Part 1
BLACKBOARD SKETCHING
_By_ FREDERICK WHITNEY Director _of_ Art, State Normal School, Salem, Massachusetts
_Published by_ MILTON BRADLEY COMPANY SPRINGFIELD, MASS. BOSTON NEW YORK PHILADELPHIA ATLANTA SAN FRANCISCO 1909
COPYRIGHT, 1908 BY MILTON BRADLEY CO. SPRINGFIELD, MASS.
Introduction
Ability to draw easily and well on the blackboard is a power which every teacher of children covets. Such drawing is a language which never fails to hold attention and awaken delighted interest.
It has been considered impossible for most of us, because we have never done it. It has been strongly recommended, but no one has really shown us how.
A book like this which does show how, step by step, from the first practice strokes to completed and effective sketches, will be everywhere welcome. No one can follow the plain suggestions given without appreciating the possibilities of chalk and charcoal for ordinary school-room illustration, and finding in himself a steady development of power to sketch on the blackboard.
The book is not the product of theories about drawing, but the fruit of long experience of one who has drawn with and for children and students and teachers, and has been more successful than any one I know in inspiring them by that means. I welcome the book and predict for it a potent influence for increasing and improving blackboard drawing throughout the schools of the land.
WALTER SARGENT.
_North Scituate, Mass._
Author’s Introduction
This collection of blackboard sketches and the accompanying text has been planned at the request of many teachers and pupils who desire lessons and suggestions along this line, but who are unable to secure personal instruction.
In general, these requests have been for simple sketches dealing with the various lines of school work, and at the same time for strokes and explicit directions for using these in the drawings. For these reasons there are given upon nearly every plate the strokes of the chalk useful in producing the desired effect, and upon the opposite page such directions as are generally given to the students in the classroom.
A few of the lessons deal with the strokes and their application to the very simplest objects possible, but even these may be found useful as illustrative material. They are recommended in order that the teacher may become familiar with the medium, and with the simplest and the most direct manner of handling it before attempting sketches which require a great variety of touches. I have tried to have the other sketches cover as great a variety of subjects as possible.
Plates 3, 5, 8, 10, 11, 13, 14, 15, 16, 17, 18, 22, 23 and 29 have been used with the little people in different forms of stories, language and reading lessons. Plates 7, 8, 9, 10, 11, 18, 27, 28 and 29 are suggested for geography lessons in various grades. Plates 8, 14, 15, 16, 17, 18, 27, 28 and 29 may be used in history lessons. Plates 1 and 3 have been used in primary numbers, and plates 27 and 28 for arithmetic, when the problems had to do with commission, measurement, etc., or when the problems referred to lumbering or manufacturing. Plates 4, 5, 6, 11, 12, 13, 19, 20, 21, 22, 23, 24, 25, 27 and 28 will be found helpful in many lines of nature study, especially when the nature specimens are difficult to obtain. Plates 9, 24, 25 and 26 illustrate the value of this line of drawing in the study of literature; and many of the other drawings may be used in a similar manner. The teacher who uses this type of illustrative sketching will readily see how the drawings may be applied to other subjects.
Teachers have occasionally asked for illustrations for the different months of the school year, something to use with calendars, or for different holiday drawings. Several sketches given on the plates are suitable for the various months. For calendars I suggest discarding the plaided pumpkin for November, the numbered bricks in a fireplace for December, the kite covered with numbered squares for March, etc., etc. A regular numbered calendar may be used, with an appropriate sketch above or at one side. See Plate 13, goldenrod. The holiday itself should suggest the character of the sketch.
Although these sketches are recommended as illustrations for certain subjects, it is not intended that the teacher should merely copy these drawings, but that she should be able to appropriate these strokes, enlarge upon them, and apply them in illustrations for the particular subjects she is teaching; and there are many subjects which require just this sort of expression on the part of the teacher.
“Children are not all ears; they take in more through the eyes than in any other way.”
Since all teachers know this is true, they should realize the usefulness of illustration on the blackboard.
A few moments now and then devoted to the practice of these strokes, and frequent application of them, will enable the teacher better to express and emphasize certain facts, details, or incidents connected with a lesson; better to hold the interest and attention of the class, and more readily to create an interest in drawing. She will thus, by example, lead the children to make the drawing a natural and spontaneous means of expression.
FREDERICK WHITNEY.
PLATE 1
For the first lesson I advise trying the simplest possible stroke, and its application in the sketching of very simple things. The stroke is a straight mark with the side of the chalk.
Take half or two-thirds of a stick of chalk, discard the small end, and use such a piece in nearly all the lessons given. In this case place the chalk horizontally upon the board, and drag it gradually downward, keeping an even pressure upon the chalk. Try this in various directions.
The oblique lines show what a variety of width may be obtained by changing the angle of the chalk. At 1, the full length of the chalk is required to give the broad stroke desired. At Nos. 2, 3, 4 and 5, the line above the stroke indicates the angle at which the chalk is placed in order to give the width of the strokes below. The use of the chalk in this manner enables one to obtain any desired width of line, without constantly changing the piece of chalk. A light or dark tone is produced by varying the pressure upon the chalk.
In drawing the telegraph pole, draw first a delicate vertical stroke, then add the horizontal cross pieces with a stronger accent, and last the white strokes indicating thickness.
In the case of the chicken coop, draw first the oblique slats, then with a stronger pressure upon the chalk, add the horizontal slats, and lastly, with the point of the chalk add the accented bits of detail.
Almost any simple object composed of straight lines may be drawn in this manner.
PLATE 2
The strokes upon this plate are more often used than any others which will be given in these lessons. These strokes are made by holding the chalk by one end rather than in the middle, and then by drawing in any direction desired, letting the pressure come at the end of the chalk, thus giving a graded stroke from side to side. For example, stroke 1 was made by taking about two-thirds of a stick of chalk, holding it by the left end, placing it horizontally upon the board, and then drawing downward, accenting a little with the left end of the chalk. Stroke 5 was made in a similar manner, the chalk being held by the right end, and the pressure being also at that end.
Practice these strokes in many directions, and then apply them to drawing some simple objects. On the plate the cylinder, barrel, and canoe are illustrated to show the application of such simple marks.
In the cylinder, strokes 1 and 5 are used for the left and right outlines; then three curving strokes will finish the top and bottom.
In sketching the barrel, use similar strokes, curving them a bit. Add curving strokes for the hoops, using a short piece of chalk; then add markings here and there with the point for details.
The canoe is one long, nearly horizontal stroke accented at the upper end of the chalk. A few small touches similar to those at 3 will give the rocky shore, and a line or two with the point, the necessary details.
PLATE 3
The lesson planned at illustration 3 is useful in a number of school lessons in the lower grades. I have seen it used in teaching reading in the first grade. In this case, some word from the lesson was written upon each apple, and the children were asked to see how many apples they could gather and put into the basket; in other words, to see how many words they could read. When a word was recognized, it was erased. Again, it has been successfully used in teaching number, form, etc. See also the ladder, plate 10.
Stroke 1 is made by placing the chalk upon the board in a vertical position and then drawing it across the board, varying the pressure frequently so as to give the effect seen in the basket. The strokes at 2 are produced in the same manner. Here the light spots in the stroke are alternated, coming beneath the dark spots in the stroke above. Try a number of these in the curving direction suggested at 2.
In making a sketch of a basket, draw lightly the elliptical top, then add as many strokes as are necessary to give the desired depth, and lastly add the handle. Strokes 3, and the ellipse below them, show the manner of producing this effect. Place the chalk horizontally at the top of the basket, decide where the handle should end at the opposite side, then draw upward with a heavy stroke, across the top lightly, then downward with a slight pressure. Keep the chalk in a horizontal position throughout the stroke. Add a line of accent to the nearest edge of the handle.
The tree trunk back of the basket is drawn with strokes 1 and 5, plate 2, the stroke being curved a bit at the lower end. The grass is added by the use of stroke 5, which is made by using a short piece of chalk, and by moving the hand rapidly up and down. A little accent may be used occasionally.
In drawing the apples study stroke 4. These are made like those on plate 2, by accenting with the end of the chalk. Use a very short curving stroke, first toward the left, then toward the right. Add stems, etc., with the point of the chalk.
PLATE 4
Lesson 4 introduces a stroke entirely different from those already given, and one which will require more practice in order to obtain the desired results and to apply it readily in quick sketches.
Stroke 1 is made by placing the chalk in a horizontal position upon the board, and drawing it downward, gradually twisting it to the vertical position. Stroke 2 is the exact opposite. Place the chalk vertically upon the board, draw it downward and gradually twist it to the horizontal position.
In drawing strokes 3 and 4, combine those already given at 1 and 2. For 3, place the chalk vertically, draw it downward, quickly twisting it to the horizontal position; then, without removing it from the board, bring it back to the vertical position. Try stroke 4, beginning with the horizontal position of the chalk, twisting it to the vertical, then back again to the horizontal position.
Stroke 5 shows a curving effect produced in the same manner as stroke 3, but with a curving instead of a vertical tendency.
In drawing the cat tails, use strokes 1 and 5 on plate 2. These are slightly curved at the upper and lower ends. Keep some of them very delicate, others quite white. The leaves are drawn by using strokes 1, 2, and 3, on plate 4. Let the tone desired in the drawing govern the pressure used upon the chalk.
The palms are drawn by using the same strokes. Draw first very delicately with the side of the chalk, then with strokes 1, 2 or 3 add stronger strokes for accent.
PLATE 5
A new stroke will be introduced for this lesson. It is a regular or irregular curve as the case may require, and is useful in all sorts of nature drawing.
First try the long curving stroke No. 1, accenting with the left end of the chalk. Reverse the stroke, accenting with the right end of the chalk. Now try No. 2, making a series of nearly parallel strokes, keeping the accent at the left.
The pumpkin is drawn by combining these strokes, varying the pressure to obtain the desired tone, and accenting with the left end of the chalk, then reversing the stroke for the right side of the pumpkin. Add the stem by the use of a few irregular strokes and a bit of accent.
Stroke 3 may be used in drawing any large leaves, such as squash, grape, etc. Try this in a great variety of positions, always keeping the accent for the edge of the leaf. Apply this in drawing the grape foliage in the illustration below. Draw first the mid-rib and then represent the surface of the leaf by using stroke 3. The grapes are added by the use of stroke 4, which is stroke 1 very much reduced. Let the grapes be drawn with a short, quick twist of the chalk. Lastly add stems and accent.
Almost any vegetables may be drawn after a little practice of the strokes given at 5. These are made exactly like stroke 1, with changes in direction. Try a single onion or carrot, then a group of vegetables. Do these as simply as possible, obtaining the effect, if you can, with three or four strokes, then add a few touches for details.
PLATE 6
The strokes given in this lesson, although not used as frequently as those previously given, are nevertheless valuable.
No. 1 shows the manner in which the stroke is produced. Place a piece of chalk in the position indicated by the line below the stroke, then swing the chalk rapidly back and forth, shortening the stroke and gradually twisting the chalk to the vertical position. No. 2 is produced in the same manner. Place the chalk obliquely as indicated, and keep the movement oblique, shortening the stroke, and twisting the chalk gradually to the horizontal position.
The fern is drawn by first sketching a few main lines, No. 3, and then upon these apply the strokes given as shown at No. 4. Hardly touch the board at first, keeping the tones very gray; then add a few white ferns as in the sketch.
No. 6 illustrates the same stroke used in a much bolder fashion and in a generally horizontal direction. After applying this stroke, accent here and there with a much shorter stroke, and add the trunk and branches.
Study the trees given on plate 12 in connection with this illustration and notice the variety of strokes given for the different trees.
PLATE 7
In this lesson we will put to practical use such strokes as those given in the first few lessons. The sketches of this character are often valuable in the schoolroom when studying the mountains, the hillside, the river, etc., and the teacher who, with a few strokes of the chalk, can interpret to her class the thing about which they are studying, and can make an illustration which the whole class can see and appreciate, has an invaluable gift.
Experiment with the strokes given at 1, 2 and 3. As in previous lessons the side of the chalk is used, and the accent is with one end. Try to give the effect of snow, of rocks, of a bright day, or of a cloudy day, by varying the tone or pressure upon the chalk. Sometimes use the chalk for sky, leaving the board for the hills. Then reverse the stroke, letting the sky remain gray and using the chalk to represent the mountain, accenting with the upper end of the chalk. No. 3 is a combination of 1 and 2, the chalk being used in both sky and mountain. In No. 4, the eraser or a soft bit of cloth is used to take out the trees after the chalk has been applied.
In the sketch given on the lower part of the plate combine the suggestions given above. A few short, curving strokes with the usual accent at one end of the crayon will give the rocks, and the irregular horizontal and zigzag strokes already given will produce the ripples in the river, and the foreground.
PLATE 8
In the exercise illustrated on the opposite page you will find combinations of the strokes already given, but they are varied somewhat in rendering these drawings. Any sketch or object to be drawn should dictate the kind of stroke to be used and the manner of handling the chalk, the pressure, accent, etc.
For the larger sketch, draw first the tree trunks as shown at No 1. Let the pressure be as gentle as possible, the chalk hardly touching the board. After these are massed in the background, erase a triangular spot for the wigwam, and with the oblique strokes 2, accented first at the left, then at the right, obtain the general form required. Stroke 3 is added at the top of the wigwam, and a bit of charcoal is used for the dark tone at the opening. Now add the decorative details.
In order to complete the sketch, use stroke 4 for the foreground. It is similar to those previously used, and is made by an irregular, up-and-down movement of the chalk.
A pond, a canoe, or other suggestive detail may be used in this sketch, and applied to the work in history, geography, language, etc.
Try the second little drawing, using similar strokes in a very simple manner.
PLATE 9
Lesson No. 7 gave a few suggestions useful in geography and landscape work. This time we will try another type which will doubtless be found equally useful.
Stroke 1 is a horizontal stroke accented at the lower end of the chalk by a decided pressure. This will readily give a tone for the sky and a definite line for the horizon.
At No. 2, the sky is drawn in the same manner, and charcoal or black chalk is introduced for the ocean. These touches are made with the side of the chalk in irregular, wavy lines.
Spray may be represented by massing a little chalk near the rocks or beach, and by rubbing the tip of the finger or a soft bit of cloth into the body of chalk, gradually blending it into the rocks or water. See No. 4.
To obtain a sketch like that given in this lesson, first draw the horizon, then the wavy strokes for the sea. The cliffs or rocks are drawn by using strokes like those at No. 3. They are irregular strokes accented with one end of the chalk. Here again the charcoal is useful in adding crevices or shadows in the rocks. Erase spots for the boats and add details.
The effect of a beach may be produced by using the same broad stroke as in the sky, accenting with the upper end of the chalk to give the margin of the beach. Add a few ripples and pebbles, or a bit of seaweed, using the point of the chalk.
The sketch given on this plate was used as an illustration for literature.
A heap of bare and splintery crags Tumbled about by lightning and frost.
--_Lowell._
PLATE 10
The sketch on plate 10 was suggested for geography. It is very simple and requires only strokes already used a number of times.
The sky and hill are represented by the use of stroke 1. Place a long piece of chalk vertically, the accent at the lower end giving the outline of the hill.
The marshy land is represented by a similar stroke carried in a horizontal direction. The board is left free from chalk in the case of the hill and the water. The village in the distance is added with charcoal, and the reflections in the water with little touches of chalk or charcoal.
Erase spots for the haystacks, and use stroke 3. This is a very simple curving stroke with the side of the chalk, accenting with the left end of the crayon; then a reverse stroke, accenting with the right end of the chalk. If shadows are desired they may be added with charcoal or black crayon. Observe that the tops of all the haystacks are on a level.
The sketch with the ladder was made for primary reading. Different words were written on the different steps of the ladder and the children tried to see how high they could climb; in other words, how much of the lesson they could read. If they read all of the words they could climb to the top of the haycock.
PLATE 11
Here again are very simple strokes which require only a little practice for accomplishment.
The distance is represented as in the last plate, and the grass and meadow are done in the same manner as the marshy land on plate 10; 1 and 2 show the strokes. A few up-and-down touches with a short piece of chalk are added in the immediate foreground.
The fence is drawn by the use of the strokes given on plate 1, and shown at 3 on this plate.
After drawing the field and the fence, erase for the tree trunk and tree and add the foliage. This is done with a short piece of chalk and a quick back-and-forth movement. See plates 6, 12, and 24 for other trees and strokes. The skeleton of the tree, as shown below the drawing, may be represented first, then the foliage added.
This plate will be found useful in the early spring, as it shows the tree in winter condition, the pussy willows, and the tree in summer.
Spots 4 show the treatment of the “pussies.” A very short curving stroke of the chalk is first made; then the finger is used to give the downy, soft effect. Sketch a few delicate lines for the stems, add the catkins as described above, and then finish the stems with black and white chalk.
PLATE 12
In sketching trees, one should bear in mind the general attitude of the tree, its characteristic form and branching, and the stroke which will best produce these.
One teacher can best draw the tree by using such strokes as those at No. 1 to give the trunk and branches, and then applying the stroke for the foliage; while another teacher does better work by massing the tree, as at No. 2, and then adding trunk, branches and details. Either method is good.
The strokes above the trees show the manner of representing the foliage of these particular trees. See plates 6, 11 and 24, for other trees.
Apply either of the methods described above, using half a stick of chalk placed flat upon the board and moved rapidly in the direction suggested by the stroke. For the elm it is a curving motion; for the poplar up and down; for the pine, back and forth; for the oak or apple, an irregular and slightly slanting stroke, etc.
After the mass of the tree is drawn, accent here and there with the same stroke, and add branches and details.
When working upon a gray background or against a light tone for the sky, use black chalk or charcoal in the manner described above.
PLATE 13
As stated in the introduction, there have been many requests for suggestions for calendars. Whatever the month may be, draw a simple calendar large enough to be seen by the children. If a picture of some sort is desired, draw something which will be appropriate to the month and arrange it in a vertical panel at one side, or a horizontal panel above or below the calendar. The goldenrod on plate 13 will show what is meant by this arrangement.
All the strokes here given have been drawn before and are easily applied. Strokes 1 are given for the goldenrod, strokes 2 for the rose hips and leaves, 3 for the roses, 4 for the thistle, and 5 for the daisy. With a few light touches of the chalk indicate the growth and position of the specimen; then apply the strokes for drawing the surface of flowers and leaves.
In sketching the thistle the pointed details are added with the point of the chalk.
PLATE 14
At No. 1 is a very simple stroke made by placing a piece of chalk in a vertical position, and drawing it across the board in any desired direction, breaking it at regular intervals by lifting the chalk from the board. This stroke is useful in representing tiles, brick, stone, or any broken surface.