Part 2

In this particular sketch a horizontal stroke is first made for the mantel, then the vertical strokes for the surface of the walls; then the bricks are added by the use of the strokes given at 1. Erase the space necessary for the fireplace, and add black chalk or charcoal, leaving the board where the fire is to be represented.

A few gray strokes with the side of the chalk will indicate the logs, and the use of stroke 2 will add the fire and smoke. Stroke 2 is made by massing a little white chalk, and then rubbing into it with the finger, gradually blending it into the tone of the blackboard. The details, andirons, etc., are easily added.

If this sketch is used for Christmas, add toys, sleds, stockings, or other objects suggestive of the day. They are all drawn with the side of the chalk, the direction of the stroke being dictated by the object.

The sketches in this and the following lesson may be used in work in history, or to illustrate the type of house used by the early settlers. The sketch on plate 15 is supposed to be Washington’s home, and that on plate 16 is Lincoln’s birthplace.

PLATE 15

Study the horizontal lines at No. 1. Though not like those in the sketch below, they show how any such cabin may be drawn. Try these strokes, accenting with the upper end of the chalk while making the horizontal line. Should one side of the building be lighter than the other, obtain the desired effect by varying the pressure upon the chalk.

No. 2 is made by the use of a long piece of chalk, and by keeping a smooth, even tone throughout the stroke.

Stroke 3 is made in a similar manner to that on plate 14 in the drawing of the bricks. Make it in a rather irregular fashion, and add little touches of detail with chalk or charcoal.

Stroke 4 is made with a very long piece of chalk, with strong pressure on the lower end. This will give a good tone for the sky and serve as an outline for the roof of the building.

In making this sketch, take a short piece of the chalk and use a stroke like No. 1, beginning with a very short line; and increasing the length of the strokes till the body of the house is reached and then keeping the lines of uniform length to the ground.

After the body of the building and the sky are represented, erase the logs where the chimney, windows, or door are to be drawn. Erase also whatever chalk may be upon the board where the trees are desired, and apply the irregular touches already given in drawing trees. Use chalk or charcoal, according to the tone desired in trees, windows and chimney. See stroke 3. See strokes on plate 16 and plate 12.

PLATE 16

Study the strokes given on the previous page, plate 15, for suggestions for sketching this cabin. Those at No. 2, No. 3, and No. 4 will be found helpful.

Use stroke 4, plate 15, for the outline of the roof and the sky, and add the smooth vertical or horizontal strokes for the sides of the building. Accent here and there with the point of the chalk and add details in a similar manner, but avoid a definite outline. Let the difference in tone make whatever outline is necessary.

After erasing the spots for doors and windows, add the strong dark tones with a bit of charcoal. The details at 1 and 2 on the plate will show how these are made. No. 3 shows the treatment for the roof.

After erasing for the trees, add a little charcoal and chalk, using the strokes given in the lesson on trees, plate 12. The grass and the details in the foreground may be added last. The sketch will readily show the strokes necessary and the movement of the hand in making these strokes.

PLATE 17

Whenever I have made a sketch of this kind it has always given great pleasure to the children, and proved of more or less value in history, or in story-telling in the lower grades.

Stroke 1 illustrates the treatment for the sky and the horizon. A few soft touches with the side of the chalk will indicate clouds. Blend the white tone into the gray of the blackboard. The chalk is held vertically and drawn across the board horizontally.

Next erase a spot or two for the sails and hull of the ship, and apply stroke 2. This stroke is made by placing the chalk in an oblique position and drawing a curving stroke downward, the end of the chalk giving the outline of the sail. In the drawing at the left a graded stroke was used, the eraser making the edge of the sail at the left and the chalk at the right.

Stroke 3 is desirable in representing the ocean. It is made by placing the chalk vertically upon the board and making a long, sweeping stroke, accented with the upper end of the chalk. In these sketches charcoal was used for the dark streaks in the water.

In drawing the hull of the ship, try stroke 4, using a short piece of chalk or charcoal. The chalk is placed vertically and a curving stroke is used with no particular accent. Add details with touches of chalk or charcoal.

PLATE 18

On plate 18 are suggestions for the month of March, or for geography, history, or occupations and habits of the people.

Apply a few delicate, horizontal and curving strokes to the board; then with a soft piece of cloth erase for the distance, as at No. 1. Use stroke 2 for the sides of the windmill, stroke 3 for the wings, and touches of charcoal for the windows.

Stroke 5, plate 3, will help in representing the foreground. Use the chalk very delicately, accenting here and there with stronger touches, and a vertical stroke now and then for the reflections in the water--stroke 4.

The strokes illustrated on plates 2, 3, and 5 will be useful in sketching the shores and other objects. Remember to allow the pressure upon the chalk to indicate the outlines of objects, and never to add definite marks with the point excepting for necessary details or high lights.

PLATE 19

This plate was planned as a review lesson, as well as to give illustrations which teachers might use for a great variety of purposes. All these strokes have been given before and are easily applied.

For the turkey, sketch lightly a circle; then with the side of the chalk add broad, gray strokes. See No. 1. After this is done, add short touches with the side of the chalk, for the wings, legs, feathers, etc.

Stroke 2 was given on plate 2, and, with the addition of the little slanting and curving strokes here given, will produce the lighthouse. This sketch will perhaps be useful in connection with plate 9, in teaching the seacoast.

Strokes 3 and 4 are similar to those given on plate 5. They are made by the use of curving strokes with the side of the chalk, the accent being upon the end forming the outline. This stroke is frequently used, the object to be drawn dictating the direction of the stroke. Apply these strokes in drawing the rat, the chickens, the mushrooms and the frog.

In the tree sketch, a background of gray is first drawn with the side of the chalk; then the strokes given on plate 6 are applied with charcoal, and the snowflakes added with strong touches of white chalk. If the candles are desired, omit the snow and use tiny strokes like those at 5.

No. 6 is desirable in representing the nest. After 6 is drawn, add stroke 4 for the eggs and finish the nest by using strong touches with the point of the chalk.

PLATE 20

The strokes on plate 20 are so well defined that it hardly seems necessary to describe them. For 1 a short piece of chalk is used, the side of the chalk giving the width of the line. At 2 the stroke is similar, the accent being at one end of the chalk. At 3 the stroke is slightly curving, the chalk being placed vertically, and the accent being upon the upper end of the chalk. No. 4 is drawn by placing the chalk vertically upon the board, drawing it downward very quickly and twisting it to the horizontal position. Apply these strokes in sketching the lobster. First use stroke 3, then touches like 2; afterward strokes 1 and 4 for details.

No. 5 indicates the strokes first used in sketching the shells. In drawing the outside of the nautilus, use a long piece of chalk and with a curving stroke accented with the end, form the outline. With strokes similar to those at 2, sketch the light streaks in the shell, and add dark details with charcoal. Use the tip of the finger in softening the tones here and there.

In drawing the section, sketch first the spiral curve, then the blended strokes connecting the outer with the inner curves of the spiral, and add charcoal for shadows.

The oyster shell is drawn by the use of the lower stroke at No. 5. Make the stroke, accenting a little at the left end of the chalk; then reverse the stroke, accenting with the right end, and add details with chalk and charcoal.

PLATE 21

The strokes and touches used upon plate 21 are more delicate than any previously given, though similar in character. No. 1 is drawn with the side of the chalk, the accent being with the left end. Allow the hand to tremble a bit and the texture desired is more readily obtained. Stroke 2 is produced in the same manner. After these are drawn add the shades, stems, and leaf with charcoal, and high lights with touches of white chalk.

Stroke 3 is exactly like that at No. 2, plate 20, though drawn with a much smaller piece of chalk. A series of these strokes, with the addition of touches with the charcoal and point of the chalk, as indicated in the sketch, will produce the caterpillar.

Strokes 4 and 5 are valuable in sketching a butterfly or moth. They are gray strokes with the side of the chalk, the pressure being upon the end forming the outline. In work of this kind study nature very carefully, as no sketch or copy can do what nature can for the teacher. After the general form of the butterfly is drawn with these light gray strokes, add the details, using touches of chalk or charcoal, and occasionally blending them with the tip of the finger.

PLATE 22

A very few lines will often indicate the pose or action of an animal. Try lines similar to those at 1; study other animals and try a few characteristic lines. See No. 1 for the squirrel and for the fish.

After practicing the pose, try 2 without sketching the lines with the point of the chalk, but by using the side, as in previous sketches. To finish the sketch add the few details necessary, as shown in the other drawings.

The strokes used in these sketches are given on several other plates. They are produced by using the side of about two-thirds of a stick of chalk, and by accenting or letting the pressure be greatest at the end of the chalk which is to form the outline. This type of stroke is perhaps most evident where the pressure was upon the left end of the chalk, as in the squirrel’s back.

See also stroke 4, plate 3, and strokes upon plate 5.

PLATE 23

The strokes used in the birds are exactly like those described in the previous lesson.

Sketch first an egg shape, No. 1, using half or two-thirds of a stick of chalk, and pressing a bit upon the outer end, letting the stroke blend into the board.

Add to this a few blended strokes representing the form and position of head, tail and wing. The sketches at 2, 3 and 4 indicate upon which end of the chalk the pressure should come. Be careful to keep the delicate gray or middle tones.

After such drawings as those at 2, 3 and 4 are made, then add the characteristic details with the chalk and charcoal. It will be seen by studying these finished drawings that only a few touches are necessary to complete the sketches.

In order to obtain a contrast between the background and the head of the bird in the lower sketch, a little chalk was massed upon the board as a background. See plate 12.

PLATE 24

These sketches are drawn as illustrations for literature, but would be quite as useful in some other studies.

The strokes at 1, 2 and 3 are those used in the tree sketch; 1 is obtained by two strokes of the chalk, placed vertically upon the board and accented by a pressure upon the lower end. These strokes give the sky and the hills in the distance. The use of the eraser and a few blended strokes like those at 2 will help in sketching the tree trunks. See plate 2. After these are done, add stroke 3, and with it mass the foliage. See suggestions on plate 12. The point of land in the distance and a few of the branches are added with charcoal.

Study the lesson on plate 23 before sketching the sparrow. Stroke 4 is made with a single broad mark of charcoal, and the addition of tiny touches with the chalk. The branch is drawn in a similar manner, and the background is added by a few soft and delicate touches with the side of the chalk.

PLATE 25

This plate was used as an illustration for Longfellow’s “Flower-de-luce.” The pond-lily may be used in nature study or as an illustration for some poem.

The strokes necessary or useful in drawing these bits are shown at No. 1, No. 2 and No. 3. At No. 1 the chalk is placed in an oblique position, drawn gradually downward, and at the same time twisted to the horizontal position at the middle of the stroke. Try this stroke in a great variety of positions. The spots produced will be found useful in much of the flower and leaf drawing. Apply these in the fleur-de-lis.

The strokes at 2 for the leaves were given and described on plate 4, and may be appropriated wherever reeds or grasses are to be drawn.

Stroke 3 is simple, yet often found troublesome by pupils. Place the chalk in a vertical position, draw it quickly downward, twisting it to a nearly horizontal position. Let the accent be at the upper end of the stroke. Try a number of these strokes, letting them meet at the centre of the flower. In making the drawing of the pond-lily, accent the nearest petals.

The reflection in the water, and the reeds in the background are obtained by delicate vertical strokes, crossed in the water by occasional horizontal touches. Use simple curving strokes for the lily pads.

PLATE 26

Here is given another literature illustration, which is drawn with such strokes as those indicated in the upper part of the plate.

Stroke 1 has been described many times already. After this is drawn indicate the distance by the use of a few touches with charcoal, and the water with a delicate line or two of chalk. Let the strokes be horizontal.

The rocks are represented with such strokes as No. 3. See also plate 9, stroke 3. Accent here and there for the light touches, and add bits of charcoal for the dark.

Stroke 2 is drawn by placing the chalk in a vertical position, and drawing it in the desired direction with a rather irregular or uneven stroke. See stroke 3, plate 15. When the strong, bright tones are desired, accent with the chalk, and when the gray tones are necessary, hardly touch the board. The windows are added with strong strokes of charcoal.

PLATE 27

This plate was planned especially for arithmetic lessons, as it shows in the sketches the various processes through which the cotton passes before reaching the retailer, thus suggesting a number of practical problems. It may be used quite as well in geography, history, and nature study.

Spot 1 is produced by massing a bit of chalk and then rubbing it into the desired shape by the use of the finger tip. The pod is drawn with a short stick of charcoal, used in the same manner as the chalk.

No. 2 shows the stroke for the sky and horizon, and has already been described in many other lessons.

To produce the effect shown at No. 3 use the side of a short piece of chalk, and with a rather irregular stroke draw the twigs and stems. Accent the spots for the cotton balls.

In the other small sketches the strokes are so evident that they hardly need description. A white, smooth sky, erased where the mills and chimneys appear, will produce the effect in the lowest drawing. A little charcoal may be added for the darkest tones, a stroke of the eraser for the smoke, and little touches of chalk for the windows.

PLATE 28

These sketches were also suggested for problems in arithmetic. The problems relate to lumbering, measurement, and commission.

No. 1 illustrates the beginning of a forest sketch. With a single stroke of the chalk, accented at the lower end, draw the sky. With a second more delicate stroke show the distance; then with a few quick, nearly vertical strokes with the eraser show the positions of the trees. Later with chalk or charcoal and the use of such strokes as those given on plate 2, and at No. 3 on this plate, add the shading in the tree trunks.

No. 2 shows the strokes useful in drawing the camp, the wood pile, or the lumber. These have already been given in such sketches as those on plate 15.

The sketch of the house in the original had the dimensions marked upon it, and the pupils were to find the shingles required for the roof, the clapboards for the walls, etc.

Before trying this sketch, study plates 15 and 16 for strokes and details.

PLATE 29

The accompanying plate was taken from a lesson in a first grade. The little boy was dressed in an impromptu costume of cotton batting, and the background hastily sketched by the teacher.

The horizon was drawn as on plate 9; then a few soft oblique strokes were added to the sky. The shore was drawn with irregular back-and-forth strokes, as in many of the previous sketches, and a sheet was tacked to the board in order to obtain the white foreground.

An almost vertical stroke accented with the end of the chalk was used in drawing the icebergs, and a few strokes of charcoal were added.

The huts were drawn with a curving stroke accented with the upper end of the chalk, and they were finished by applying stroke 2, plate 3, and adding a few details with the point of the chalk.

Any teacher can easily arrange such backgrounds and costumes with the simplest material at hand, and in this manner add essentially to the interest and value of a lesson. A Japanese Day, An Indian Entertainment, A Soldiers’ Camp Ground, A Lumber Camp, and many others, are easily arranged.

Transcriber’s Notes

In a few cases, obvious mistakes or omissions in punctuation were corrected.

Page 31: “The goldenrod on plate 12” changed to “The goldenrod on plate 13”

Page 36: The illustration caption “see lesson on previous page—Plate 14” changed to “see lesson on previous page—Plate 15” to reflect to correct plate as per the text, though the text within the image is incorrect.