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Ss sh: e iy ) me pats year UR A dese aty aes it Yt i i ieee oat oe i i S : 2 et at eH a iy Ky ur " ' ee it Sa ot a Ua nd iste Hist fal nea SE NCUA FATAL Hi ‘ i ce weld ations ‘ aes iN ti ue : s ra le = Pees ait zits rai sie ah ‘i fy iad eG ap is f A oe ae aa a ay ni i saa mi sf En as vi abut ng aun fe ao is eae itis a 908 She | i } a nH 4 a iu) i He aT did 4 a fh ‘ Aga Amatie nan ff ay rote 4 i He ut Rots ie f ; r ih ¥erb3 i y tly uo feel oe sea He puoi i Leia Hee ; vi et wh a a i rag ta? x ‘4 1 Dele ee fe yi ae at on eine Heys le iy aid Ne ANH Uta wy yu ee i) aes at in nh Bh aM Uy ene Na hb ih sl HIN SH AD Manos AUN Pane A ie ga say ak a ajialatiarstins cae A aes an AN ie nti ae ee EVN shat Nea) rath Hi a a) ie sin st i Motes ant at et ie yaya whites Mery on, Vp HY) saat he iiss vai a aed Hi iCviehe i 1A ap i ie Woe sa a i heh oh ink ate te arin yi al Homes {od : ; : pein Uy Ee Werke canopy K ob atone ASS Ov\ahelenrie ( it | ; Sohn, et) : Aasesies§ oe cae i ins an postertnty VS NOPEE atin pigs SEOmLN 2173 a Beet Warah anes ehtab neared yy io Abb moh selya rs saat Ne pasa sh ate Hert ih : iH ili ; TH ea seh atte vives miei 5 a mak is Sait Meee 4 Ay mat hah 24) oan teani Ne hen tn Me pa seh Me rani hahaa eat at Pi — eat ary oy f a t ch 2 eva Seite Ser ih) af vane Soci a itt: aha oy oi m at es iannsucarren tt mts * Sienna pees fe : : Etat alwers imc uiernay ai aps ister meta * 4 tne ne ian Sseuatt lie , “ ; Wb ; Hi ints Mi y Fane jena: ia iigpiae ah Oy : a ‘oe Stal , { My aa ty Maen iy yy nalts nh Payal ai ees f ne sath Ranh amen i an peut teats AeA ue 8a ae ‘ rua Siriae el i NS rai Mid ty Ronisui het ests ) r bedi} Sie satan sera hie ddmalitty ine nesae Rhvatte “4 sartecie epeetifl ant eal oe (iby He sich a . Pybiet (ey TNS Poh raen. Fabs bn » an Ne fhe pres mesa ite Wiya ress TMs, Baits mt ee Hes vitktires onryaen Nan » Verba, Teh head Return this book on n_or be foredthen— Latest Date stamped a ua ae University of Illinois Library cT 34 1970/ L161—H41 % & fy é ys r Cae Lee 1 er ki ep j \ bo ea i ‘ R ? tine i . RESEARCH DESIGN IN NATURE FIELD MUSEUM OF NATURAL HISTORY SCHOOL OF THE ART INSTITUTE 1924 = x ao 9, wre CANO! BR x s 1925 JOHN GILBERT WILKINS, B. S. EDITOR AND PUBLISHER cid an he COPYRIGHT 1926 BY JOHN GILBERT WILKINS _ PRINTED BY FIELD MUSEUM PRESS y si DEDICATED TO The students in my Research Classes. Special mention is given to Leona McGill, Jean Goodwin, Enid M. | Combs, and Mildred Larson; also to Douglas A. Hall, Paul A. Brosee, and Flenry J. Meloy. Joun GiLBERT WILKINS. 633939 ACKNOWLEDGMENT I am indebted to Director D. C. Davis and the Staff of the Field Museum for the per- sonal interest and assistance they have given in the production of this work. The portfolio, with the exception of the color plates, was printed in the Museum press rooms, and is an example of the high standard of their work. Photogravure is possibly the best method of reproducing the - soft and pleasing effects of pencil renderings, and here, Mr. A. A. Miller, who is in charge of this department, has undoubtedly proved himself a master of his art. Mr. C. A. Carpenter, who is in charge of the photography department, in like manner displayed his usual care in preparing the photographic plates. No expense nor time has been spared in bringing out the most subtle effects of the original drawings. I am also indebted to Dr. Wm. E. Gerhard, assistant curator of entomology, for his assistance to me as counsel. Joun GILBERT WILKINS. RESEARCH——-DESIGN IN NATURE Single Volumes..." Price $25.00 PLATE CONTENT Design in Nature i Le VI. VII. VIII. TX oo > Sip TTS XIII. 12 Subjects Manuscript Content Photogravure Process..... . | oa Sack of first plate..... plates in color—posters. . Anima s Offset Printing Process on back of Plate II 49....... Insects x 4 plates in color—posters.. ) Birds Munsell Color System on ee? back of Plate IV 49...... - 8 plates in color—posters. . Fish . OR i sl pce hate | V JOGO ea ce oweeras Shells Frogs ; Reptiles pA ie tee Precious Stones. gas Rock Coloration Ha | Leaves : ; . Flowers . et ers) Spirals Primitive Design XX. XXI. XXII. Indian Beadwork . (j,23%'} . XXII. Indian Textiles XXIV. Javanese Batik. XXV. Melanesian Design. XXVI. Masks 7 Subjects 3 Plates in Color The two last sheets in Portfolio— Photostat Process Method of reproduction is explained on the back of both sheets. } toes Rubbings from wood Cover Linings | cuts—South Sea slands 19 Subjects .. tail yrete | Pottery Indian Basketry. 26 Plates in Color PLATES SHEETS The work of 84 artists, and over 3000 designs are shown in this portfolio. The work is printed in five different processes—with each process explained. Posters printed in line and color, with Progressive Proofs. S41 d8 ah {Oeeeet eG Cee 3 40+5.... 23 54 20 01 Ol 03 03 01 arf ii 25 07 17 06 08 02 265-48....152 04 12 23 14 22 19 04 04 01 OL 03 03 04 04 81 54 02 02 02 gee 916 RESEARCH — DESIGN IN NATURE In Two Volumes....Price $14.00 Each PLATE CONTENT VOLUME I I. Manuscript Content i PLATES SHEETS [On back off Erecess eisvete 9 5 in back of first plate..... 8 pl lor— II. Animals. Gere ee oy” aaa is 54-205, 46 back of Plate I1 49....... = 4 plates in color—posters. . IV. Birds . . . . (Manel cir seem cal x eed el back of Plate IV 49....... 8 plates in color—posters. . © ) ih ae ae eae SL ee WES SAUL oat: cicero Q * 3 “Lee ie 3 Subjects (ied shee) | 145+8....102 Photostat: Process iit pare ot ies i ee eee 1 Rubbings from wood Cover Linings | cute—South Sea | O2 alee 155 il OS PLATE’ CON LENT VOLUME IIT I. Manuscript Content PLATES SHEETS All of the Remaining Subjects . ; ; ; : a 9e2 Duane 104 L6*Subyectse iF tah antene ete as é O20 ee 104 Photostde:Process) erg ee : >i ea eRe (Rubbings from wood Gover, Tinings yr 4 cuts South Sea eS ake aes (eres O25: 2 ee 203 107 FOLDERS—For Classroom and Individual Use Sets A—Any Complete Subject—15c per sheet. Refer to Index for « \number of sheets B—Pencil Technique ae ae a (siete Teehaiue Char C—Design in Nature oe? eae . >) Assorted D—Primitive Design . ; an eS Assorted K—Design in Nature and Piniwem re Jn es An ee eS SO *F —Color Plates—2/ sheets 2 to ie ee NUMBER OF SHEETS IN FOLDER I.—35 Sheets note ners dpa ca Ge aga Nee ce aes $5.25 II.—25 Sheets PE VET SR RNR: Pe Ane: am Nee la tle Se SES III.—15 Sheets RCE A ro es nesters 2:25 *TV.—27 Sheets (Colas Plates) : : 4.25 Orders cannot be filled for less than 15 sheets Sea Vettcoat Speer eeis, Poe Cees: NS doom tn Sane ake as gh tees SUR Pt ee cous : ¥ hat aera PES RS EL pearl St oat ‘ oe any eo Wiss Sh a F es aed nS 5 ie) Lana ST ate * - , 4 ; VD aMb tS rock teu ante Ws PES beeen eae Dees RS Das ais AE aS 35 ne a Sars =e OF THE ART! Se eth eee) a ee Peay SCHiaocu 2NTRANC fe! 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Cd cous ree too mb canal ecu ce — emt ee Crk te ECO PEE OU CRRUIIA ieaeey UO AN ii — mao lt ARES eS La ce Ct en a a Ra BONA MCGILL cme = L Ecol KOODOO CAN } 4 SX) TRe WILKINS teat Pate (e ; Se) * THERIBRARY> eee Sees ee oe OR THE Wea ye | : RNWVERSITY OF SLLISGIS oe ea ace lie ea ocee OOF Eat ae 1st _ SIDE-VIEW - (DOROTHY AMFENGER _ |} STUDIES OF THE GAZELLE, re te ene rare ea etn = ——— nents a he ne om a oer samen FEMALE en i te a i Ee eo BS, es g x ei 8 i] i b v + ERS! — < ; See NUmMGo0S NWAC WoIladw— _ AT1azwo Sows “SNIMIDA WAT a 2 ~ oe : rei ’ ; Semis i yx oF . é ~UF u - Ly ie Avast gl Ret BS aie, es re Ee ee "i . > : i oy > i ees * a Sd go " ey ; ‘ . - ms z # + f , £ / f ‘ ' . cr : i « - ses \ “ ‘ . y. “~ Df fF m t ec { * - Es ee,” ae as TRE LIBRARY a wed: OFTHE | 7 ees ae ee svat VERSITY OF HL 1 \ 5 i if TRE LIBRARY OF THE 1) f aa SRDLUANYW MOLINO UiSht TWH S$YIDNOQ AD WHYaUd SPpreeeer TYSOOLL oo Ma NYDIASNY THE LIBRARY OF THE ANIVERSHTY GF ILL a itt HOPEMON A. . = \ ~ JE ALLIGATOR — SOUTHERN UeSs = THRaeE rorp : ia ‘ : t . Gox TURTLE , ; ; nicht MRWILKINS en: JEAN GOODWIN THESE, ANIMALS LIVE IN HOT PLACES,AND IT JUST OCCURED TOME: If THEY SHOULD Al LIVE IN ONE PLACE WHAT A HOT PLACE THAT WOULD BEL Pale F 2% , ra { ; = po 3 TWEE Pe oe See , OF THE ah ng ee. , ee UIMERSITY OF ILLINOIS. oa renee oases 4 iy t= Prososcis Manney — Eade Oranc Easr | SEAN GOODWIN bet i “MEMBERS OF APE FAMILY INS , MRWIL V1 ad THE LIBRARY OF THE VERCITY OF ILL mo Ou 19 sau sate tae tgrtratt en a e it m R E ITER E RE IN ET OE EA eS Ce ah a MOLI SM 3 Y cl. MELOY PIR. WILKINS - 1QQ4 evcce ALASKAN WULF seers une REAR m ops ta feo va anerrenet acetates ‘ \ es ae eS ont pe oh) = fa _ : einen anne seuiiieeainenteas ©) allie . — ‘ ye om » ryyorn) a a VP VY rahe hd yok ny } am | . f ff weak yryrpe yow/b sO ee SS Cow POS Wiss APOE BEng 4 . § é ees S) ‘ &= : ‘ q 3 2 fe es * - i es ah 4 ~ Re He em a a oe oS eae oe OF THE” eee ote. SA Se WERSITY OF ILLINEIG 2 ae Sat : ri F . ss F = ‘ i GRIZZLY SEAR oer Vee eal k Fr i x t 5 : { Sioa oo ay > Tits ‘THE LIBRARY OF TRE “IVERSITY GF ILLINOIS de ae Ame Ag went -naeneir Cy eevee teat ta —EaT a Nee tO cit Et eet tent ° . ; ee ete ng L IE LOCC iy tgp tO NL, Ins MNS coe "4 ny —arprye er EI? “ay big -yrurny weno , YAS yore! ra) ' of yr wet . Meet cr Rt Nd ete (ee A ANATOLI AROS oe te pt BOOED Cass EO Nahe REF UL A IONE NT aan + EPA EEN TH oo TRE LIBRARY OF THE. VERITY OF ALLITC!S. pi a Yate es Way, meegher ont ’ sate ei nt, Vet dn "es Rea, AAO, ‘r Z 3) phish aly ra Na * a “ ¥ as aT ges ” | Patong ae cy) -@ eT) ™m (oO Mabon \, Prosngs Nk a acres vob PE S ty IN DIAN = RHINOCEROS: > TIMBER WOLF. IMRONVILKINS RESEARCH™ DOUGLAS HAL ~ as at co = a) ad = fe wa Fe ft uu. i) nie Wee 5 ore OF HLL RTY iekh BI ENE n “ae pemanrernliens UNLIKE THE INDIAN OR WATER BUFFALO,WHICH HAs MUCH ..ONGER AND MORE +LENPER HORTT THis Areicn® See NEVER HAS BEEN DOMEYTICATED “are Ph Ro CRE in Se ee ee EAST AFRICAN BUFFALO THEY RANGE IN HEROS FROM 50 TO BSOCO INDIVIDUALLY AND FEED IN THE VPLANGS e« AS ONE OF THE MOST DANGEROUS OF GAME ANIMAL. THEY ARE RRFGAROED ENRY o&. MELO é. THE LIBRARY . ; OF THE ree | | nimperyy OF ILL | 3 4 RESEARTA Mba gecte rer a : Ff g V3 # ORANG (OLD MALE) ISLAND OF BORNEO EAST INDIES THE ORANG OR ORANG-UTAN, AY IT If CALLED FROM AMATIVE WORD MEANING “MIAN OF THE woops'", if OME OF THE MANLIKE OF LIVING APES, THE OTHERS DEING THE GORiLt & AND THE CHIMPANZEE. THIS SPECIMIEN i THE LARGEST CROANG EVER PROCURED OF-co-- WHICH THERE iv any RECORD. <-- ITMEASURES FROM TIP TO TiP OF ITS ~one OVTJTRETCHED ARMY BIGHT FEST, Fovre AND ONE-FRALF INCHES BND STANDY FOUR FEETAND JIXK INCHES HICH WEIGHING = ONE HUN PRED BND TIFT Y POUNDS -e tore : | THERA ee te | ae OR THES Nee os ‘EROITY OF WL x S: Oy jie Me cu pi a: .p FO a A ik viakee MP erie? WA. an TAWSaCeRe paw anertevy ate hey RECBARCH MReWiIL KI NS oe ; 2 « ‘ e ast 3 - . S om « *” ~ aa oe "TRE LIBRARY. ee ane ios, % a egies ee | ae Bee : PUIVERS! . v Re W} unt - 15 Wa bese BE ead oP aut 9 5 WOE PENG So el ucaees Oy 3 AN oe AL MESY Ps viet. ie f Loa PAF LZ o, . PIE rarest), CoE BATTED SEF RETNA IOS D PN ease, RNARIME SEG OS <7 Siatesriivta ahead IRAE LA RELATIONS ASTOY SUR ANWAAESHIIIMN AW if 424 VIEINDTOD HYILIAS 446 = > 3A1VW54 daaHy NIVLNAOW LANOLS Pz STI THE LIBRARY OF THE VERSITY CF LD IL 27 STONES MOUNTAIN SHEE aecaerree FEMALE eeece oe =BRITISH COLUMBIA == ReWikiKINS= EARY deMELO TRE LIBRARY OF THE IVERGITY QF ELLIEGIS. w o 9 uv 2 Ww E v i rt kK 2 oO _ Q VL q - q we Zz wu U S q w WILD BOARaw oe ORY = LO ton ave Lae a Re . TRE LIBRARY OF THE VERSITY CF ILLISGIS = KENA| CARIDOU === KENAL PENINSULA = ALASKA ee MR. WILKINS JEAN GoooWwIn — WHITE-TAILED Gnu SOUTH mem GERICS WILKINS —uRAN GooOwIn seesiow es MANDRILL (MALE) WEST aMmca OFF OF THR MIOm ClrOTe SOUm OF THR <--- H1OMAr Coe ome Lane WeemLon TME GYeS ors Th, AND CLAM CO rer ee ThE Ae 1S 6 RICH RROD SH OT aT conercene i : a ORILL (MALE) crow Kin qwice srom SougLe sack TONE ~ STUMP sMuBCE GQuieK OSCILATION ‘ Szamency i 4 west a MeL Kins PRLATED Te THE many MOT SO r/GrLY CoLoRem. GEA COGDW Its DUSKY GELADA BABOON eee SSI PearH Gm maea, . THE LIBRARY OF THE NIAD COD Hv aP=SHOUAT IH = ——— pete weussaeene SOalawy www BMarZyo sSoOnlsanwaos wer WIA\d009 wae = SHISITIAeLY SEE Dials’ “3 “N= ONE Te os owes SINS ZYO Suwati98”s + : ph : : bole Ae ie Napa Grate = fi z & 4 . i 4 Prt” vate aoc - fb ; + = z ti % © ms . Ws . < > Sy = - i ‘ ch sW TRE LIBRARY OF THE ERGITY QF ILLITG!S NIAQOOD Nwe”r WIADOOD HUAN —suieenrat Volwey *3° —— Our IwLioS » . J ar (@Wwia4) 00000" uaiwno , : 4 SOMES ea id 4 a n ~ 3 (2 TW) CODDOOm Naivao THE LIBRARY OF THE DUVERSITY OF ILL! IL39 peje GREAT ANTEATER == BRAZIL MRANVILKING = JEAM GoCOWInN THE LIBRARY = OR STHE ae Sie PMMMERC ITY AC NEG DUVERSITY OF ILE aes si Vi wre feted fetes NIZOc190D NEIN= SNIDIWAS RW oy : 5 x SS Adan ESS BwWaAaNImed NYVSad02INS <7 or re satin, THE LIBRARY OF THE VERSITY OF ILLINGIS THE LIBRARY OF THE NIVERSITY OF ALLE nace OCALA ED TOOTSIE A BS DO A AT EE ETE OEY NTE LC a Re ere SNIYW MAK ONIMWIN AOL HrAwUvasyse ge | Pe ay eo oS STSaYuYINOS AVYDO SGaranils asi ira NOMLVLIGAW ane “rts “ “ . NS sty ee “ _—_ a ae ie me, . BANISH) sey - > SSID Hoevasay . MASOOD Hyae | SIL d seed OL IWYLNSD SIONITH AHL SNVL 802 aN THE LIBRARY “OF THE ERSITY OF WLISIS Huai edude Be owe ee ——— SES aa. f Y m gee, bar ee \ Na SIONITH FHL SV iy Paul \ herite: RR Pt Ca hae TRE LIBRARY OF THE PEAVERS| Ve {i ANDES ere eos Care ie SET e IN S Tiv Us TT & \Olss i. ne ¢ if 0 { a U ; ¥) t m3 < J y J W ea fl | > 0 a u 2 5 Y ie 2 TRE LIBRARY. OF Tae sOvERSTTY Be ALL et AP A TO - ty coors athens nonnaneentenceamemamed esa it Re nen ne OE NL OL TCI: or ARE NE See Ss sas _ SS pete nt Sie as sa he tI RE a — HOW ISA -Tiv+| S¥IONOd ~ 3k a SaBW is Dearne a 4 oi Dy Oe os THE LIBRARY SOF THE pmuerciy Of ILL si} : eT Pee wt sede * 7 i i) THE LIBRARY OF TRE EDIVEROITY OF WLLISGES. eee Oe THE LIBRARY OF 13 PUMPS es ne Aiea . eee meet ere TF Rd A ld dN es SN NaN ASS CSN Planoaraphic Printing LANOGRAPHIC PRINTING naturally falls under two heads. In one, and the oldest method, the print is made direct from stone to paper. This method is known as Lithography. ‘The other, the Offset Method, consists first of transferring the drawing to a rubber blanket and from there to paper. 77] 77] 77] The art of Lithography was invented in 1796 by Senefelder. Lithography, which means "stone writing,” is based upon the prin- ciple that grease or oil and water will not mix. Mr. Senefelder hit upon this method as the result of an accident—he discoverd a certain stone which has an equal affinity for both grease and water. After considerable experiment he demonstrated the fact that a drawing made upon the polished surface of this stone, with greasy ink or crayon, and the whole surface properly dampened, with water, then rolled with a greasy ink; that the fresh ink was attracted to the grease-crayon-drawing and-repelled from the rest of the stone. Then a sheet of paper, applied under pressure, would pick up this fresh ink, and a perfect print would be the result. Thus was made another great contribution to the art of printing. 77] 77 7] 77 77] 77] 77] 77] It will be noticed that in this method ihe print was taken direct from a drawing made upon a plane surface; consequently, as no projections or indentations occurred on the stone, it is called “Planographic” Printing, or printing from a plane surface. 7] Since the drawing is made direct upon the stone, a reproduction made by this method, will of necessity, reflect the technique of the lithographer, and at a loss to the producing artist. Ata later date, however, it was discovered that the artist could render his original drawing in lithographic pencil (grease pencil), in the size required for reproduction, and transfer it direct to the stone, thus permitting the retention of the original technique and crispness of his work. The artist in this instance often does his own retouching upon the stones. 77] a 77] 77] 77) 77] a OFFSET PRINTING Offset Printing is the 20th century application of planographic printing, and is a refinement of lithography. It derives its name from the fact that the print is made froma metal plate to a rubber blanket, and then to paper. All the fine delicacies of the original painting are retained and even enhanced by this method. a Color separation photographic negatives are made from the origi- nal and transfers made to large, thin, flexible sheets of zinc, which are first provided with a grained surface sufficiently coarse to hold the proper amount of moisture. A sheet of zinc is now placed around the surface of a cylinder and held in place with clamps. Dampening rollers and ink rollers supply the proper amount of ink and moisture to the printing cylinder, the printing cylinder is brought into contact with an offset cylinder (one covered with a rubber blanket) upon which the form is printed. The offset cylinder also runs in close contact with a third, or impression cylinder. A sheet of paper is now run between these two last mentioned cylinders, and the impression cylinder holds the paper firmly against the offset cylinder while it passes between them. The rubber blanket therefore transfers the print to the paper. Upwards of sixteen different colors and values can be run ona single reproduction in this manner. The very fact that the print is made from rubber to paper, instead of from metal to paper, and that-a paper with a natural surface, or even with a com- paratively rough surface can be used, the effect is softer and more pleasing. Mr. Rubel, of this city, about 20 years ago discovered this method by accident. In his work a misimpression was made upon a rubber blanket. His quick conception and creative genius in due time brought forth the Offset system. 1 selected the six following plates, 11 47, 48, 49, 50 and Plates 1D 48, 49, as possibly the most suitable in the portfolio to show the offset method. And I believe that the reader will agree with me when | say that these plates have considerable merit, both as to the original conception and painting as well as the reproductions. In the reproduction of these plates the Regensteiner Corporation of Chicago have certainly displayed the common high standard of their work. They have produced an effect in five color offset that has a mark of superiority. 1 wantalso to thank the Regensteiner Corporation for much of the information regarding the different printing processes, as are related here. J. G. W. | ee: 3 on gamer emer HOUVIS S761 - ALNLILSN awe | : (wv os pea remarry I i ot Rana : eee GRAS A ocd Ae BL ihe eich iY . I) bo tas ha ape te a ; Pre enier sepa ai : ; FS vet é, ‘ ; ay WS THE LIBRARY OF TRE arene Lalas Py cad tt {aise ; ne erated yc Op ta raweees LISNVYL GidVa ODVIIHD AG LISNWISL MdWed ODVYMMAD AE) WNASAW @ Tals NMESMAy Gell ar THE LIBRARY OF THE COVERSHY GF LEIS BYaohHe BED VAEDEIEINES SSPSSDPIDDDSA “
() -CUEDERIED- (_) ( ) ~ <-> CURT ¢ ) ~CE- (5 > a | = | che f Lh Ly (> ae Ned eS a \ te —_ 2 oD ert Sy \ 5 ee ea ia Gy a 8 A D) (« \ TED (Uk ge os ros em ie Bese pists se \ Zr . \ w® ¥ { 4 y we D B EVA =e EL LM (& LCS \ L = \ zy LAWRENCE E.\WATERS r H A AMERICAN ACADEMY RESEARCH CLASS ? i [2 @ ; y ; “hy9) ~e i Aan ae ( Re ({ FI (6 THE LIBRARY | ae | OF THE : i DMIVERSITY OF I . = bi 5 ‘ Lee beeen THe ExteERNAL ANATOMY OF IN/ECT/ ‘ ‘ ' E HEAD OF | HEAD OF HONEY-BEE HOU/E - FLY WING OF HOUSE-FLY LOWER WING * OF MOTH | ATIC i OO WN 4 HAR RK RY. Nee” LARVA DLACKWINGED SwaLLow- OF BLACKWINGED SWALLOW-TAIL TAIL PLTERPLY cememens SLEEPING ON A BED OF JILK — ~~ (#8 cant d Soe Lhe Ravenenh chee te Le Fiek/ STureum ears pales rama phage =a GILBERT OF BLACKWINGED s.T. 3 THE LIBRARY ae | OF THE | CoNERCITY OF ILL eames MAK ay NAY Nj ; \4 re LNT NC UPA LAG) THE LIBRARY OF THE CUIVERSITY OF ALLINGIS Boa We \ a U is a = Lu ©) >- S <{ THe Externat An THE LIBRARY OF THE SVERSITY OF ILLS zs vy. qi iF “x THE LIBRARY OF THE ERSITY OF ILL f ust } EE “WA ~ivZAr ZY WY TD) Be a AE SN GEN bg Ve ¢ ES EX E Wa AS BAAD a y) Bas) awe ts ‘ St et sy ee 8 eae SS BA a QE BUTTERFLY AND BEETLES JEAN -doODWIN Mra Wil kis > 4,0 . : " Scere lei Rez THE LIBRARY OF THE UUIVERSITY OF ILLINOIS - >= Pea) THE LIBRARY ~ OF THE HAVERSITY OF ILLINEIS MR.WILKINS- INSTRUCTOR STRUCTION OF ‘AND APPLIED IN DESIGN -~TR.BINDER- C- IMAY 2'7:1924- RESEARCH CON p04 AR mS : 2 ‘\ YEA! S § fy Sf) Ou 7 Fy) pve e \ 4 7” és } y . 4 } My} in = . = ‘ ‘44 Fh VLE LIZ o>, I x AZ i RO a ee RE OO ROR AA bP ONAN OE EN RO ee NE he dN AT BEIT NE AA RN OLE A ONO THE LIBRARY OF THE WIVERSITY OF ILLINGIS oo Im 8 BUFFALO TREE- BERRY BUG HOPPER a (POD/SUS- (CERESA-BUBALUS) —_ MACULIVENTRUS) DOG DAY HARVEST FLY OR LYREMAN me > 18s TREK Ss : 1 i SEVENTEEN YEAR LOCUST ee (7T/BICINA SEPTE NDECUM) | “f ; a ~ n pe a Ds H ; —— CE t = 1 — fs ea - — a ——— - W/LD PLUM it a : . f. TREEAHOPPER a oe = =i ms = fame VERSITY 0 i aud fs) it EXOTIC BEETLES _USEOF THE MIRROR INDESIGN _ THE ABOVE GEOMETRIC DESIGN was MADE scoe- BY THE USE OF TWO MIRRORS» BY THIS MEANS A CREAT VARIETY OF IMNTER- ESTING DESIGNS WERE DISCOVER BDace INE OF THEM WAS SELECTED, AT POINT-- eon AND REPRODUCED AS SHOWN AT POINT(A)s TO PO THIS A CIRCLE WAS ORAWN ON TRACING PAPER AND DIVIDED INTO $1 EQu- ff AL PARYS*s ALIKE CIRCLE WAS-ce DRAWT AY (A)s ANGLE (-0-Y) WAS TRACED AND TRANSFERRED TO (A) soe- FROM SOUTH AMERICA Kant \ Paul. A Brose THE LIBRARY OF THE TUIVERSITY GF ILLENSES ~ ot ae a ae re pee a en ener ennee a ERC ES CE A SS YEN NN REPS! PEAT AAT, PDO LR AM IAI SENET LE BET ME OEE ANI LD te NF AI PROWL UOT ATOR CASA IO ANNE TV EAN A ked SLAY: = ST ee Pry ee, e¢2 Yar ) GG RE-EArecr Mime ei as rn oes cit Pisce] os — = =e care) bat = co _ = Se | nascal 2s me Fos] ~< ae | WING CHART \- Primaries —10 2 Secondaries - =} 3 Tertiaries —3— 4. Primary Coverts- over primaries~[0 5 Greater Coverts over secondaries-I7 6 Middle Coverts +hree rows 7 Lesser Coverts COMMON SPARROW SHOWING FEATHER TRACT | Capital tract 2 Scapular tract 3 Hand tract A Dorsal tract 5 Femoral tract * ; 6 Leg act a , 7 Caudal tract BY THOMPron’ anarony ys “\\ } ee . WING OF COMMON SPARROW : Fe) eRe 9 z 65 & = SREY L Ke AN SS SS — BIRD CHART — 1 Maxilla 1) Upper tail Covert: L I : pper tail Coverty 16 Breas 2' Lesser Covert. ee 12 Tail Feather, IT Belly 22 Middle oe a 27 Primer 4 Fore : i prose }at Coverty 13 ny & 23 Greater Covertr 28 Tarrur ye Crown. N 19 Leg 2 Primary C 25 Phal c1LeBRY 5 Auriculars 10 Rump 1S Throat 20 Scapular 25 Sethi a 70¢ ‘rrepas-ter | THE LIBRARY | OF THE ee. ae DIVERSITY OF WLLINEIS i Rese see dk ted sens * TECHNIQUE CHART + my h T= FLAT TONES IN FIVE VALUESs MADE WITH A QUICK OSCILATING STROKE. HALF OF THE DESIGN WAS MASKED WITH A SHEET OF PAPER THEN SMUBDGED WITH A SMALL STIFE BRUSH — A CHAMOIS SKIN STUMP MAY BE USB e DESIGN IS LAID ON WITH A PENCIL OR 1S PICKED OUT WITH 4 KNBADED RUBBER. IL = SLOW-LINE STROKE e THE PENCIL BEING SHARPENED BOTH CHISEL EDGE AND ROUND. I= A BLEND FROM DARK TO LIGHT WITH A QVIEK OSCILATING STROKE e-0—0—0—o—e—0o— 0 —o —0— W-N-W SLow-sTop, Quick-sTOP AND DOUBLE-GACK STROKE «—e—e—e—o—o THESE DESIGNS MAY BE sTUDIE —o —*— o — o—o—o— QUALITY AND FRELING SHOULD BE EXPREGEED 14 BEVERY STYROKE eo... 0 0 oe ANS INTERESTING PATTERNS DO WITH THE OF TWO SMALL SQUARE MIRRORS e MANY NEW WILL GE CIScOoOvVERED s THRY CON BE REPRODUCED o-oo COLOR WILL ADD INTEREST TO THEIR VAIQUE FORMS AND SHAPES ea —e~o —e—o—e-s- ROUND POINT Srise. &00e8 Senet CORRECT THE LIBRARY OF THE BOIVERSITY OF ILLNESS EXPERIMENTING WITH THE PENCIL. “DESIGNIN NATURE” AX SUBTLE FLOY OF LINE ANP MASS, M1FRe woven BYIL KIMS AS FOUNP IN THE STUCY CF FEATHERS: SEAN GOOCRMNY IN THE LIBRARY = | OF Se) a) OPEV SNE 4 sts WER! , we HB ee . eet Peoes x — eRe ee, W4 a.SKULL b. STERNUM c.CLAVICLES A.CORACOID BONES @. VERTABRAE of NECK f. DORSAL REGION of SPINE h, VERTABRAE of TAIL i. RIBBS k. SCAPULA 1. HUMERUS m. ULNA nm. RADIUS 0. CARPUS, BONES of WRIST . METACARPAL BONES q. RUDIMENTARY THUMB vt. PHALANGES S. PELVIS +. FEMUR u. TIBIA , vu. FIBULA x.TARSO,METATARSAL SROES x PATELLA : 1 ye. NA RESEARCH CLAS vA oa > | } MR.XVILKINS-INSTRUCTOR vad “po aadietted eal bed =—/SEC.A.== eo , Dahan dg at Oars tie ; apres - itl oe pons THE LIBRARY ey Bree ty. a ae OF THE Q 5 ah | ROWERSITY OF ILUINGIS ay: sual “y 1" SQM Aa Hpawasxzea *SNIMTIAMW -OAld+d1e144HS:9-H 3 YaoaddOOM AWwibsaw 3d01aN3d as otto Se Pee r AS ae Ve Lood 73 1Ta3H NOWSH SLIH/G, LVaYo /, WH g A i NVONOL SNOSNIVMS Ct! ASS SHON Serie =I NYOIWYYLd AOTIILA, ig SIG! SLTHA, / { oe } . SOS ee ia 2 ; 0 a / ABBA SOE \ pea § Zo THE LIBRARY OF THE BSIVERS! Vv OF ILLENS!S aN beara bi Tans rue REVBARCHL == MRWILLKING CM.CUTLER = DIVISION -A THE LIBRARY OF THE CUIVERSITY OF ALLE: MRWILKINS THE LIBRARY OF THE NEVERSITY OF ILLINGIS SS MoL ada cnt — Ni TAS LEM VD HOUV ASS yy AE Bele, is a i uo

IIABSAS AaANADYvSa IMA ‘ ; is § sia ereoe AX pep rp Ay Te Nadv oy Ald SSV1D HoOavasaa et *XxaW -Zn2al0 VAaaA 1 adn JAvinasyno vor visod IUVoOVUY CaMwImTI0D x eR) Hye rc THE LIBRARY OF THE ROY OF ILL! iz oe Pie) SNIMMACAW WAIL SSV1D Hoavasad PIONINT ‘AMO GSeeo WesuvOwgsW asaocon (iwanid ony obbtTIYW) ywona aiweAH Mond Awd. HOWYNNID SimbarmIAN aN MONG Ssveo 778 TW LN Ie y—- AEN HSE RS enrol aaeccee dora "pP 415303 HSsiddasa anv NOAMSH abet W3 Ht aes ‘ , J oT aya ye an . CS an t a Ft ae ry ts Rhy i ae Ry x | THE LIBRARY Bie Siar ie enna | OF THE = orale is, HOWERSITY OF ILLINOIS 7 2 CORMORANT Nm RL AND SPECTACLED BIDER ———— ALASKA FLAMINAG = dHILe = SHovELLER OVeK Monrn ——ammemce RESEARCH DIV,C, MRWILKINS RESEARCH ~ JEAN GOODWIN wr LK S = HEADS= OF = BIRDS = + FLAMiINGO—cHiLe PReWILKING Ser ew ILUAMS THE LIBRARY OF THE SIVERSITY OF ILL BLVEwrRONTRE & Seerermeaee PRAT E Le Snowy OWL THE FARROE THE HEAY JOE TILLOTSON - | MR. WILKINS — INSTRUCTOR RESEARCH CLA//S m= DIV. Ce APRIL B i924. AMD EYE. | I | wor ty STUDY OF vewr . | HEAD Ry XING FIVHER, CMANGEABLE CRESTED BAGLE + YOUNG MALE BURONG LANG, SINGAPORE ht Fert bbewt4 sd BS SSL SL FIELD-Mwy RESRAR OCH == MRIWILKIMS CM.CUTERER == DIVISION eA ME. IG WILKIN~ INO TRUCTOR Mori idrvynvent! DIV.ASTRE ART ING TIT TE "APRIL 1 ce << ioe = = wd co - Ved on Pay HLL OF Vv ‘ Ry Ay oar] = . | ho vt, Ce swiss THE LIBRARY IY 36 QUAIL ALIF ORM La VAKL LEY <= te fu THE LIBRARY OF THE CRIVERGHTY OF IL wR Atte *Y GEON peeh “THE AMERICAN S/ib: zy +3 6 6 0 oe *s < u a t & xs, x 2: PY », : & 4 THE LIBRARY OF THE seaQercy AS Hemse sexta We Woe et me >see ee ea ¥ ee THE LIBRARY OF THE PaeRSHty (Ok TLL: % eee RED SHAFTED FLICKER MR-WILKIM Ss JEAN GooPpw in THE LIBRARY OF THE Orb eergy, EIVEROITY OF WT Inore 4 27 ZL at TIE LIBRARY OF THE nenveRci ye TLL * sed a ra Fer he ey “ap i eee = ¢ te ee « ee es ast ie GOLDEN EAGI THE LIBRARY OF TRE pepVERSITY OF ILLTnGtS Baer can 8 nah ‘ Ra one IWAL Stang ge sxe s , i e "THE LIBRARY te | OF THE 3 PMVERSITY CF ILL ita ' Le iW 304 arses yee ete veiw & 3HL 40 ANVeaiT dal THE LIBRARY : | OF THE i POVERSITY OF ELL Casey at opty ee CEN ra ak ; (E> ne “D> 4 v) : Alc ma = “ao THE LIBRARY OF THE BTuVERSITY @F ILU wee FArtow ELAS Leo ILLINOIS CENTRAL TO WZ= SSS TAKE THE 2d D LW VN ag 2 a a e UL THE LIBRARY OF THE WEEVERSITY OF ILLINGIS 2 val S Y Y © se =D: (S) | au (e) Vv) oy aN Ld ENID COress RESEARCH CLASS ARTINSTITUTE “ATE in the school-yéar of 1925, Mr. D. C. Davies, Director I of the Field Musetim, decided to offer a~second Poster Prize. The contest was open to the second.ajear class in Research of the School of the Art Institute. The director immediately began to cast about to find some available source for securing the necessary prize money to cover the various awards. Mr.Stanley Field, President of the Field Museum, saw the advan- tage of such a plan and expressed a desire to furnish the required funds. Thus one hundred dollars was set aside for this purpose. The students were given the necessary data and required to select their own material from anywhere within the Museum, and make preliminary pencil sketches direct from the object. From these sketches poster designs were laid out, also in pencil, criticized and approved by the instructor, then finished incolor. The three consecutive steps as followed in building the finished posters are shown in the’ Portfolio. Sufficient time was allowed. in the contest to permit the student to put forth his best efforts. .. J 77] When the posters were finished and submitted to the judges, Mr. Field was so well pleased with the results that he raised the award from one-hundred to three hundred dollars, and the judges decid- ed to divide this sum equally between the students’ submitting the best six posters. The judges felt that the winning posters were ‘equally well done, and the competitors so faithful in their work that it would be quite difficult to make a fair distinction between them J a a 77] 77) 77] 77] a @ The color harmony and composition.seemed quite professional, and | might say here that, possibly, one of the chief reasons for our success in obtaining such beautiful color effects may have lain in the fact that we followed the Munsell Color System. Those familiar with the Munsell colors will quite teadily recognize them in this work... @ ad 77] yh a 7) a a * ‘Color System Plates Il. 47-48-49-50 and Plates IV. 48-49 were all rendered from the regular Munsell Tubes and Water Color Box. 1 have selected Plate ID. 49 as, perhaps, the best example to use in explaining the analogy of color harmony. It will be noticed that the poster, as a whole, is in grayed or slightly neutralized colors. This is effective from the artistic standpoint and lends itself nicely to a more certain means of producing color harmony. The bright or maxima colors are restricted to small areas and kept in the immediate foreground, while the more neutral colors are seen in the middle and distant background. 77) 77] 77) 77] The color scheme is based upon a split complement and an analogus group. The split complement group is Red, Blue and Green. These form the basis of a strong contrast in the foreground. The Blue-green is presented as an opposite color. Red in its maximum chroma is introduced in the flowers of the foreground. Red and its neighboring hue, yellow, are seen in varying degrees of mixture and form an interesting contrast to the cool colors of the background. White is introduced in small areas and adds life to the composition J 7) 77) 77] 77] 77] a The analogous group is Yellow, Yellow-red, Red, and Red-purple. The Blues and Purples of the birds in flight against the Yellow of the sky, form another split complement. Other subtleties are introduced to add interest and harmony. 77] 77) 77] Color should be thought of as music, and should never clash one with the other. 77] 77) v7) 77] 77] 77] 77) An analysis of the predominating hues in the poster shows that they can be described as follows: Red in center of flowers is Green in fringe of treesis - G5/3 - - +» R4/10(or perhaps 4+/) Green in foreground is ~ G4/3-4 Red in rest of flowers is - 8R5/6 Blue in birds’ heads and The dominant Redis - ~ R3/5 foregroundis - - - ~ = B4/3 Yellow inskyis ~ ~ ~ 3U 7-/5 Red-purple in leaf of lower right- Yellow in field behind hillis 39 6-+-/4 hand corner is (very little RP) RP 3/3 J. G. W. FIELD MUSEUM BY CHICAGO RAPID TRANSIT ~~ re Ue oa a 47 FSS —— GEEEEES Aes BESS} )S y i© C4 ZA Vice St | BAGH ZN FP SFG PHILO MUSEUM BY CHUCAGO RAPID TRANSIT THE LIBRARY , Ja OF THE iets UINVERSITY OF ILLINOIS 1 ae Pe vase “SKELETON OF PERCH A $TUDRY IN PESIGN AA : HEEL SSS SESS WRESS \ ™—™ | | | THE LIBRARY = : | OF THE 7 e = aa ae OTIVERSITY OF ILLINOIS | . BS) SNIWTIAA WAN Vv \ a\ 4 (), ~ \ 7 kL ( P< ga mi 3 ars, gered) Yor ons Kx ( ~ ~ LLNS av ald 2h . ho o. a. a “iy Iv CUNY ¥ AT aA TA in “Md N y ob LN tt ,™% adi t 9) : 33 3 2 y : THE LIBRARY OF THE WERSITY OF ILLINOIS VWUDswW YNO]31 Se 4 TIICELT ASRARAARRANRAY AAAS Sen ¥E EST a ae ee a ea ee st oS NSIS Ad— NOILDNYLSNOD > HS id SAO NOLAISMS SNM TAN SW V‘Aid SsV1> HDUVvasSasy wee eas ase THE LIBRARY aun OF THE IVERSITY OF ILLINOIS. v “AACNIA WP res ee wl LN esigay — —————— ie rtm iy ee iit ae rat ; ~ NORDAML Oh lbaAOWS NOL TESIC- HLA D-NOIstAId . SNDTUIA MA FT ean Se aaa eae ae Ae THE LIBRARY OF Te UNIVERSITY OF ILLIctS q IDET III | DUST IPGL TTA REID Nip eeervesenvesen PD iereaeersarrce: h iy TTI DILL. 2 bs Bi SP CLEL. ee Wik vesreaarsn cds am oe ee pe = i> CONETETION EV © —— y N ae POUL Pree eg Ry itersenmmpessian: 2 yg eS ate eae STS RESEARCH MR WILKINS g THE LIBRARY _ | oie | OF THE a : 3 | WHIVERSITY OF ILLINGIS a CONSTRUCTION & DESIGN Bt FSP. ATLANTIC CcEe~ANn SS ~ Ss SS : SS SS 3 SS > te KO —~; S ye jx, FP a i Tr MRE Fe EARCH DIV. A. a naa inal cs <= co — ool bad = he OF THE iT als M y OF ALU WERS Abe wil <7 ae i KR 2 KIM LEONA MSGILL . _ ae : aS ia of — Cae wa [<4 a3 = vabeet Pan BY ug? y (ket 2 by Ls « t a * . THE LIBRARY OF THE MIVERSITY OF ALLENS! N) : ree — a a : wr hal SaaS AE LEALLE OE EAE BE NA II ON I CAS i aT ’ P % an a so eer ~ = LRU ENE ESS OD | YE TO WW INDIV-- ACHED TY: TO GNE-HUNDRED. ta — OFTEN Li -BRE D JAPANESE. GOLDFIS ) THEY TWELVE YEARS OLD AND A FE F THE CARP FAMILY = BUALS ARE KNOWN TO HAVE RE THE RIPE AGE OF FIFE YEARS o-o-p--o-6--p-0 au Q Q a O 1 Ee K Bs @ (0 B ! 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OF HEE Soe. te Were ) CUVERSITY OF ILLINOIS ne (SABLLS SHOWING UPIRALL AND RADIATION __MENRY o- ~ St — ie rl Rey a tH2 \ I. bi mf THE LIBRARY OF THE ERSITY OF ILLINGIS n =~ a ra) ee iva) ad x ot a Te) TL AM ee, i Feeney CKSON . | -@ HELIX SPIRALS oo RESEARCH PRMILIQIND | THE LIBRARY x . OF THE WMVERGITY OF ILLINOIS . Bes one 4s SPIRAL SHELLS THE LIBRARY OF THE DAIVERSITY OF ILLISGIS ~SPIRALS-~ SPIRAL SHELLS. RESEARCH. ; z.3 SS ERCIATER CHIEN: PAR.WILKINS. 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W ILICINS THE LIBRARY OF THE WIVERSITY OF ILLIAOIS MIR NVILKING TRE LIBRARY sO HES HIVERSITY GF ILLENOSS 2! dda dabed Sal Ae oN iy Weiser tt ietet At bd ae dade Gabon “a UWouabe Warne sigetnaidioopy > dea ee ay 7 NAN Cath LEe | ars Ae, ssi, uni eee a PRT bie 45% Nibadwad gd nae tthe \ sy AARDA AUADD ED? Ye my A ALD 5 neh ‘th Wir reed, Adie amr e Fa MYNME AL, ye bey adddddel . 2°" Ste rtd ‘ Nad Co = bus!" ihag Viol Sigeheh Le ee AMAR ELS Revives ee ; : abe - 5 ‘i seas eye ae ne), city wind Bheatiat ; ben Poryrrnnery a PH Aanepeane Soueus’ Baaisd+7397; ah trim Pech Seaate sy a 420d 1046 AM bd er er pes Sa oats vrenenewe SPREOy RANA OOH UTE ‘ TAA AAR AAA RALEER tA tt pb p. oe 7 =5 na Uti LG Sa SS or EOS "e arte Via Se Se hutar We ENS beta SOFIA ree SOO E ‘3 Rastint CEECL EAGER TVET ELMAN EEE ACER WA yy aye SOY SSS nat a ae eV) WE sty COM. TOO COMMIT Ie Cig a pe MONA jun tree Powe aw Bil He Wh dee LOTR HE AE oD Nd py Ghiy. ae} LAY Bt ae = > OTE Acad PTT ot tg cart Be TY wt A eS 2 PAL Wh we & wee Gus Peer eer TENT Fetes E SIGNS: Shalt THE LIBRARY. OF iit AMAVERSITY OF ILLEO#S Re set tg eae rt mr %, a pO teers ie P., ace ts dy a3 a a Mt — 2 Suny, "7 oy BATIK AND FIGURES FROM THE PUPPET PLAY DRAWN AT THE | FIELD MUSEUM RESEARCH CLASS Wie FON, AX OtA » Ry OF THE THE JAVANESE - RRO Nae COS REPS ALVES Y : ART INSTITUTE ARE con | A 2a; OTF OO Ve SX ON Se YODA F 4 | JOHN G. WILKINS SPHEIR DRAPE Cate ces etas 3) AO ON NO OO ae - 4 | \NSTRUCTOR THEIR GRAFT OF ie < chy les B,, ay eX xs PS DECORATED cLotH | fie Pe Ff Sn 2 LFS 2 KNOWN. AS BATIK | [ay CXS PS ~ It, 9 9 —_ oi becca gions Sato ane ee THE LIBRARY. OF THE: DIVERSITY CE ILLIols MELANESIAN ORNAMENT CONSIDERING THAT THESE REMARKABLY SYMMETRICAL & DELICATE ORNAMENTS ARE EXECUTED WITH THE RUDEST IMPLEMENTS, THEY SHOW NOF ABLE DEVELOPMENT OF ARTIS TIC AND MECHANICAL ABILITY open : ith) = —- ; ”. a \ mi = 27 ar ee SON fe = ~ Saapath > Seen re "dn vas ATas hoe arp PRX ry pL 7 wie yh } ri wi i bs D | | aa i o-- C = 1 of Fong Cf Le mi fcc Y ; ef 4 / “ Ded? f c / PR) 4 fs Q OX » ie N AD 7 ‘ AY NI ty ory SS . . pide 4 $$0— ven ag dix~ pada Diasergh trees tye. iron soercal : RESEARCH-MR.WIKLKINS. ee ¥ | | | | | | | Fe Sn Na NSN ERENT SONNE ORDA Ao 4 4 : \ “4 1 ? ; az I A-SPATULA CARVED FROM WOOD,TWO THIRDS NATURAL SIZE; B-LIME GOURD&ELIME . STICK, FRONT & SIDE VIEW CG METAL BREAST ORNAMENTS, D-CARVED BORDERS FROM U- TENSILS;E- 24 INCH WOOD EN FOOD BOWLS AND DETAILS MILDRED LARSEN. ; | TRE Ligaaay ee | : 5 OF ine “ae ae : 3 pte WIUIVERSITY OF JLUsats | er, : —— SPATULAS AND LIME GCuRDS — THE ORIGINAL LIME GOURDS WERE RATHER SMALL AND PLAIN, THIS GOURD |S OF THE ADMIRALTY {s~— LAND TYPE AND PROBABLY HAS BEEN |MPORTED. THE SPAT U LAs ARE OF TWO TYPES, THE OLDER REPRE-— SENTING THE HUMAN OR ANIMAL FORM, WHILE THE NEWER SHOW ELABORATE FRET AND SCROLL WORK ——HERMET !SLANDS, MELANESIA — W LEONA MSGiLk. Pree Fass THE LIBRARY a : ; sts OF HE - fer | WUIVERSITY OF ILLiNots YY YYW —— MELANESIA—— WEST OF THE ADMIRALTY ISLANOS AND ABOVT iSO MILES FROM NEW GUINBA Lie SEVERAL SMALL ISLANDS, KANIETNINIGO AND HERMET ISLANDS.THE INHOBITANTS ARE CALLED MELANBSIANS,3 ~? —¥ oF RESEARCH ——MRe WILKINS rete tere en ate a “eeeaetace £ % +,¢ % Of) ofae ater elete ate — ——COMES = THESE ORNAMENTAL comes are WORM IN THE HAIR. So AS TO PROVECT OVER THE FOREHBAD, THE KAN COMBS FoR. MEN COFTEN HAVE TWO HEADS.THO3E FoR WOMEN HAVE 2 SOLID TOP, HERMET—BEST DESIGNEE. LEONG MSGILL | | | ato Sei UIBRARY Pre OR Hea UNIVERSITY. CF MLSS ~~ " ve Consciene Suecesa iz be Se j bs ss & 5 Ke E 3 fa) te O YQ bas = 4 Ta) S d £ 6 i af “) eo e oO e 5 p z 5 a 2 THE LIBRARY pve po UNIVERSITY OF ILLisaty - TA 4 SP Sb OE ae Cae '¢ | COR! i | »: f i" i /atalti \ A RAH Sst c= ea, ee " 1 J a ons =a oF 2: aE Aer vie ‘ { in \ 4 IN MN CEREMONIAL M ' ) THE NORTNWEST COAST OF AMERICA © CARVED FROM WOOD AND REPRESENT | fA ING BIRDS, REPTILES, ANIMALS & GODS RESEARCH .tepe¢e odedegode MR WILKINS. : = ci. ae Oe ok a Ge ae EYES 2LOWERJAW AREOFTEN MOVED : BY STRINGS. GRASS ISUSED FOR HAIR, # Fe <= fo se - ren ee fens t—) ¥ ube {TY GF ALLE u UNIVER SnNImraiaAvaw HoOawSssagd Py sane HOA AO se, / : : \ A 35n FHL WLI : y Y GV 3H abl WONS ae tN ols ac) © Q, of HSi4 4O AQNLS aH Wodd aaa € >! fd i aie alee re enn nh at 7 t Sat + aa acne SSS a aS, = eae £2 t> <= = | ed — Lee Ly == feo —s a) = = is oe. == amu tar = ONIVER Ay Tar eT aw. 2 aT ey ) om s | i ¥ | Py, ta J (pe - Yi Meorer { i ye ul u i INDIAN “BASKE TRY DESICIN ~ y Dab att Hyg it op pte 4 “i oo eo ee ‘he oe WARE KORINE S Ea Ss oS oe ee - AIABASTER VASES ® @ THEBES AND OTHER PLACE-(R @ Sen GRACO ROMAN PERIOD AAG VAGES FOUND ifh AHCIE NT TOMBS TO HOLD FOOS 4ND OTHER OFFERINGS cat en ae ah oe ie i TT PR ee LIRICA CEES Les gs a ta Ral ar re OR OWS BS LIGNUM VITAE DESERT CACTUS POMEGRANATE RESEARCH MRWIURENS THE USE OF CTHE PHOTOSTAT IN CHE SCHOOLS Ml the great wealth of material at the Field Museum there are l many subjects that we hope to study during the year. In each of these subjects are definiie principles and certain information that the student should have in order te accomplish the most in the shortest period of time. With Research being practically a new subject in the curriculum of the schools, we found the library quite without material suitable for the proper stimulus in our work. It was therefore necessary for us to build up reference material of our own. Thus it became possible to retain a complete outline of the course of study of the pre- ceding year, which aided materially in the rapid progress of our classes. J 7) 77] 7] 77) 77] 77) 77] In this acute need for some convenient and economic means of reproduction The Huey Company of this city offered a valu able suggestion. The Photostat Process thus became our method of reproduction. By this method we are able to reproduce our work, at a nominal cost, in any sizes up to 18x24 inches on a single sheet. Inasmuch as our original drawings were made on 9x1l2-inch paper it seemed convenient to have our reproduction of the same size. These were not only made for my own reference but were also made for many of the individ- ual students. Large plates of the same were made on 18x22 inch paper for classroom demonstration. The accompanying sheet shows photostat copies of four 9x12-inch plates andisa good example of a photostat print. a 77] 77 72) It can readily be seen that with such examples as these before the students, the instructor is materially aided in presenting a subject. The individual no longer tries to copy an object, but approaches it from an entirely different viewpoint— he searches for its structural principles, then drapes and models its well- proportioned patterns and forms in keeping with a basic plan. CThe Photostat lt seems quite unfair to the student, for the instructor to retain his original work as teference, for the succeeding class. Uet it is necessary that examples be carried over from year to year. The photostat seems to be the only legitimate means for this purpose, for here the instructor will soon build up a quantity of reliable reference, such as fits perfectly into his course of study. The photostat made this portfolio possible. It was completed and corrected by photostat before being sent to the press. J The professional artist is to some extent familiar with the use i i hd “y of the photostat in his work; it now remains for the professional tutor to discover its manifold service tothe educator. DO fF The posters on plates 11 51 and 53, ID 50 and D 39 were first laid in with pencil a8 a small sketch, photostated up to about 18 inches in length, corrected, inked in as a line drawing, then bleached, thus leaving only the line renderings for reproduce tion. The colors were indicated in a tracing paper overlay. Every teacher of art should find the photostat a valuable asset in his work. J a F7] v7) 77) v7) @ 77) The photostat is simp!y a quick and easy method of phetographuy. ‘The machine rests in a horizontal position, and has the appearance of a large bellows camera. The object to be photographed may hang directly in front of the lens, or it may rest on a horizontal, movable beard directly below the lens. This board may be raised or towered in order to make a large or small print. This, however, isthe usual method employed, the lens being equipped with a prism so as to reflect the image, from below, directly into the machine. The camera i$ equipped with a large magazine for holdingaroll of sensitized paper andacompartment fordevelep- ing and fixing. As the photographs are madé they are cut off, developed and fixed right in the machine, then when washed and dried are ready forus. @ a a a a J. G. W. ri | 33 ie 2 & i a3 : } af TEER CThe Oh Mstat THE USE OF CHE PHOTOSTAT If CTHE SCHOOLS Nl the great wealth of material at the Field Museum there are l many subjects that we hope to study during the year. In each of these subjects are definite principles and certain information that the student should have in order to accomplish the most in the shortest period of time. With Research being practically a new subject in the curriculum of the schools, we found the library quite without material suitable for the proper stimulus in our work. lt was therefore necessary for us to build up reference material of our own. Thus it became possible to retain a complete outline of the course of study of the pree ceding year, which aided materially in the rapid progress of our classes. & 77) °7] 77) Jd 77) 77] a In this acute need for some convenient and economic means of reproduction The Huey Company of this city offered a valu- able suggestion. The Photostat Process thus became our method of reproduction. By this method we are able toreproduce our work, at a nominal cost, in any sizes up to 18x24 inches on a single sheet. Inasmuch as our original drawings were made on 9x12-inch paper it seemed convenient to have our reproduction of the same size. These were not only made for my own reference but were also made for many of the individ- ual students. Large plates of the same were made on 18x22- inch paper for classroom demonstration. The accompanying sheet shows photostat copies of four 9x12-inch plates andisa good example of a photostat print. 77] 77) 77] 7] It can readily be seen that with such examples as these before the students, the instructor is materially aided in presenting a subject. The individual no longer tries to copy an object, but approaches it from an entirely different viewpoint—he searches for its structural principles, then drapes and models its well- proportioned patterns and forms in keeping with a basic plan. NES: oar oe pan he te nes ‘ See] ng, It seems quite unfair to the student, for the instructor to retain his original work as reference, for the succeeding class. Uet it is necessary that examples be carried over from year to year. The photostat seems to be the only legitimate means for this purpose, for here the instructor will soon build up a quantity of reliable reference, such as fits perfectly into his course of study. The photostat made this portfolio possible. It was completed and corrected by photostat before being sent to the press. J The professional artist is to some extent familiar with the use of the photostat in-his work; it now remains for the professional tutor to discover its manifold service tothe educator. DO Jf The posters on plates 11 51 and 53, 1D 50 and D 39 were first laid in with pencil as a small sketch, photostated up to about 18 inches in length, corrected, inked in as a line drawing, then bleached, thus leaving only the line renderings for reproduc tion. The colors were indicated in a tracing paper overlay. Every teacher of art should find the photostat a valuable asset in his work. J 77] 77) a 77) 77) 77] 77] The photostat is simply a quick and easy method of photography. The machine rests ina horizontal position,and has the appearance of a large bellows camera. The obiect to be photographed may hang directly in front of the lens, or it may rest on a horizontal, movable board directly below the lens. This board may be taised or lowered in order to make a large or small print. This, however, is the usual method employed, the lens being equipped with a prism so as to reflect the image, from below, directly into the machine. The camera is equipped with a large magazine for holdingaroll of sensitized paper andacompartment fordevelop- ing and fixing. As the photographs are made they are cut off, developed and fixed right in the machine, then when washed and dried ate ready forus. 77) a a 77] J. G. W. ‘ e ae ie + * aes > TOPOL NT RAN ORT PO RE ERE OH OY Le SUm I LK CHAM eh ikreee pre inicahirke TROP Tp AMON WeruieietateNeD pei Ter esp dr acter ya MTHMMTRLULECHPRLLM ME ty ty Grett Wik eM gene (he NansivaTAtacnat teen tnteatacsiecg anit herttt oats Leyes Pe weLaag int ‘tra ° i Lanes tueate WER NOSE ERLE RCRA C eee y. 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