NOTES ON FREE-HAND DRAWING AND COLOR. PREPARED FOR THi USD OF STUDENTS OF THE UNI- VERSITY OF '..UNO' FY FRANK FORREST FRED- ' ■(':«, PROFESSOR OF INDUSTRIAI ART AND r r 'Sj\ URBANA, II !NOlS 1893 . 1 ; "'i \ II DEPARTMENT OF j| 741 2 SI i LIBRARY OF 4 University of Illinois. # # # ^ Books are not to be taken from the Library Room. ^ Return this book on or before the Latest Date stamped below. A charge is made on all overdue books. TT r T T .. U. of I. Library 1762S-S NOTES ON FREE-HAND DRAWING AND COLOR PREPARED FOR THE USE OF STUDENTS OF THE UNI- VERSITY OF ILLINOIS, BY FRANK FORREST FREDERICK, PROFESSOR OF INDUSTRIAL ART AND DESIGN URBANA, ILLINOIS 1893 Copyright, 1893, by FRANK FORREST FREDERICK. P. E. LANGLEY, PRINTER, HYDE PARK, MASS. PRELIMINARY REMARKS. “Why, I cannot even draw a straight line!” Who can ? If you are a mechanical draughtsman and need absolutely straight lines, you will take a ruler and draw them, but in the objects we wish to draw there are no such lines, and anyone can draw lines straight enough to answer the purpose. Anyone can learn to draw who can learn anything. Artists are born, not made; but draughtsmen can be made, or rather they can make themselves by work and hard study. “I have worked a month and my drawing will not look like the object.” How many years has it taken you to learn enough of English composition to write an accurate and graphic description of a book? Can you, then, expect to learn to draw that same book without long and careful study? “I shall never learn to be an artist.” True, you never will. I shall never learn to be a poet; but I may learn to write prose of a quality to be understood, and you may make a drawing that will fulfil the same condition, providing you study. A draughtsman does not sit down to his paper and without thought produce a drawing. He thinks! The old story of the child who said, “Drawing is thinking, and then marking around the think,” is as good and true now as when first said. I hope, in these notes, to give you something to think about that will help you in your drawing; but all the books ever written and all the teachers in the world will not help you unless you do your own thinking, your own seeing, your own experiment- ing and give your whole heart to the work with courage to accept many a defeat. Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/notesonfreehanddOOfred ELEMENTARY EXERCISES. Before beginning the actual work of representing objects, the student should gain command of his pencil and be able to draw straight lines, horizontal, vertical, oblique, or circles, ellipses or any other curve with perfect freedom. With any cheap paper and a soft pencil he should practice the following exercises, remembering that their aim is not the production of perfect drawings, but a free-hand. The pencil should be held firmly about an inch from the point, with the hand free from the paper. When drawing, the hand and arm should first swing, with point near paper, in the direction the line is to take, and, when it seems that the line will take that direction, it should be drawn without changing the direction of the swing of the hand. I. Draw circles about four inches in diameter. II. Place points to form a square of four or five inches and draw sides and diagonals without changing the position of the board. Draw from the top down and from left to right. Hold the pencil at right angles to the line that it may at all times be visible. III. Draw ellipses of various sizes. IV. Draw parallel, vertical, horizontal and oblique lines about six inches long. V. Draw curves, as vase forms, from copy. Draw each line firmly, but lightly, and of definite length. When an object is bounded by many lines, they should be drawn very lightly, that those which take the 6 wrong direction may be erased at one time and the others “ lined in.” Additional freedom of hand will be attained if these exercises" are drawn with water-color, using a large round- pointed brush. FREE-HAND DRAWING. - William Morris Hunt said : “ You are to draw not reality, but the appearance of reality.” The first duty of the student is to forget the real form of the object before him and study its appearance as affected by position and distance. If we look through the window and trace upon the glass the lines of any building we may see, we will have upon the glass a picture of it. A true picture if the glass be at right angles to the direction in which we look, a distorted picture if not. (See Fig. 2, Plate II.) All its lines, horizontal, vertical or oblique, are drawn upon the glass — therefore drawn upon one plane. In making a drawing of anything, all lines, whatever their direction, must be drawn upon one plane — a sheet of paper — therefore we must understand the principles that govern the representation of objects. In drawing, we imagine an infinite number of visual rays centring in the eye and radiating to every point of the object looked at. The ray to the centre of nearest edge, or to the nearest corner or surface of the object, accord- to the position of the object, we will call the line of sight. 1 The direction of this line of sight will change as we look up or down or right or left, but it must constantly be borne in mind in order to appreciate the following rules describing the appearance of objects. i Note: The difference between a perspective drawing and a “free-hand” drawing is this: In perspective the direction of the line of sight does not change and all objects are drawn upon a plane perpendicular to the line of sight. In ordinary drawing, the line of sight is constantly changing, for as different parts of the object are regarded, each visual ray in turn becomes the line of 8 If the drawings on Plate I are first carefully studied, using a cube to test the statements, the rules will be readily understood. 2 Fig. i represents a cube as it might appear when about ten feet from the spectator, and two feet below the level of the eye. The cube is so turned that one side makes a greater angle with the line of sight than the other, there- fore appearing narrower, and the top is so near the level of the eye that it appears very narrow compared with the entire height. To appreciate this foreshortening of the upper surface of any rectangular object it is well to imagine the nearest vertical edge, as 3-4, continued to cut a further edge, as 1-5, and compare the apparent distance between them with the length of the vertical edge. In Fig. 2 the two sides make equal angles with the line of sight, and therefore appear of equal width. The edges 5-4 and 5-6 make equal angles with 5-2, and with an imaginary horizontal line drawn through point 5. The top is on the level of the eye and therefore appears as a horizontal line, 2-3 being a continuation of 1-2. In Fig. 3 the sides make equal angles with the line of sight, but the top is below the level of the eye, and corner % 2 is seen vertically over 4-6. From the position of the cube in Fig 1 it is seen that the further corner 5 falls to the right of 3-4. Fig. 4 shows the cube above the level of the eye. Lower base 3-4~5-6 is visible and edges 3-5 and 4-6 will sight, and the drawing may be considered as drawn upon the con- cave surface of a sphere of which the eye is the centre, and vertical lines will therefore appear to converge, upward if above the level of the eye, and downward if below ; but vertical lines are always drawn geometrically vertical, for if not so drawn the object will appear distorted. 2 Note: “Free-Hand Drawing” by Anson K. Cross (published by the author, Mass. Normal Art School, Boston; price, $1.50) is the best work on the subject yet published. It is in the University library and students not having time to consult it there should purchase the work. 10 be found to converge downward. The centre of the cube is opposite the eye with surface 1-2-3-4 vertical, hence not at right angles to the line of sight, and therefore not seen as a square, 1-3 being less than 3-4. If the surface 1-2-3-4 was at right angles to the line of sight it would then appear as a square, and would be the only part of the cube visible. Fig. 5 represents a similar cube the same distance below the level of the eye as Fig. 4 is above. Edges 3-5 and 4-6 will be found to converge to the same point as edges 3- 5 and 4-6 of Fig. 4. Suppose the cube to be moved to the right or left so that a vertical surface, as the one to the right, is included in the line of sight, it would then be seen as a line, 6-4 would be a continuation of 4-2 and 3-5 would converge to it. Fig. 6 represents the cube resting on one edge, three faces visible, and the diagonals of the bases vertical and horizontal. When the cube is in this position it will be found that all edges appear to converge or vanish, 1-7, 4- 6 and 3-5 vanish upward to the left, 3-2, 4-1 and 6-7 upward to the right, and 1-2, 4-3 and 6-5 downward to the right. From the study of the above, and from experiment and observation, it will be seen that : I. Any line or plane perpendicular to the line of sight, (that is, at right angles to the direction in which we are looking), appears of its true shape. It follows, then, that the greater the angle a surface makes with the line of sight the less it appears of its true shape. This change of shape resulting from change of position is called foreshortening, and surfaces are fore- shortened in proportion as their length coincides with the direction of the line of sight. This can be easily proved by holding any surface at right angles to the line of sight. When so placed it I appears of its true shape, as it is turned it appears less of its true shape until it is seen that : II. Any plane included in a visual ray appears as a line. By experimenting to test this statement, it will be found that horizonal lines and planes on a level with the eye appear as horizontal lines, and we find further : III. That horizontal retreating straight lines above the level of the eye slant downward, and those below slant upward to the level of the eye. This can be tested by holding a pencil or other straight- edge, to cover horizontal retreating lines. If two straight-edges are taken to cover any parallel retreating lines, it will be found that : IV. Parallel retreating edges converge to a point, and converge in the direction of their farther ends. It follows from this statement that : V. Equal distances in perspective appear unequal, the nearer appearing the longer. This can be illustrated by the vertical lines of the tele- graph poles beside the railway track and the horizontal lines of the sleepers between them This apparent differ- ence in the length of equal lines can be seen everywhere and is easily proved. It follows from statement I, that: VI. Of two equal straight lines perpendicular to each other, the one making the greater angle with the line of sight appears shorter and vanishes most quickly. Vanishes most quickly, that is, seems to converge most quickly to a point. Angles are affected by position and distance. Right angles frequently appear acute or obtuse, but it is found that : VII. The right angles formed by two lines perpendicu lar to each other will always appear as such, providing one line is perpendicular to the line of sight. The line perpendicular to the line of sight has its ends 2 equi-distant from the eye; the other may appear of its true length or as a point. The circle appears of its true shape when perpendicular to the line of sight, as a line when included in it and as an ellipse when in any other position. The long axis of an ellipse representing a circle is perpendicular to the line of sight, for this axis connects the two points, equi-distant from the eye, in the circum- ference where visual rays become tangent. Hence the long axis of an ellipse representing a horizontal circle must be a geometrically horizontal line, and : VIII. The long axis of every ellipse is perpendicular to the line of sight. When the circle is seen as an ellipse, a line perpen- dicular to it at its centre will appear to coincide with and continue the short axis. Therefore it will be seen that in a right cylinder or cone (or objects based on these forms): IX. The long axis of the ellipse representing the base will always be at right angles to the axis of the solid. For the axis of the solid is the line perpendicular to the centre of the circle, and the ends of the long axis of the ellipse are equi-distant from the eye, hence (see VII) these two lines will be drawn geometrically perpendicular to each other. (See Plates XII, XIII, XIV, XV, XVI in “ Free-Hand Drawing,” by A. K. Cross.) Single Objects. As all objects are based on geometric forms these should be drawn till the student is familiar with them. It is suggested that they be studied in the following order : Cube. Square Prism. Square Plinth. Cylinder. Square Pyramid. 13 Circular Plinth. Hexagonal Prism. Cone. Pentagonal Prism. Double Cone. Square Frame. Cross. Skeleton Cube. Vase Form. These should be first drawn as they appear when rest- ing upon their bases and then redrawn after being placed on their sides or inclined. In drawing single objects, all lines of the same system (parallel) should be drawn at the same time, drawing first those that appear longest. • Suppose that a drawing is to be made of a cube in a position similar to Fig. i, Plate I. It is suggested that the nearest vertical edge, 3-4, be first drawn. Its length will determine the scale of the drawing. Next, lightly sketch, of indefinite length, the vertical lines defining the width of the side faces, as 1-2 and 6-7. Then, freely swinging the arm, sketch the long vanishing edges, 1 — 5^, 3-6 and 4-7, sketching last the short vanishing edges, 6-5, 3-1 and 4-2. To test the direction of a line, hold paper and pencil at right angles to the line of sight and move pencil, which should be held with arm fully extended, till it seems to cover the line of the object, then swing the arm till the pencil covers the drawing. But all lines should be drawn first and tested afterwards. (See use of plumb-line described below.) Groups of Objects. After the geometric solids have been drawn singly they should be placed together forming groups. The above method of work could not now be followed, for if the objects were drawn separately they would not 14 take their proper places in the group. The objects should be drawn at the same time, finishing no one part till it is found that every line, angle and surface holds proper relation to other lines, angles and surfaces. (1) Study the group. (a) Compare entire height and width. (h) Decide upon the shape of the contour of the group as a whole. If this cannot be determined, move the pencil, always at right angles to the line of sight, to cover the most important bounding lines and to connect the principal angles and notice the shape of area enclosed. (c) Notice the width of the various surfaces and the difference in apparent length of lines and degree of angles. (d) Notice the shape of the openings between the objects. ( e ) Observe where, if lines were continued, they would cut other lines or appear to leave the group. (2) Sketch the group. (a) Draw first its general contour, resolving it into as few lines as possible. Notice that the nearest angle upon the horizontal plane will be the lowest point of the draw- ing and plan the position of these contour lines that the drawing may be properly placed upon the paper. ( b ) Within the space, place the separate objects, sketching them in as rectangles or triangles wherever possible, and representing ellipses by their diameters. (( c ) The drawing should now be tested with a plumb- line (a black thread one yard long to which is attached a small weight). By use of this it can be seen if points are vertically under other points or lines, and by holding it horizontally, the levels of the various objects can be compared. If held to cover an edge, and it is seen that if the edge be continued it will cut a certain point, it follows that if the line representing the edge be continued it would cut the corresponding point in the drawing. When not held vertically, the plumb-line should be held in both i5 hands, with arms fully extended, that it may be at right angles to the line of sight. (d) Complete the sketch of each object and carefully test each line, surface and angle. (3) Line in the group. (a) Erase all the test and sketch lines, leaving only the correct outline which should be almost erased, leaving a very light suggestion of a line. ( b ) Draw the group upon this sketch. In lining in, the lines should be represented as they appear. No rules can be given, but it is well to make dark the lines that separate dark surfaces from light, and light, those that separate dark or light surfaces. The elements of cones, cylinders, etc., and the outer lines of the group should be medium. Common Objects. V In drawing a group composed, for example, of^several books and a vase, the method to follow is the same as in drawing a group of geometric solids. (1) Sketch in the group as a whole. (2) Sketch in the several objects, treating them as if they were geometric solids, paying no attention to detail, irregularities or accidents — drawing books as plinths or prisms, vases as cylinders, etc. (3) When the drawing is correct in proportion, the type forms may be made to express their individuality. The drawing of the book must represent the book in the group, not any book. The si%e of furniture should not confuse the student. Truths of perspective are the same whether seen in a chair or in a cube. A group of furniture, as a table, chair and easel, should be treated in the same manner as a group of geometric solids. Interiors. In making a drawing to represent the interior of a room, it is suggested that the first step taken be the i6 placing of the horizon line which should be drawn. (See Fig. 3, Plate II.) One way to find its level is as follows : Hold the pencil horizontal, revolve till the end only can be seen ; it will then point to a place through which the horizon line must pass as it will be at the level of the eye. The vertice.l distance taken from this point to the floor, must then be the unit of proportion for the drawing. All horizontal retreating lines will converge to this line. The vanishing points of lines can be approximately determined by holding straight-edges to cover lines of the system and observing their intersection with the horizon line. The scale for drawings of interiors is determined by the distance taken from the floor to the intersection of the horizon line and the line representing the corner of the room. (See A B, Fig. 3, Plate II.) Casts of Ornament. Draw first the leaf as a whole, then its lobes. If the ornament has an axis it may be drawn first ; but always draw the construction lines, carefully studying the general “flow” of the ornament. If we infinitely increase the sides of an equilateral triangle we will have a circle. A curve should be, when first sketched, a series of straight lines, — one or two to give general direction, then others to refine it. In lining-in ornament, study to express the relief and the quality of the edges. In a model drawing, we continue the lines of objects to test our drawing; so, in drawing ornament, we can sup- pose curves to be continued and note where they cut other lines or appear to leave the cast. Remember that much can be expressed by lack of line. i8 The Antique. In making a drawing from an antique figure, first place upon the paper two touches that will represent its height. Draw a vertical line to represent the axis of the figure, find its centre point and the corresponding point upon the cast, and proceed at once, after careful study, to sketch in the figure in bold sweeping curves, striving to get the life and action. Represent the face, hands and feet by simply blocking-in lines, until it is found that the character of the drawing as a whole has been obtained, then draw minor masses. A knowledge of artistic anatomy is necessary to the truthful representation of the muscles clothing the framework of bone. Tests. Measurements and tests have been referred to in the foregoing notes. The best and only accurate test, is a trained eye — hence, tests can only be of assistance to the untrained eye. It follows, then, that we should draw first and test afterward if we would educate the eye to see and the hand to express. “ Masterly drawing is the result of knowledge.” — F. W. Moody. CHIAROSCURO. Chiaroscuro has been defined as “ the art means where- by objects are cast in relief upon a flat surface and made to assume the appearance of reality.” The following notes were prepared with special reference to light and shade expressed with charcoal or crayon, but apply equally well to other mediums, whether monochrome or color. In a light and shade drawing everything, except color, — action, character, form, relation to surroundings, and position in space, can be expressed by means of values of shade. By value , meaning the intensity of light and shade as compared with other parts of the object, or the background. A light and shade drawing should accentuate the essen- tial and characteristic features and make detail subordinate. It should be carried on simultaneously, keeping at all times the proper relation of values. In making a light and shade drawing : {a) Determine the areas in shade and shape of cast shadows and lightly sketch this line of demarcation. (b) Over shade, shadow and cast shadow lay a flat tint that will represent the average intensity of shade. ( c ) Blend this into the light, and on the light side lay such values as are seen. (d) Increase the tone of such surfaces or parts of surfaces, as are darker and represent any special markings. Value for color must be given. If an object is white make it look white ; if blue, blue, etc. The light side of a dark object may be darker than the dark side of a light object. 20 The shape of a cast shadow depends upon the shape of the object casting it and the surface over which it falls. Try to make the objects look solid, and the shadows transparent. Make the objects stand on the horizontal plane, and in front of the vertical. Notice the “planes of shade” and study carefully, not only the value, but the shape and size of such planes. Never increase or diminish the value of any one part, without due regard to the values of all other parts. Value of shade is everywhere graded ; a perfectly flat surface will not appear the same value throughout. Do not begin to shade an object till the lightest and darkest points have been determined. Look at objects simply ; there is a mass of light and a mass of shade. The prominent points in the effect come between the extremes of light and dark. The light and shade is modified, both in position and intensity, by the direction of the illuminating rays and the proximity to other objects. Strive for “breadth,” which is obtained by masses of intermediate shade, rather than by contrasts. NOTES ON COLOR COMPILED FROM VARIOUS SOURCES FOR THE USE OF STUDENTS OF THE SCHOOL OF ART AND DESIGN UNI- VERSITY OF ILLINOIS Many theories of color have been advanced by savants, but it can be truly stated that no one yet fully understands the subject. In preparing these notes, the compiler has endeavored to present theories and facts in such a way that the student, having worked out these suggested combinations by the actual use of the pigments, may have knowledge upon which to base original study of color harmonies. COLOR. “Of all God’s gifts to the sight of man, colour is the holiest.” — Ruskin. (1) White light can be resolved into three colors, yellow, red and blue in the proportion of three areas of yellow, five of red and eight of blue. (2) Yellow, red and blue are called the Primary colors. (3) The combination of primary colors gives Secondary colors : Yellow 3 areas -|- Red 5 areas — Orange 8 areas. Yellow 3 areas -f- Blue 8 areas'— Green 11 areas. Blue 8 areas -j- Red 5 areas — Purple 13 areas. (4) The combination of Secondary colors gives Tertiary colors. Orange 8 areas + Green 11 areas— Citron 19 areas. Orange 8 areas +Purple 13 areas — : Russet 21 areas. Green 11 areas +Purple 13 areas= Olive 24 areas. 1 (5) Citron is the yellow tertiary, for yellow predom- inates. Russet is the red tertiary, for red predominates. Olive is the blue tertiary, for blue predominates. (6) Tints are obtained by diluting colors with white or water. Shades by adding black to them. Hues by mix- ing colors in varied proportions. (7) To produce perfect harmony in color, the presence of all the primaries is required, either in pure form, or in combination. (8) A complementary color is that color demanded to produce harmony. The complementary secondary of 1 Note: It must be borne in mind from the first that the above proportion of areas is true only when the colors fire used pure, that is, diluted with only water enough to permit of washing upon the paper. 24 yellow is purple, (red and blue); of red, green, (yellow and blue); of blue, orange, (yellow and red). The comple- mentary tertiary of purple is citron, (orange and green) The complementary tertiary of green is russet, (purple and orange). The complementary tertiary of orange is olive, (purple and green). The complementary tertiary of yellow is olive for olive is the tertiary that comes nearest to purple, the complementary secondary of the primary yellow. The complementary tertiary of red is citron. The complementary tertiary of blue is russet. (9) Red, orange and russet are warm colors. Blue, purple and olive are cold colors. Yellow is the most nearly allied to light and is the most advancing color. Blue is a retiring color ; red is a stationary, and green a restful color. Inherent color belongs to certain material. Transient colors are obtained by passing light through a prism. (10) Contrast is the effect arising from different colors being adjacent to one another (as red beside blue or yellow, etc.) Harmony may exist with or without con- trast. The result of contrast is force, not necessarily a want of harmony. Yellow and purple contrast as to light and dark ; red and green do not, but they contrast as to power of color. (11) Successive contrast comes from removing the eye from an object, and seeing its image dressed in the com- plementary color. When the eye is then fixed upon another colored object, the color of the latter is modified with the color of this image of the eye. This is called mixed contrast. Simultaneous contrast comprises all those phenomena which take place when colors are seen simultaneously in juxtaposition. These changes arise from a property common to all colored objects of reflect- ing, along with their own hue, a certain amount of the complementary rays and of white light. (According as the surfaces are smooth, glossy, polished, rough, channelled, etc.) 25 (12) Simple harmonies are those of either of the triads of color ; compound harmony that of the primaries and their compounds. Of the simple harmoines the greatest contrast is that of the primaries, red, yellow and blue. Least contrast, that of the tertiaries — russet, citron and olive. Orange, full contrast with blue ; subdued contrast with olive. Purple, full contrast with yellow ; subdued contrast with citron. Green, full contrast with red, subdued contrast with russet. If some blue color is placed at a little distance from some orange, they will be in strong contrast; the interposition of certain colors will subdue this contrast, but the colors interposed must be related to both blue and orange — green or purple. (13) Complementary colors in juxtaposition mutually enrich each other. When yellow and purple are arranged side by side, the yellow is apparently deepened in tint and enriched by the extra yellow rays given out by the purple; at the same time the purple is improved. (14) In order to obtain full harmony, it is necessary that the juxtaposed colors should be of equal intensity of hue. Thus the law of harmony will be found in complementary contrasts of color with analogy of hue. When analogy of hue is wanting, that is, when a full hue of color is juxtaposed with a tint or shade of its complementary, their mutual enrichment of each other decreases in the ratio of their decrease of analogy of hue. By juxtaposition inharmonious combinations are ren- dered still more inharmonious. If purple and blue are placed side by side, both colors are injured. A line of white between the colors diminishes the discord. (15) Gray increases the brilliancy of all the primary colors when in juxtaposition with them. It may also act as a color, and form with the darker hues and shades, harmonies of analogy, while with the lighter hues and tints it may form harmonies of contrast. Arrangements of the primary colors with black are always agreeable. 26 (16) When ornamental forms of any color are placed on grounds of the complementary color they should be surrounded by a margin of a lighter or darker tint. When the ground is dark and the ornament light, the ornament should be edged with a lighter tint. When the orna- mental forms are dark, on a luminous ground of a comple- mentary color, the forms should be edged with a darker line. (17) The primaries not only harmonize with the secondaries, and these with the tertiaries, in their full tones, but their tints also harmonize. For instance, lilac, which is a tint of purple, is in harmony with primrose, a tint of yellow; and straw color, a tint of orange, contrasts with a tint of blue. The luminous primaries and secondaries may be used in their full tones, with tints of their dark complementaries. Thus, orange with pale blue, yellow with lilac, etc. The surface of the contrasting tint must be increased in proportion to its dilution with white. When it is desired to have a decoration of a dominant color in large masses, the primaries or secondaries may be neutralized into shades or tints, and the harmonies may be obtained by the introduction of small portions of the pure complementary. Thus, blue, lowered in tone by black may be supported by small portions of orange, bounded by a lighter tint or white. (18) Combinations maybe made of the following colors : blue, green, orange ; blue, purple, orange ; blue, purple, green, orange ; blue, green, citron, orange, purple ; blue, green, purple, russet, orange. (19) Color is used to assist in the development of form, and to distinguish objects or parts of objects one from another. Color is used to assist light and shade, helping the undulations of form by the proper distribution of the several colors. These objects are best attained by the use of the primary colors on small surfaces and in small 2 ; quantities, balanced and supported by the secondary and tertiary colors on the larger masses. The primary colors should be used on the upper portions of objects, the secondary and tertiary on the lower. The various colors should be so blended that the objects colored, when viewed at a distance, shall present a neutralized bloom. Colors on white grounds appear darker, on black grounds, lighter. When ornaments in a color are on a gold ground, the ornaments should be separated from the ground by an edging of a darker color. Gold orna- ments on any colored ground should be outlined with black. Ornaments of any color may be separated from grounds of any other color by edgings of white, gold or black. Ornaments in any color, or in gold, may be used on white or black grounds, without outlining or edging. (See “Grammar of Ornament,” by Owen Jones.) (20) In theory, the combination of yellow, red and blue should produce white, in practice, gray results. It is found, therefore, that several pigments must be used to produce the primaries, secondaries and tertiaries. It is suggested that the following be used : Carmine (Windsor and Newton’s moist water-colors) for red. Gamboge for yellow. Cobalt or new blue for blue. Pale cadmium for orange. Brown madder for russet. Mixed gamboge and Prussian blue for green. Mixed carmine, new blue and a little Prussian blue, for purple. Mixed green and cadmium and a little carmine, for citron. For olive, mix a gray of new blue, carmine and gamboge, and add green. In designers’ dry colors (Wadsworth Bros. & Howland) use carmine No. 40, ultramarine blue and chrome yellow, light, singly and in combination ; but chrome yellow, dark, 28 . should be used for orange and in all colors into which orange enters. (21) Suggested problems : 1. Use the primaries in a simple design, keeping the proper areas. 2. Use the secondaries in a simple design, keeping the proper areas. 3. Use the tertiaries in a simple design, keeping the proper areas. 4. 5, 6. Use the primaries and their complementary secondaries in simple designs, keeping the proper areas. 7, 8, 9. Use the secondaries and their complementary tertiaries in simple designs, keeping the proper areas. 10. Place dark ornament on light ground. 11. Place light ornament on dark ground. 12. Illustrate simple harmony. 13. Illustrate compound harmony. 14. Illustrate full contrast. 15. Illustrate subdued contrast. 16. Illustrate analogy of hue by placing an ornament (some primary) upon gray ground. 17. (a) Use a primary (as red) with its complementaiy in proper areas. (1 b ) Use the same area of the primary, with a tint of the complementary. (i c ) Use same tint and area of the complementary with proper area of the primary. MATERIALS. Materials Required for Elemetary Work. 1. Drawing board. Purchase this at the University shop. Nothing but the “free- hand” size can be used. 2. Pencils. Faber’s H, and HHH H H. Dixon’s M B. Dixon’s Sketching Crayon. Sharpen the pencils to long round points and keep them always ready for use. 3. Paper. One sheet Whatman’s medium weight water-color paper (Im- perial 22 x 30" size), one sheet French charcoal paper, three sheets Whatman’s cold pressed drawing paper (Imperial size). Also purchase ten cents’ worth of blank newspaper at the printing office. 4. One half dozen thumb tacks. 5. One soft eraser. 6. Bottle of Le Page’s glue. 7. Small sponge. 8. Foot rule. 9. Bottle of fixatif. 10. Atomizer. 11. Bowl to hold about one pint of water. 12. One half pan each of warm sepia, Prussian blue and gamboge. If the student intends to devote more than two terms to the work a water-color box should be purchased. 13. Brush. The brush should be large and of good quality. Students should purchase brushes with the understanding that they can be returned if not suitable. 30 14- One Standard Blank Drawing Book, No i. 15 Two mounting boards. The proper size can be obtained only at the University Blue-print room. 16. Blotting paper. This should be white and cut into pieces about 2x4 inches. Additional Materials Required for Advanced Work. For the light and shade class : One large paper stump (about one-half inch in diameter). Charcoal (the sticks triangular in section are the best). Chamois skin (thick, about 6x8"). One-half dozen sheets French charcoal paper (white, 1 9x24"). Water-color class : Paper stretcher (this can be purchased only at the shop). Colors: Prussian blue, new blue or cobalt, gamboge, cadmium yellow (pale), carmine, brown madder, burnt sienna, raw sienna, indigo, light red, olive green, vermilion, yellow ochre, rose madder, ivory black, warm sepia. Oil-color class: Palette (oiled mahogany, 14 inch, rectangular). Palette knife (5 inch). Oil cup (one that can be fastened to the palette). Linseed oil. Turpentine. Assorted brushes. Winsor and Newton’s oil colors in tubes: Indigo, brown pink, burnt sienna, raw sienna, burnt umber, raw umber, chrome yellow, ivory black, light red, permanent blue, yellow ochre, vermilion, cadmium orange, white (Devoe’s large tube). Box for oil colors to hold 14-inch palette. Class in pen etching: “Architectural Rendering in Pen and Ink,” by D. A. Gregg, Parts I, II, III, IY. One sheet best quality Bristol board. Pens, etc., as required in Part 1. Class in architectural rendering in wash : “Rendering in Sepia,” by Frank F. Frederick. Colors, brushes, etc., used in water-color work. 3i Modelling class. Board. Modelling tools (assorted). Rubber cloth (about 4 feet square), also several pieces of old of cloth the same size. Sweet oil. Chisels 1 inch, % inch. I t UNIVERSITY OF ILLINOIS-URBANA 3 0112 002573621