Read Ebook: Blackboard Sketching by Whitney Frederick Sargent Walter Author Of Introduction Etc

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Ebook has 157 lines and 10564 words, and 4 pages

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.

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

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.

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