. Theory and practice of teaching art . best for the purposes desired,but they are not absolutely necessary. The exercises in linedrawing and in spacing could be executed with pencil, charcoal,crayon, or even oil paint brushes. The principles can be taughtin any medium. TracingAs the effort is always toward the finer qualities, tracing ispractised for the improvement of the spacings, or refinement ofthe lines. For this purpose, and for line work with the brush,Japanese paper is the best. It is sized, is very strong, soft incolor, and transparent. Mere mechanical tracing has no value,but tracin
. Theory and practice of teaching art . best for the purposes desired,but they are not absolutely necessary. The exercises in linedrawing and in spacing could be executed with pencil, charcoal,crayon, or even oil paint brushes. The principles can be taughtin any medium. TracingAs the effort is always toward the finer qualities, tracing ispractised for the improvement of the spacings, or refinement ofthe lines. For this purpose, and for line work with the brush,Japanese paper is the best. It is sized, is very strong, soft incolor, and transparent. Mere mechanical tracing has no value,but tracing for improvement has a distinct art-use. Historic ExamplesSuch simple spacing of straight lines suggests at once thearchitectural moulding and its kindred. The best examples,Greek, Gothic, and Renaissance, can be shown and their excel-lence pointed out. 10 Theory and Practice of Teaching Art ApplicationIf desirable at this stage the lesson can be applied directly todesigns for mouldings, line borders for book covers, framing,etc. o a. CcnT-^ry FIG. 4.—SPACING OF RECTANGULAR PANELS. FREE BRUSH-WORK. Rectangular Spacing The first problem involved a very simple synthesis. The nextshould include the first with an added step. Rectangular panel-ling, the arrangement of enclosed spaces, seems to follownaturally. The square and circle being invariable, compositionis possible only with the interior lines. But the rectangle isinfinitely variable; its proportion is a matter of choice; hencerectangular spacing lays a double burden upon the designer,boundary lines and interior lines. Suppose the Door is chosen as a subject. Its panelling affordsan opportunity for spacing. (Fig. 4) After the exercise inoriginal arrangements of rectangular panels the student may: 1. Draw an actual door in perspective. (Fig. 5) 2. Make a working drawing from a free-hand design, adapt-ing it to the requirements of construction. (Fig. 7) Another good subject is a box with panels for top, front, andends; with
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Keywords: ., boo, bookcentury1900, bookdecade1910, booksubjectart, bookyear1912
