Solid Blacks

The placing of solid blacks should be done very carefully. Until the pupil has had adequate practice it will be well for him to outline in pen and ink the spaces to be filled with solid black, before applying the brush. (See Fig.1.)

This process will prevent the abrupt or uneven edges frequently found in the brush work of the beginner. The brush should be used with just sufficient of the black pigment to produce denseness when the ink has dried.

The best results are obtained by putting the blacks in after the pencil sketch, or guide lines, have been erased. Otherwise, the rubber eraser may remove part of the black surfaces, leaving them somewhat grayish.

Methodical Brush Handling

The brush should be used methodically. It should not be splashed back and forth. (See Fig. 2.) A good way is to commence at the upper parts of the spaces to be covered and slowly work downward. (See Fig. 3.)

Things to Be Avoided

To get so much ink on the brush that it will drip.

To get so little ink on the brush that the blacks are semi- transparent or streaky.

The advice given just above applies to brush work generaIly.

It will repay the effort to make several drawings of an experimental character showing how effective a picture can be that is made up of merely simple outlines fortified by solid black masses thrown in by means of a pliable pen or a small brush.

For practice, two drawings should be made as nearly alike as possible. On one of them, with pencil, the places intended for solid blacks should be outlined and then filled. The other should remain in outline.

The difference between the drawings respectively with and without the solid blacks are to be noted and their respective merits compared.

Black and White Exercises for Brush and Pen

The examples on this and the following pages (Figs. 6 and 7) are
simple exercises in pen and ink and brush combined.

The circles are used to give a sort of frame to the little designs and to add a sense of regularity in the matter of shape.

Make the circles first in pen and ink, whether the outlines which they enclose are made with pencil guide lines or not.

A and B should be made with pen and ink without the aid of pencil
outlines.
In C, make the horizon line in pencil before using pen or brush.
In D, indicate the mass of the foliage before using pen or brush.
E should have penciled outline for all details and pen-and-ink outlines should be made for the areas which are to be completed with the brush.
F-Outlines in pencil only.
G and H are exercises for brush only, without any guiding lines. I-Pen outline for the moon and the upper outlines of the battlements of the castle and for its doors and windows.
J-Outlines in pencil for the branches only, which in turn may be
m:ide with strong pen lines; the leaves to be added free-hand with a brush. K is to be outlined with pencil and completed entirely with brush.
L is to be outlined with pen only and completed with the brush.
M, N and O-Outline with pencil and complete with pen and brush. P and Q-Outline with pencil and complete with a brush.
R-Outline with pen without pencil guides and complete with brush. In each case, after the drawings are quite dry, erase the pencil lines.

Solid Blacks

The solid black exercise previously described may be used in connection with pencil or pen effects by adding other details, either background or foreground, to the objects drawn in solid black. The best effects are secured by making these additions in a monotone, in order to secure a happy contrast between the two treatments. That is to say, no attempt need be made to blend the black subjects to the added detail.

Models for drawing flowers and like forms of vegetation are so easily procurable that it seems unnecessary to give many examples in these pages. Real flowers, etc., are better than copies.

For purposes of a model one flower is as good as another; one leaf is as good as another.

The only advice to be given is that the beginner should be given a simple flower or leaf.

Afterward the more complex flora may be studied and drawn, from nature preferably. A daisy, a dandelion, or a pansy is better to begin with than a rose, a peony or a chrysanthemum.

Any Weed Offers Good Practice

Nothing is better than a twig with a leaf or two attached. When the natural flowers are not to be had, artificial ones can be made to fulfill the purpose.

The general lines of direction in a drawing should be indicated, and the general shapes of the detail also should be shown by light lines before the finishing touches are attempted. By doing so, defects in the lightly drawn lines can be easily remedied; whereas, after the drawing is completed this is almost impossible without smudgy effects being produced. See Fig. I.

In the sketches shown on page 114, the idea conveyed in the foregoing paragraph is illustrated, and three stages of progress shown.

Curved and Straight Lines

The pupil should become equally proficient in the use of curved and straight lines, both being useful for different purposes. For instance, in the example shown in Fig. 3, straight lines are most effective for drawing the pine cones, the twigs and needles; on the other hand, curved lines are best for rendering the cherries, etc., at the right.

In the earliest exercises, when drawing flowers or leaves from nature, the objects themselves should be rendered in simplified form. For instance, remove the leaves from the stem, leaving only a single flower. Again, remove the flower, leaving only one or two leaves. Increase complexity as ability develops.

The stencil patterns 1 to 14 in Fig. 11 should be made double the size shown here. The dotted lines in 1 and 3 indicate that the cutouts are to be made along those lines, and the serrations or notches of the leaves are to be cut afterwards. The dotted circles in 5 and 9 mean that the small spaces are to be erased after the main, spaces have been filled with color.

Nearly all the forms, or parts of them, can be cut out by means of a pair of dividers, The board need not be cut entirely through. The board being brittle, the pieces can be pushed out when the board is partly cut through. The black dots indicate where the point of the dividers is to be placed.

All the designs in Fig. 12 can be formed mainly by the use of the stencils. Then Nos. 1, 2, 3, 4, 5 and 14 in Fig. II correspond with the figures in Fig. 12. The dotted line at the side of No.5 is a guide line, such as should be made whenever a border or other straight line of units of design is intended.

Stenciled medallions are easily made by the following method: Cut the unit stencil A in Fig. 7. B is a pinhole. Divide with guide lines a piece of paper as at C. Fasten the stencil with the pin in the center of C. Repeat the stencil eight times as at D. Make the additions shown in black in D. A pretty effect will be had by using two colors, alternating them. E, F, G, Hand show other unit designs that may be used.

Cut a stencil of half of the Christmas tree and the pot. Stencil one side and then reverse. Use dark green applied evenly. Cut a few stencils for the candles, toys, etc. Use them with the eraser, taking out the indicated spaces. Leave the candles white, but color in various tints the toys, etc., on the tree. The pot should be colored a bright red.

Directions for Cutting Out and Using the Stencil Sectional Alphabet

Outline and then cut out the shaded parts, Leave more space between the characters than in the copies given on next page. Both sides of the stencils may be used, as they are intended for dry stenciling, oiled stencil board is recommended for this purpose since dry colors do not adhere to its surface.

When stenciling a line of lettering, make one guide line in pencil on the paper on which the stencil is to be made. The guide line may be at the top or bottom of the letters.

The letters are formed in the following manner:

A-Stencil No, I use twice, with No, 4 for the cross-bar, Very little space is needed between A and any letter placed next to it.

B-:Stencil No, I with No, 2 used twice. Leave ample space between B and all “crowded” letters.

The “crowded” letters are B, C, D, E, G, H, I, K, M, N, 0, Q, R. S, V, X and Z. Leave less space between B and all other letters when an “open” letter is the next one.

The “open” letters are A, F, J, L, P, V, Wand Y.
C-Stencil NO.3, and No.6; the latter used twice-once as seen in the copy and once reversed.
D-Stencil No. I, and Stencil NO.3 reversed.
E-Stencil No, I, and Stencil NO.4 for top and bottom. Vse No,S for center cross-bar,
F-Same as E, leaving out lower cross-bar.
G-Same as C, with the cross-bar No,S added, using it reversed.
H -Stencil No. I use twice; cross-bar No, 4,
I-Stencil No. I.
J-Stencil NO.4 used vertically, and No.2 turned half around, K-Stencil No, I, and No, 4 used twice, obliquely.
L-Stencils Nos, I and 4.
M-Stencil No, I used twice, and No, 4 used twice, obliquely, N-Stencil No, I used twice, once obliquely,
a-Stencil No, 2 used twice, turned half around,
P-Stencil Nos. I and 2.
Q-Same as C, with stencil NO.7 added,
R-Same as P, adding cross-bar No, 4, used obliquely,
S-Stencil N9. 8 used as seen in copy for the upper part; using other side for the lower part.
T -Stencil No, I for main stem. then use No, 4 or 5, as is seen in
copy, for right half of cross-bar, turning it around for the left half.
V-Stencil No, 2 turned half around for lower part; No, 4 for upperpart.
X-Stencil No, I used twice.
Y -Stencil NO.4 used twice obliquely; NO.5 for lower part.
Z-Vse NO.4 twice and No. I used obliquely.

Fig. 10 contains simple designs which are adaptable for a variety of purposes, such as pastel-stenciling, as, for instance, B, D, E, F, G and 1.

The above-mentioned designs are also suitable for paper cutting.

A, C, F, J, K and L may be adapted for decorative purposes by repetition for borders, etc.

Use of Eraser

Should there, nevertheless, be such conflict, portions that are the cause can be removed with the eraser. In making such erasures one of the advantages of this system of stenciling will be observed. It is almost as easy to take something out as it was to put it in.

If, however, the background design has been put in dark tones, and, for instance, a line of lettering is to be placed over this, the letters, by means of suitable stencils and the eraser, can be made to appear white, or at least light, and outlines added to cause them to stand out well defined and bright against the background.

Lines Should be Added

Stenciling alone is usually unsatisfactory and is only a step in the final design. After the patterns have been stenciled lines should be added. These may be in the form of outlines around each unit, or accented lines on one side of each. Besides these, connecting lines uniting the disconnected parts are often required. In other instances details may be added, harmonizing and contrasting. The veins of the leaves, in some instances, may be shown, stems added, and here and there tendrils may be drawn.

In addition to this, the spaces left blank, because of lack of openings in the stencil, should be filled in. and in doing this the effect of the stenciling should be closely matched.

A disadvantage in the use of the wax crayons is that the markings made by the wax crayon cannot be erased or defects readily remedied.

Cut stencils of half butterflies similar to those indicated in Fig. 5. Use any bright tints and add detail in accordance with Fig. 9 in the chapter on Tracing and Transferring.

Cut a stencil as in Fig. 6. Repeat it as shown in Fig. 10 in the chapter on Tracing and Transferring. The white dart-shaped part, marked A, should be cut as a separate stencil and erased after the larger stencil-transfer has been made.

After making a stencil impression from one side of the stencil it may be reversed and an opposite impression made. This is the manner in which the vase in Fig. 4 was made. The color can be applied in several ways.

(1) By means of powdered crayon taken up on a rag or
“pouncet.”

(2) By means of crayon applied to the rag or “pouncet.”

(3) By means of the crayon applied directly to the paper through interstices or openings in the stencil, and then distributed over the required surface with the rag.

Varying Degrees of Color

The last method is an important one, as it permits of variation and blending of tints and gradations or softening of detail when such are indicated.

Thus, if a leaf is being stenciled, one side may be made lighter than the other, placing blue on one side of the interstice and yellow on the other. Then by gently rubbing with the rag or pouncet (the former is better for this purpose) the result may show a light green running into dark.

Autumn tints are easily produced by this means. In the case of a vase or butterfly beautiful ranges of color can be secured with scarcely any effort.

High Lights Taken Out

High lights can easily be taken out without removing the stencil. Little dabs of very brilliant color can also be added after the blending before removing the stencil.

A hardwood board should be placed under the oilboard when cutting the stencil. For obvious reasons, do not use a desk or table, or even the drawing board for this purpose.

Separating the Parts

Usually it is not necessary to cut quite through the stencil, for the material is rather brittle, and when the design has been cut nearly through a gentle pressure will usually separate the parts. When they cling together a little added cutting will be necessary.

Margins

Enough margin should be left around the designs to prevent the colors from being rubbed beyond the margin. About an inch will suffice.

Where Only Half Stencil Is Needed

If the design to be stenciled is one that can be formed of two or more parts quite alike, though reversed, like a vase or a quarterfoil, only one section need be cut out (see Fig. 4). In the case of a vase, make a stenciled impression from one side of the stencil and then from the other. In the case of the quartrefoil stencil one-quarter; reverse and stencil an adjoining quarter, and so on. This method insures greater accuracy or balance than if the entire design were cut out.

Conformity a Requirement

Stenciling should not be done at random. Each unit should be placed with a definite pur¬pose.

To do this layout on the paper some design to which the units will conform – just as if in laying out a garden you were to mark the spots where trees, shrubs or plants were to be set out.

If, for instance, the design is to consist of a poster with a border, layout the border lines as guides and stencil even with these lines, first, however, placing the corner designs.

Next in order is the background design which should be, usually, low in tone, in order that when human or other figures or lettering is added, the latter will stand out distinctly. The background should never conflict or be confused with the main objects in the design.

Pastel-stencil work is a new and exceedingly fascinating
line of art work invented by the author of this work.

As its name indicates, it is a dry stencil process, easy and cleanly in operation.

For school room work it is better than any other method of stenciling. It is reversible, and by its use the most complex geometric, ornamental and other forms become simple.

One great advantage is that both sides of the stencil can be utilized. Because:
(1) The stencils are self-cleaning.
(2) Pigment never adheres sufficiently to cause smudging.

Blending Colors

In making designs by means of pastel stenciling one is enabled to blend colors and give variation to the lines and tints transferred, making modulations that cannot be obtained by any other stencil process.

Parts May Be Taken Out

By means of this method, with the use of the rubber or similar eraser parts of the design may be taken out, in the case of decorative design, gaining the effect of one ornament placed upon another.

The materials used are these:

A sheet of drawing paper
(or the blackboard).
A sheet of oil stencil board.
A pencil for making the design on the stencil.
A pen knife, of which only the extreme end of the blade
need be sharp.

An assortment of colored chalks or crayon. These must be soft to produce the best results.

The wax crayon can be used to a modified degree.

Rather strange to say, working with wax crayons is accompanied by less “mussing up” of the person using them, whereas the work itself is not so productive of neatness in effect as the use of the soft crayons.

Adapted for the Lower Grades

Work with pastel-stencils is admirably adapted for children in the lowest grades, because by this means the study of form becomes peculiarly interesting instead of tiresome. Teachers are thus enabled to supply their young pupils with the necessary models in colored form at hardly any outlay, either in time or money.

As an example, let the teacher cut stencils in shapes shown in Fig. 1, making copies for the pupils. By making them in various colors, color as well as form can be taught with a minimum of effort and a maximum of interest.

The sauce crayon mentioned in Chapter XXVI is excellent for pastel stenciling where soft gray and white effects are desired.

Action – When the vital element of action enters into the drawing interest is quickened in the mind of the beholder.

Generally speaking, action in pictures simply drawn is shown most frequently by lines diverging from the horizontal and vertical.

Thus, in Figs. 1 and 2 the lines on the left at the bottom, including the curved ones (which are resting horizontally) convey the impression of rest; whereas, similar lines at the right, being inclined, indicate unrest, or action.

In Fig. 3 none of the lines are at rest; action is shown throughout. In Fig. 4 there is the same divergence from the upright and the level.

For exercise draw objects that convey a sense of action, based on lines similar to those shown here. Beginners may copy these.

Value of Lines – Lines have direction and quality. Quality is of secondary consideration just now. On the correctness of direction will depend the completeness of the impression conveyed.

The eye of the beginner cannot grasp the direction of the lines of an object in action. Therefore, he must depend on copies to assist him in his early efforts.

This gives him practice in expressing action. It will aid him also in his memory work.

Drawing, in its elements, means form, color and action. Not only to the untrained mind, but to many far advanced in the study of art, form and color are subservient to action. If action is absent. interest is transient. Of course the drawing itself does not move but the idea does.

Memory Work

After the simple lines of the action exercises have been learned, they should be adapted by the pupils and connected with little stories and language lessons.

The boys might be permitted to portray boys playing ball.
while the girls could make pictures of children rolling hoops.

The suggestions should be given by the teacher. Afterwards, the most successful efforts may be reproduced on the blackboard.

Suggestions for subjects:

Man running from policeman. White man running from Indian. Indian running from white man. Ship riding before a storm.
Boy chasing a dog.
Dog chasing a boy.

Single Line Action Exercises

Imagination Exercises in Action Drawing – Fig. 5
Make the boy with the bow look like an Indian. Put an arrow in the bow.
Show the wagon, and the boy falling off. Show the first boy standing on the sled.
Show the second boy dragging his sled up hill.
Show the boy with the pail, pumping water into it. Show the boy with the rake gathering hay.

Border Exercise in Action Drawing Fig. 6

In the border below the circle the exercise looks rather difficult. It will be made easy if these directions are followed:

First, draw the guide lines, then draw all the black clots on the hats, first being careful to place them the proper distance apart-each one a little less than half the entire’ width of the border from each other, seven in all. Make the entire drawing about eight inches wide.
Then draw the hats-all seven. Then the arms.
Then their legs in the air. Then their legs on the ground.

The Necessity of Blocking-in

It has ever been a difficult matter for teachers of drawing to instill in the minds of beginners the value and importance of blocking-in: that is to say, getting the general shape and relative proportion, of the component parts of the picture before endeavoring to describe, in line or tint, any of the minor details or even main characteristics of the picture.

The group or figure as a whole, rather than the objects in a group or the minor details in a figure, are the points to be fixed at the outset, with guide-lines, as few and faint as possible. Every change in direction should be thus indicated.

The purpose of this may be made clear when it is stated that it would be advisable to get the general shape of a tree before drawing the individual leaves thereof.

Blocking-in has more than an immediate valtie to the pupil, for its use as a method of initial procedure induces a correct habit of observation. It maintains and increases the tendency to look at the whole before the parts, to seek mass rather than detail. For all time it broadens the style of the artist.

Example of Blocking-in – The manner of blocking-in, as shown in Fig. 1, is the way to start a copy of Fig. 2. Pick out the general direction of the lines in the original where simple geometrical figures may be formed.

After the exercise of a little imagination the eye can form lines that correspond with forms with which he is familiar, such as the square, the triangle, trapezoid, etc. It may be well to reiterate that the blocking-in lines always should be represented in the drawing by pencil marks so faint that they can be easily erased as soon as their presence is no longer necessary.

Figs. 3 and 4 are additional examples of the blocking-in method.

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.