4 ,illustration ,transferring the ,letters4 ,when your plan is complete1 rub soft lead pencil evenly over the back of the paper1 and place the plan exactly where you wish the lettering to go1 on your book-cover or program1 with the lead painting next to the cover4 ,then mark over the letters with a sharp point1 and a faint tracing will appear on the under surface4 ,you can then finish your lettering in ink or color1 as you prefer4 ,all lettering must be done with much care1 with exactness1 and with the greatest neatness4 ,,design ,illustration3 ,king of two hands1 he does his part ,in every useful toil and art2 ,a heritage1 it seems to me ,a king might wish to hold in fee4 ,james ,russell ,lowell4 ,illustration3 ,,what ,,need ,,had ,,you ,,of ,,money1 ,,my ,,boy1 ,,or ,,the ,,presents ,,money ,,can ,,bring1 ,,when ,,every ,,breath ,,was ,a ,,breath ,,of ,,joy8 ,,you ,,owned ,,the ,,whole ,,world1 ,,with ,,its ,,hills ,,and ,,trees1 ,,the ,,sun1 ,,and ,,the ,,clouds1 ,,and ,,the ,,bracing ,,breeze1 ,,and ,,your ,,hands ,,to ,,work ,,with2 ,,having ,,these1 ,,you ,,were ,,richer ,,than ,,any ,,king4 ,,from ,,the ,,country ,,boy ,,by ,,lucy ,,larcom4 ,illustration3 ,,chart-,a ,illustration3 ,,chart-,d ,colors in ,full ,intensity and their ,neutral ,values4 ,light and ,dark ,colors4 ,when you painted an autumn scene like the one on page #b1 you found that it could be done with three colors--yellow1 red1 and blue4 ,blue made the sky and water2 blue and yellow the grass and the foliage of the smaller tree2 blue and red the distance2 yellow1 red1 and blue the tree trunks and the autumn colors of the large tree4 ,look again at the sketch4 ,do you see that the two trees are darker than the grass1 that the water and the sky are of nearly the same value1 and that the tree-trunks are the darkest colors in the picture8 ,in the winter scene on page #h1 and in the spring picture of the yellow bush1 both dark and light colors have been used4 ,the colored flower studies all show dark and light colors4 ,both light and dark colors are needed to express truth and beauty1 just as in music we need both high and low tones for perfect melody4 ,an ,orderly ,arrangement of ,colors4 ,in ,chart ,a these colors are arranged in an orderly way4 ,yellow 7,y7 is the lightest color and is placed directly opposite violet 7,v71 the darkest color in the circle4 ,yellow-orange 7,,yo7 and yellow-green 7,,yg7 come next to yellow on either side4 ,then orange 7,o7 and green 7,g7 follow1 and next to them are red-orange 7,,ro7 and blue-green 7,,bg74 ,next in the circle are red 7,r7 and blue 7,b71 and after them red-violet 7,,rv7 and blue-violet 7,,bv74 ,the colors in the chart are the strongest that your three colors can make4 ,colors of this strength are said to be in full intensity4 ,expressing ,colors in ,neutral ,values4 ,on page #d are finder pictures taken from the autumn scene on page #b4 ,these are done in gray washes that correspond to the colors in the autumn sketch4 ,the trees are shown in grays that make them just as dark as the trees in the colored picture4 ,when we make gray washes just as light and as dark as colors that we wish to represent1 we say that we express those colors in neutral values4 ,the ,neutral ,value ,scale4 ,in ,chart ,d the scales are arranged to show the grays or neutral values that correspond to the different colors in their full intensity4 ,in this chart yellow is as light as the gray wash called ,high ,light 7,,hl74 ,yellow-orange and yellow-green are of the same value as ,light 7,l74 ,orange and green are of the same value as ,low ,light 7,,ll74 ,red-orange and blue-green are of the same value as ,middle 7,m74 ,red and blue equal the neutral value ,high ,dark 7,,hd74 ,red-violet and blue-violet are equal to ,dark 7,d71 and violet1 the darkest color1 is expressed by ,low ,dark 7,,ld74 ,low ,dark is almost black4 ,the ,neutral ,value ,scale4 ,illustration3 ,,value ,,scale ,a scale of neutral values1 larger in size than that on page #gh1 is printed on this page4 ,white and black are added4 ,they do not correspond to any color1 but they help us to see the many steps that may be taken between them4 ,only seven of these steps from black to white are shown in our scale4 ,of course there are other grays1 not represented in the scale1 just as there are tones of music not expressed in the musical scale or octave4 ,the musical scale and this value scale are used to help locate all other notes and all other degrees of light and dark4 ,you could make1 for instance1 other grays between ,high ,light and ,white4 ,but it is useful to know that certain grays have definite names1 and definite places in the scale4 ,with the aid of this larger scale1 we can more easily compare the values of the colors of a landscape1 a flower1 or a still-life group with the same values in gray4 ,turn to pages #h and #i4 ,on page #h the winter landscape is in color1 and you see the same scene on page #i in neutral values4 ,in it the sky and part of the snow are of the same value1 and they match the gray marked ,high ,light in the scale4 ,the distant hill is ,low ,light2 the dark band of trees on the horizon is ,high ,dark1 and the tree in the foreground is ,dark4 ,in this way you can find in the scale the neutral values used in a picture4 ,name the values of the hyacinth1 on page #ec4 ,what values were used in the moonlight picture on page #aj8 ,make a little scale showing these values and giving their names4 ,illustration3 #a ,illustration3 #b ,illustration3 #c ,illustration3 #d ,illustration3 #e ,illustration3 #f ,illustration3 #g ,dividing a ,space into ,large and ,small ,spaces4 ,plaids are most attractive when seen in color4 ,before the color is added1 however1 definite spaces must be divided by lines into other spaces1 making an interesting variety4 ,in drawing from flowers1 you found that a spray showing large and small shapes made a more interesting sketch than one in which leaves and flowers were of uniform shapes and sizes4 ,sketches #a and #b show how vertical and horizontal lines may divide a square into a variety of spaces4 ,either arrangement is more beautiful than sketch #c1 where the spaces are more nearly alike4 ,look at the still-life group in sketch #d1 where the three objects are so nearly of the same size4 ,do you think this group as pleasing as the group shown in sketch #e8 ,our designs1 as well as our pictures1 must show variety and good arrangement of shapes and spaces1 in order to be interesting4 ,too much variety in a picture or design is as bad as not enough variety4 ,look at the number of lines and spaces in sketch #f4 ,the design is crowded and fussy1 like an overtrimmed bonnet1 or a room in which there is too much furniture4 ,the still-life group in sketch #g shows the same effect of too much variety4 ,draw four squares1 each four inches on a side4 ,divide each into large and small spaces of pleasing variety by using vertical and horizontal lines1 four inches in length4 ,illustration3 #a ,illustration3 #b ,illustration ,illustration3 #c ,illustration3 #d ,large and ,small ,spaces in ,two ,values4 ,one way of adding to the interest and beauty of large and small spaces is to show them in values4 ,compare ,sketches #a and #b on this page with ,sketches #a and #b on page #ha4 ,you will find the plaids which are shown in values more interesting than those which are made with lines only4 ,the two values in each sketch on this page are chosen from the neutral value scale on page #hj4 ,in ,sketch #a1 ,high ,light 7,,hl7 and ,black 7,b7 are used1 and in ,sketch #b1 we find ,middle 7,m7 and ,black 7,b74 ,you see how different in effect the two plaids are4 ,the same difference can be shown in landscape1 flowers1 or in any other picture or design1 by changing the values4 ,sketches #c and #d show simple groups of still life1 first drawn in outline from the objects1 and then painted in values chosen from the value scale4 ,sketch #c is painted in the same values as the plaid in ,sketch #a1 and ,sketches #b and #d are alike in values4 ,choose two of your best plaid designs1 done in the lesson on page #ha1 and paint the spaces in one1 ,,hl and ,b2 in the other ,m and ,b4 ,illustration3 #a ,illustration3 #b ,illustration3 #c ,illustration3 #d ,pictures in ,different ,keys4 ,in your study of music you have learned to sing in different keys4 ,some songs are pitched in high keys1 and others in low4 ,or1 the same song may be sung in several different keys4 ,the tune or melody remains the same1 but there is a difference in the sound4 ,pictures are sometimes spoken of as being painted in keys4 ,if the darker values of the scale are used1 the picture is said to be in low key4 ,if the picture is full of light color1 it is said to be in a high key4 ,sketches #a and #b show you how different the same design appears1 when painted in different keys4 ,sketch #c is a landscape in the same values used in ,sketch #a4 ,sketch #d shows the same scene in a lower key4 ,the soft1 silvery light of early morning has given place to the deeper tones of dusk4 ,draw two four-inch squares and divide them alike into large and small spaces4 ,using two values1 paint one in a high key1 and the other in a low key4 ,make a little scale under each sketch1 naming the values you have used4 ,illustration3 ,,gordon ,illustration3 ,,logan ,,or ,,maclennan ,scotch ,plaids4 ,long1 long years ago1 before the days of kings and queens1 people lived together in great families or tribes4 ,in ,scotland these tribes were called clans1 and the sign or badge of a clan was shown in the tartan plaid4 ,this was a heavy piece of woolen cloth worn over the shoulders1 as a protection from the weather4 ,a sort of skirt1 called a kilt1 was made from the same plaid1 and this costume was worn by both men and women of the clans in the ,highlands of ,scotland4 ,the tartans were woven in bright colors1 forming designs like those at the top of this page4 ,they were often very beautiful in their arrangement of spaces and colors4 ,each different design received a name from the clan that wore it4 ,those at the top of this page are the ,gordon and the ,logan or ,mac,lennan tartans4 ,copy in colors some good plaid design1 that you can find in ginghams1 in silk1 or in woolen cloth4 ,illustration ,a ,stained ,glass ,window4 ,some stained glass windows are as beautiful to look at as fine paintings4 ,their rich colors glow with light1 and they show an interesting variety and arrangement of shapes4 ,they are usually made of colored glass1 held together by lead grooves4 ,these are represented in the design on this page by the heavy black lines4 ,you can make with water-colors an effect very much like stained glass4 ,with pencil1 draw an oblong ten inches long and about seven inches wide4 ,within this1 draw another oblong1 for the central piece of glass4 ,the size of this inner oblong you must determine for yourself4 ,remember that its size fixes the width of the border4 ,in the border space1 draw some simple straight line design4 ,paint the smaller oblong1 by wetting its surface evenly1 and dropping in red1 yellow1 and blue4 ,let the colors blend as they will1 and use the brush to carry color to the edges of the oblong4 ,when this is dry1 paint the shapes in the border in flat washes of any two colors4 ,last of all1 paint strong1 black lead lines4 ,illustration ,the ,stained ,glass ,window in ,values4 ,the greater part of the illustrations which appear in books and magazines is done in neutral grays4 ,all sorts of color effects are represented by grays in these different pictures1 and this is done by people who understand just what neutral value is needed to represent a certain color1 its tints1 or its shades4 ,you have often represented flowers1 landscapes1 figures1 and still life in gray washes1 or with pencil or charcoal4 ,in ,chart ,d you see that certain colors like yellow1 yellow-orange1 orange1 yellow-green and green are represented in their full intensity by grays chosen from the upper end of the neutral value scale1 and that the darker colors like red1 red-violet1 blue1 blue-violet1 and violet are represented in their full intensity by the grays below middle gray4 ,compare the colors you used in making your stained glass window design with ,chart ,d on page #gg4 ,draw the same plan that you used for your colored design4 ,cover the smaller oblong with a water wash and drop in charcoal-gray1 in values to suit the light and dark colors in your stained glass window design4 ,fill the small oblongs in the border with flat washes of gray4 ,try to determine just what grays would represent the colors you used4 ,your lead lines should be of even thickness throughout4 ,draw them when the rest of the work is thoroughly dry4 ,illustration3 ,a ,illustration3 ,b ,illustration3 ,c ,illustration3 ,d ,illustration3 ,e ,illustration3 ,f ,several ,ways of ,decorating a ,square ,space4 ,on pages #fi1 #gj1 and #ga you learned how to draw and divide certain shapes4 ,you saw that by slightly changing the direction of construction lines1 decorative designs could be made4 ,construction lines are lines used in drawing and dividing a shape4 ,they may or may not be retained1 after the design is finished4 ,in ,sketch ,a on this page the four sides of the square and the horizontal diameter may be taken as construction lines4 ,by following these lines with a narrow pathway and slightly changing the direction of parts of them1 designs can be made in great variety4 ,in ,sketch ,b diameters are drawn and in the center is a small square on its diagonals4 ,little pathways lead from the sides of the square to the center1 resulting in a four-sided decoration4 ,in ,sketch ,c diagonals are drawn and pathways sent along them to the center4 ,sketches ,d1 ,e1 and ,f are like ,a1 ,b1 and ,c1 except that curved lines have been used instead of straight lines4 ,draw six four-inch squares4 ,copy the construction lines and their modifications as shown in the six sketches on this page4 ,finish each design and strengthen the lines which will bring out the decoration4 ,illustration3 ,a ,illustration3 ,b ,illustration3 ,c ,illustration3 ,d ,decorating an ,oblong ,shape4 ,the oblong is a favorite shape for book-covers1 envelopes1 card-cases1 portfolios1 and other articles that can be made in the school-room4 ,hundreds of objects about you in school and at home are also based1 in their proportions1 on the oblong4 ,think of the books1 boxes1 rugs1 doors1 and windows1 that you constantly see4 ,they are nearly always shaped like an oblong4 ,you will be interested to know some of the ways in which decorations for these objects are planned4 ,in a rug or a book-cover1 for instance1 we often wish a design similar to that shown in ,sketch ,a4 ,in planning for this1 a smaller oblong was drawn within the larger one4 ,the lines of the smaller one were used as construction lines1 and these were modified in the same way as were the construction lines of the square on page #hg4 ,in ,sketch ,d1 the diameters of the oblong were drawn and the semi-diameters bisected4 ,then these points were connected4 ,in both ,sketch ,a and ,sketch ,d1 all construction lines not used in the design were erased4 ,draw two oblongs not less than eight inches high1 and wide enough to make a panel of pleasing proportions4 ,plan and draw designs similar to1 but not exactly like1 those shown in ,sketches ,a and ,d4 ,illustration ,illustration3 ,a ,illustration3 ,b ,illustration3 ,c ,illustration3 ,d ,illustration3 ,e ,how to ,use ,shapes from ,nature in ,design4 ,if all our designs were like those which can be made by following the construction lines of certain definite shapes1 we would very likely grow tired of seeing so much decoration of that kind4 ,we may get many ideas of beautiful lines and shapes from a plant or a flower1 and we may use these ideas in making designs1 as the drawings on this page and the next will show4 ,look at the sketch of the marsh-marigold1 and then at the small drawings at the right4 ,a is a petal1 ,b is a stamen1 ,c is a side view of the flower1 showing three petals and a stem1 ,d is a leaf1 and ,e a bud and stem4 ,in these sketches the lines are even1 the shapes are regular1 and all accidents of growth are omitted4 ,sometimes the shapes were drawn larger than their true size1 and sometimes the parts were separated1 as in ,c and ,e4 ,we need not copy just what we see1 but we may modify shapes or change their size and arrangement to suit the spaces which they are to fill4 ,study a wild flower in this way4 ,see how many design ideas you can get from one plant4 ,illustration3 ,a ,illustration3 ,b ,illustration3 ,c ,shapes from ,nature in ,borders and ,other ,decorations4 ,nature has suggested some of the most beautiful decorations we have4 ,in the baptismal font on page #fe1 the carved decoration was evidently from the growth of a vine4 ,the vine is not represented exactly as it grew4 ,a decoration that showed the actual appearance of the plant would not have been adapted to the space4 ,in the three oblongs on this page1 the marsh-marigold shapes have been used in three ways4 ,in ,sketch ,a1 the petals of the flower were used in a border design1 and the size of the unit1 or shape repeated1 was carefully planned4 ,if the petal shapes had been drawn larger1 the border would have been too heavy for the size of the oblong4 ,in ,sketch ,b1 two leaves and an arrangement of petal shapes suggesting the flower were used1 and in ,sketch ,c1 the side view of the flower and a part of the stem form a unit which is used to spot the oblong4 ,these spots are not crowded1 but are placed with careful thought as to the best appearance of the oblong4 ,no matter how beautiful a unit1 a border1 or a central group may be in itself1 we must think of its effect upon the object to be decorated4 ,draw three oblongs four times the size of those on this page4 ,decorate these with a border1 a central group1 and by spotting4 ,use the design ideas you found in the lesson on page #hi4 ,a ,simple ,design for a ,portfolio4 ,illustration ,good proportion and the right arrangement of light and dark values will often make an object beautiful1 without the addition of ornament4 ,in the chapter on still life1 the objects you studied were not decorated1 but they were well designed in their beauty of proportions1 their color1 and their contrast in values4 ,many familiar objects such as envelopes1 boxes1 and book-covers1 depend for beauty on these simple elements4 ,the sketch of the portfolio on this page is beautiful because it has a fine proportion of parts1 and because the gray values of these parts are harmonious4 ,if the dark band of the back had been wider or narrower1 if the space for the name had been placed differently1 or if the size of the corner-pieces had been changed1 the harmony of parts would have been disturbed1 and the portfolio would not have been beautiful4 ,or1 if the dark gray trimming had been black1 there would have been too great a difference between the values used1 and that again would disturb the harmonious effect of the whole4 ,you can tell how large to make the parts1 where to put them1 and what arrangement of values to use1 only by trying several ways1 and then selecting the most beautiful4 ,this portfolio may be made by pasting tinted paper or book linen over cardboards4 ,the boards should be covered first with the material chosen for the outside4 ,then the corners and back should be added1 and a lining of paper pasted across both boards on the inside4 ,the space for a name on the outside should be carefully planned4 ,within this space should be drawn very carefully1 the letters of any name you may wish to place on the portfolio4 ,illustration ,color ,schemes from ,nature4 ,in the world about you1 every object that you see has color4 ,from the bright colors you can so easily see in flowers1 leaves1 grasses1 and the sunset sky1 to the grayed colors of tree trunks1 clouds1 the ground1 and buildings1 there is the greatest variety and range4 ,even in the moonlight1 objects though greatly changed in effect1 still have color4 ,if it were not for this1 we could not see them4 ,it is only in the darkest night1 when we can see but a few feet ahead of us1 that objects seem to lose their color4 ,in our houses1 too1 everything has color--not the bright hues that we find in flowers and landscapes1 but softer1 grayed color4 ,we would not like carpets and wall-paper of the bright color we find in poppies1 for instance4 ,the colors we use in our furnishings should not be glaring and intense1 but quiet and restful4 ,to find these color relations1 and to train the eye to know and enjoy fine color harmonies1 we study what artists have done1 in paintings and other works of art4 ,in nature1 too1 we find color suggestions in endless variety4 ,in autumn the world is flooded with rich color4 ,even the common weed that is shown you on this page shows a combination of colors that would be safe to use in any work of our own4 ,see how the colors in the plant have been arranged in a little scale4 ,such an arrangement is called a color scheme4 ,make a sketch in color from some plant or seedhead4 ,under the sketch1 arrange in little oblongs the colors you found in the plant4 ,using one of ,nature's ,color ,schemes4 ,illustration ,nature's color schemes become most interesting to us when we use them in some work of our own4 ,the brush-broom holder on this page shows in its coloring the scheme found in the plant growth on page #ib4 ,in making a holder of this kind1 choose materials that will be strong1 and that will look well together4 ,pasteboards should be cut in good proportions1 of a size and shape to fit a particular broom4 ,these should be covered on both sides in the same way that you covered the sides of your portfolio on page #ia4 ,the material for this covering may be stout paper1 linen1 plain gingham1 or leather1 colored to suit one of the colors in the scheme you have chosen4 ,a simple design may be placed on the holder in another color chosen from your scheme4 ,then holes for lacing are to be punched in the sides4 ,the cord for lacing should harmonize in quality and color with the rest of your design4 ,the color of the broom itself may be brought into harmony with the holder by painting it with water-color1 or by dipping it in a mixture of water-color that matches one of the colors in your scheme4 ,a few ,indian beads of bright color strung on the lacing strings will add greatly to the effect4 ,a ,raffia ,basket4 ,illustration ,many of the baskets made by the ,american ,indians are so beautiful that they deserve to be classed as works of art4 ,we wonder that a race of people so savage in their tastes and so wandering in their habits could have produced articles of so much beauty from the materials they found in the wilderness of nature4 ,many of these materials it is impossible for us to find or to use1 but we can make with raffia and rattan1 baskets that are something like those made by the ,indians4 ,the sketch on this page is from a soft coil basket1 made entirely of raffia4 ,the amount of raffia used depends entirely on the size of the basket4 ,before beginning the basket1 make a sketch showing its height1 the width of the top and bottom1 the shape of its sides1 and a simple decoration in color4 ,the bottom of the basket is to be made first1 beginning the coil at the center4 ,the coil should measure about a quarter of an inch in diameter1 and is to be made of a number of strands of raffia1 placed with the large ends together1 forming a blunt point4 ,wind the strands tightly together with a strand of raffia1 one end of which is threaded through a large needle4 ,work back from the end until you have a firm coil about half an inch in length4 ,start the spiral with this end1 doubling it back1 and sewing it firmly in place4 ,wind the raffia strands with the strand carrying the needle1 sewing the coil thus made to the center4 ,after the first time around1 the stitches should be made about a quarter of an inch apart1 and should be fastened through the upper part of the last coil4 ,strands of raffia must be added to the coil1 to keep it of uniform size4 ,when a new needleful is taken1 the end of the winding and sewing strand must be hidden in the coil4 ,the stitch is the same throughout the basket4 ,the bottom is kept perfectly flat1 and the sides shaped to suit the design4 ,any decoration in color1 such as is shown in the sketch1 is wound in with colored raffia4 ,when finishing the basket1 the coil is to be cut1 and the end tapered1 wound1 and sewed firmly down to the coil below4 ,illustration3 ,a ,illustration3 ,b ,illustration3 ,c ,a ,woven ,cushion-,cover4 ,raffia is an artistic material which lends itself to many uses4 ,the covers for the porch-pillow shown in the sketch on this page are woven with raffia1 on a strong loom4 ,the size of the loom determines the size of the woven cover4 ,the cushion from which this sketch was made measured eighteen inches square without the fringe1 and about two and a half pounds of raffia were used in the covers1 the fringe1 and the filling of the cushion4 ,sketch ,c shows the wooden needle used in carrying the strands of raffia over and under the warp4 ,raffia is used both for the warp and the woof of the weaving4 ,in stringing the loom1 fourteen to sixteen pieces of raffia should be used as one strand or thread of the warp1 and these strands should be tied firmly to the ends of the loom4 ,as many of these strands must be used as can be tied on the loom without crowding4 ,they may touch1 but not overlap4 ,in weaving1 the large needle is threaded with raffia to make a strand equal in size to the strands of the warp1 and this strand is woven under and over the strands of the warp1 making the familiar basket weave4 ,the ends of the strands used in this way form the fringe1 which is trimmed to the desired length when the weaving is done4 ,stripes1 plaids1 or simple figures may be woven in with colored raffia4 ,the two sides of the cushion may show different designs4 ,color ,schemes from ,man's ,handiwork4 ,illustration ,leaves1 plants1 flowers1 insects1 butterflies1 shells1 feathers1 clouds1 and countless other objects in nature can furnish us with many delightful color schemes4 ,we can also learn much from the artistic work of people4 ,in ,indian pottery and weaving we often see fine combinations of color4 ,the ,indians understood how to make beautiful dyes from roots1 berries1 and other vegetable growths1 and the colors obtained in this way have a peculiar quality and beauty1 not found in many of the dyes in common use today4 ,the picture on this page is from a fine specimen of ,sikyatki pottery4 ,sikyatki was an ,indian village in ,new ,mexico1 and was the home of a tribe of ,pueblo ,indians4 ,when the ,indians wished to send a written message they made use of picture-writing2 that is1 they made pictures so simple that they are called signs or symbols4 ,their symbol of a tree1 for instance1 would look much like the tree pictures made by very little children2 three short vertical marks sometimes meant three warriors2 a zigzag line stood sometimes for the lightning1 sometimes for a serpent2 and a wavy line extending in a horizontal direction was the symbol of a brook1 a river1 or the great ocean4 ,from a good ,indian bowl or basket make an exact copy1 and place underneath it the scale of colors found in the object4 ,using ,color ,schemes in ,pottery4 ,illustration ,in planning a bowl or vase like the one shown you on this page1 a sketch of the front view should be made showing the diameter of the top and bottom of the bowl1 its height1 its shape1 the color scheme1 and the decoration4 ,such a drawing might be called a design for a bowl4 ,after drawing such a design1 the next step is to make the bowl of clay4 ,for the bowl represented here1 a lump of clay was rolled and patted into a low1 roughly shaped cylinder4 ,the thumbs were then thrust into the middle of the cylinder1 and they1 together with the fingers1 pushed the clay outward to form the bottom and part of the sides of the bowl4 ,the sides were finished by adding flat pieces of clay1 their edges being carefully worked until the pieces added seemed a part of the form4 ,the sides and bottom of the bowl were kept of uniform thickness4 ,then the bowl was allowed to stand about a day1 or until it became what is called leather hard4 ,the border was then painted on with potter's colors1 the lower part of the bowl was colored1 and the inside glazed4 ,the bowl was again allowed to dry1 this time very thoroughly4 ,it was then fired in a potter's kiln4 ,make a flower holder of clay4 ,use the color scheme you found in your ,indian bowl or basket4 ,if possible1 fire the bowl in a kiln4 ,illustration3 #c ,,candle ,,stick ,illustration3 ,,stopper ,,for ,,ink ,,well ,illustration3 #d ,,ink ,,well ,illustration3 #a ,,jewel ,,box ,illustration3 #b ,,match ,,safe ,illustration3 #e ,,button ,,box