The Progression of a Drawing

In this exercise the progression of a drawing is shown. A, B, C, D and E in Fig. I are not intended as separate drawings.

A is the start, B the next step, and so on until the completion E.

In Fig. 2 the lines in A are partly repeated in the final drawing D E. The examples are given to show how the pictures are to be started and the order in which they should be finished.

These are only suggestions and the pupil should be requested to base other subjects, either serious or comic along similar lines.


Incentive to Ingenuity

In this interesting exercise (Figs. 5 and 6) the curves on which the subjects are based are shown in heavy lines as keys to the original motif. As the exercise is intended as an incentive to the display of ingenuity, mere accuracy in execution should not be required.

Further Advanced Exercises

These are exercises similar to Figs. 5 and 6, but are farther advanced. Draw any desired curves and angles and then construct human figures based on these lines. Subjects of a humorous character will be found the easiest to produce.

Circle Exercises

Let the pupil make several circles and curves and then dispose of them in the composition of a figure. The examples in Fig. 10 will serve to show what can be accomplished in this direction.

SUGGESTIONS

In a drawing that presents a pleasing aspect to the eye much is left to the suggestion and to the imagination of the observer. For instance, in drawing the stones in a stone wall it is only necessary, as a usual thing, to suggest a few of the stones. In the same manner, a few bricks are all that need be indicated in a brick house to show that it is a brick house. A few leaves, sometimes, in the foreground of a drawing contain all the detail of that sort that is required to indicate the foreground foliage.

By pictorial means, we suggest or indicate things, some of which have neither form, quality, visible appearance, or in fact, any physical manifestation whatever.

By means of lines, aided by association of ideas, we are able to symbolize the intangible. In time the symbolic definition of an object becomes as familiar, or nearly so, as the material meaning. Thus, the anchor is the symbol of Hope; the key of Knowledge; the owl of Wisdom.

Here are a few symbolic objects that make good subjects for school room exercises:

Learning represented by the Justice, represented by scales or sword, or both together.
Bondage, represented by shackles.
Dove, peace.
Time, represented by the hour Dog- (bull), watchfulness, glass.
Mule, stubbornness.
Peace, represented by the olive branch.
Lion, royalty and dignity.
Eagle, domination.

Value of Two-Handed Exercises

Skill, speed, and grace are acquired by the rhythmical two-handed exercises, and for this the blackboard is the most effective place. Each pupil should be provided with two pieces of crayon.

In each of the following examples the starting point is indicated by a 1.

If possible two-handed work should be continued until the pupil becomes, in fact, ambidextrous, but each exercise should be about five minutes long. The exercise may be alternated by two-handed pencil work at the desk.

Pupils should be instructed to erase with slow downward strokes. This will prevent the raising of clouds of chalk-dust.

The best movements at first are the quarter circles, reversed; starting at the top in Fig.2.

After continued exercise in the lines at top of Fig. I proceed with the more complex lines below.

In Fig. 2 the lines cause freedom of movement and train the muscles.

Fig. 3 consists of two-handed exercises intended to try the ingenuity of the pupil by adapting them to more intricate designs modeled on these examples. Let him add details to these and also other figures given in earlier examples of simple forms.

For two-handed exercises on the blackboard broad, sweeping lines are to be recommended. The lines should be started at a bout the height of the head, the converging points at about the middle of the chest

Fig. 4 contains suggestions for two-handed exercises, in which the hands work independently.

The lines on the right-hand side of each object are to be; drawn first with the right hand; immediately afterward the opposite half is to be completed with the left hand. Short strokes, as indicated, should be made in the upper figures, and will be found to act as an aid to accuracy. These exercises are adapted for blackboard and pencil.

The pupil need not be discouraged because his drawings look wrong to his own eyes. The time for discouragement will really have arrived (though he won’t know it) when he is quite satisfied with his own work.

On the other hand, dissatisfaction with his own work is evidence that he is not at a standstill, but is striving for improvement. Encourage the pupil to criticize his own work. Having made a drawing, let him put it aside, and, after a period, look at it carefully and see where he can improve a line here, or strengthen or lighten a line there to the betterment of the whole drawing. This sort of practice means real advancement.