Question: After getting permission from the Jones family, what did Grant Wool sketch?
About the article "American Gothic", section "Creation".

Candidate passages:
In August 1930, Grant Wood, an American painter with European training, was driven around Eldon, Iowa by a young painter from Eldon, John Sharp, looking for inspiration.
Wood noticed the Dibble House, a small white house built in the Carpenter Gothic architectural style.
Sharp's brother suggested in 1973 that it was on this drive that Wood first sketched the house on the back of an envelope.
Wood's earliest biographer, Darrell Garwood, noted that Wood "thought it a form of borrowed pretentiousness, a structural absurdity, to put a Gothic-style window in such a flimsy frame house."
At the time, Wood classified it as one of the "cardboardy frame houses on Iowa farms" and considered it "very paintable".
After obtaining permission from the Jones family, the house's owners, Wood made a sketch the next day in oil on paperboard from the house's front yard.
This sketch displayed a steeper roof and a longer window with a more pronounced ogive than on the actual house, features which eventually adorned the final work.
Wood decided to paint the house along with "the kind of people I fancied should live in that house."
He recruited his sister Nan (1899–1990) to model the woman, dressing her in a colonial print apron mimicking 19th-century Americana.
The man is modeled on Wood's dentist, Dr. Byron McKeeby (1867–1950) from Cedar Rapids, Iowa.
The three-pronged hay fork is echoed in the stitching of the man's overalls, the Gothic window of the house, and the structure of the man's face.
However, Wood did not add figures to his sketch until he returned to his studio in Cedar Rapids.
He would not return to Eldon again before his death in 1942, although he did request a photograph of the home to complete his painting.
During the summer of 1930, Edward Rowan, a young gallery director from Cedar Rapids, a large city approximately to the northwest of Eldon, attempted to promote fine arts in the rural town by opening a gallery and library and leading art classes in Eldon.
Rowan's attempts were met with success—the "Eldon Forum" called the exhibitions "an unusual treat."
This, along with an indebtedness Wood felt toward Rowan, drew the painter (himself a native of Anamosa, Iowa) to come to Eldon.
In August, Wood was driven around the town by a young painter from Eldon, John Sharp, looking for inspiration.
Sharp's brother suggested in 1973 that it was on this drive that Wood first sketched the house on the back of an envelope.
Wood did not immediately regard the house as beautiful, but he did find it captivating.
His earliest biographer, Darrell Garwood, noted that Wood "thought it a form of borrowed pretentiousness, a structural absurdity, to put a Gothic-style window in such a flimsy frame house."
At the time, Wood classified it as one of the "cardboardy frame houses on Iowa farms" and considered it "very paintable."
After obtaining the permission of the Jones family, Wood made a sketch the next day in oil on paperboard from the house's front yard.
This sketch displayed a steeper roof and a longer window with a more pronounced ogive than the actual house, features which eventually adorned the final work; however, Wood did not add figures to the sketch until he returned to Cedar Rapids.
He would not return to Eldon again before his death in 1942, although he did request a photograph of the home to complete his painting. 
Wild sheep were more hairy than woolly.
Although sheep were domesticated nine to eleven thousand years ago, archaeological evidence from statuary found at sites in Iran suggests that selection for woolly sheep may have begun around 6000 BC, with the earliest woven wool garments having only been dated to two to three thousand years later.
Woolly-sheep were introduced into Europe from the Near East in the early part of the 4th millennium BC.
The oldest known European wool textile, ca.
1500 BC, was preserved in a Danish bog.
Prior to invention of shears—probably in the Iron Age—the wool was plucked out by hand or by bronze combs.
In Roman times, wool, linen, and leather clothed the European population; the cotton of India was a curiosity that only naturalists had heard of; and silk, imported along the Silk Road from China, was an extravagant luxury.
Pliny the Elder records in his Natural History that the reputation for producing the finest wool was enjoyed by Tarentum, where selective breeding had produced sheep with a superior fleece, but which required special care.
In medieval times, as trade connections expanded, the Champagne fairs revolved around the production of wool cloth in small centers such as Provins.
The network developed by the annual fairs meant that the woolens of Provins might find their way to Naples, Sicily, Cyprus, Majorca, Spain, and even Constantinople.
The wool trade developed into serious business, a generator of capital.
In the 13th century, the wool trade became the economic engine of the Low Countries and central Italy.
By the end of the 14th century, Italy predominated, though Italian production turned to silk in the 16th century.
Both pre-industries, based on the export of English raw wool, were rivaled only by the 15th century sheepwalks of Castile and were a significant source of income to the English crown, which in 1275 had imposed an export tax on wool called the "Great Custom".
The importance of wool to the English economy can be seen in the fact that since the 14th century the presiding officer of the House of Lords has sat on the "Woolsack", a chair stuffed with wool.
Economies of scale were instituted in the Cistercian houses, which had accumulated great tracts of land during the 12th and early 13th centuries, when land prices were low and labor still scarce.
Raw wool was baled and shipped from North Sea ports to the textile cities of Flanders, notably Ypres and Ghent, where it was dyed and worked up as cloth.
At the time of the Black Death, English textile industries accounted for about 10% of English wool production; the English textile trade grew during the 15th century, to the point where export of wool was discouraged.
Over the centuries, various British laws controlled the wool trade or required the use of wool even in burials.
The smuggling of wool out of the country, known as owling, was at one time punishable by the cutting off of a hand.
After the Restoration, fine English woolens began to compete with silks in the international market, partly aided by the Navigation Acts; in 1699, the English crown forbade its American colonies to trade wool with anyone but England herself.
A great deal of the value of woolen textiles was in the dyeing and finishing of the woven product.
In each of the centers of the textile trade, the manufacturing process came to be subdivided into a collection of trades, overseen by an entrepreneur in a system called by the English the "putting-out" system, or "cottage industry", and the "Verlagssystem" by the Germans.
In this system of producing wool cloth, until recently perpetuated in the production of Harris tweeds, the entrepreneur provides the raw materials and an advance, the remainder being paid upon delivery of the product.
Written contracts bound the artisans to specified terms.
Fernand Braudel traces the appearance of the system in the 13th-century economic boom, quoting a document of 1275.
The system effectively bypassed the guilds' restrictions.
Before the flowering of the Renaissance, the Medici and other great banking houses of Florence had built their wealth and banking system on their textile industry based on wool, overseen by the Arte della Lana, the wool guild: wool textile interests guided Florentine policies.
Francesco Datini, the "merchant of Prato", established in 1383 an "Arte della Lana" for that small Tuscan city.
The sheepwalks of Castile shaped the landscape and the fortunes of the "meseta" that lies in the heart of the Iberian peninsula; in the 16th century, a unified Spain allowed export of Merino lambs only with royal permission.
The German wool market – based on sheep of Spanish origin – did not overtake British wool until comparatively late.
The Industrial Revolution introduced mass production technology into wool and wool cloth manufacturing.
Australia's colonial economy was based on sheep raising, and the Australian wool trade eventually overtook that of the Germans by 1845, furnishing wool for Bradford, which developed as the heart of industrialized woolens production.
Due to decreasing demand with increased use of synthetic fibers, wool production is much less than what it was in the past.
The collapse in the price of wool began in late 1966 with a 40% drop; with occasional interruptions, the price has tended down.
The result has been sharply reduced production and movement of resources into production of other commodities, in the case of sheep growers, to production of meat.
Superwash wool (or washable wool) technology first appeared in the early 1970s to produce wool that has been specially treated so it is machine washable and may be tumble-dried.
This wool is produced using an acid bath that removes the "scales" from the fiber, or by coating the fiber with a polymer that prevents the scales from attaching to each other and causing shrinkage.
This process results in a fiber that holds longevity and durability over synthetic materials, while retaining its shape.
In December 2004, a bale of the world's finest wool, averaging 11.8 microns, sold for $3,000 per kilogram at auction in Melbourne, Victoria.
This fleece wool tested with an average yield of 74.5%, 68 mm long, and had 40 newtons per kilotex strength.
The result was A$279,000 for the bale.
The finest bale of wool ever auctioned was sold for a seasonal record of 269,000 cents per kilo during June 2008.
This bale was produced by the Hillcreston Pinehill Partnership and measured 11.6 microns, 72.1% yield and had a 43 newtons per kilotex strength measurement.
The bale realized $247,480 and was exported to India.
In 2007, a new wool suit was developed and sold in Japan that can be washed in the shower, and which dries off ready to wear within hours with no ironing required.
The suit was developed using Australian Merino wool, and it enables woven products made from wool, such as suits, trousers, and skirts, to be cleaned using a domestic shower at home.
In December 2006, the General Assembly of the United Nations proclaimed 2009 to be the International Year of Natural Fibres, so as to raise the profile of wool and other natural fibers. 
Grant arrives in Albert Square with his brother Phil in February 1990, as the owners of the local garage, the Arches.
After a brief fling with Julie Cooper (Louise Plowright) and getting involved in various dodgy deals, Grant starts wooing the local barmaid, Sharon Watts (Letitia Dean).
Sharon is attracted to his machismo, and soon their flirting progresses into a relationship.
Fiercely protective of his girlfriend, most of Grant's initial problems in the Square revolve around his over-possessive nature and jealousy.
He puts the landlord of The Queen Victoria public house, Eddie Royle (Michael Melia), in hospital after he makes a pass at Sharon; he later becomes prime suspect for Royle's murder in 1991, but Nick Cotton (John Altman) eventually owns up to the crime.
In the wake of this, Grant decides to re-enlist in the army, but is rejected when he fails their psychiatric tests.
Despite his hot-headed tendencies, Sharon sees a different side to Grant, and when he proposes marriage to her, she accepts on the condition that he buys her her childhood home, the Queen Vic pub, which he does.
Grant marries Sharon in December 1991 and together they run The Queen Victoria.
Their marriage is stormy and punctuated with violent rows and fights.
Grant is desperate for a child, and when he discovers Sharon is still taking contraception, he smashes up the pub and then disappears.
In his absence, Sharon is comforted by Phil and they begin an affair, although this comes to an abrupt end when Grant returns and promises to change his ways.
He cannot live up to his promises however, and on Sharon's birthday in 1992, Grant sets fire to the Queen Vic to generate insurance money to pay off debts.
He does not check to see if Sharon is out of the way, and she and her dog Roly nearly die in the blaze.
The insurance money is insufficient, and Sharon reacts with fury when she discovers what Grant has done.
She leaves Grant for a while, and when she return attempts to seize control of the Vic; Grant turns violent, assaults Sharon and her friend Michelle Fowler (Susan Tully) and is imprisoned on remand.
While he is in prison, Sharon and Phil rekindle their affair, but neither can confess to Grant, and it ends when he is released from prison.
Sharon and Grant patch up their relationship; however, in 1994, Grant discovers a tape on which Sharon talks about her affair with Phil, and plays it to a packed pub at Phil and Kathy Beale's (Gillian Taylforth) engagement party.
Grant batters Phil in revenge, leaving him with a ruptured spleen, and bullies Sharon until she fled to America.
She returns briefly in 1995 to enact revenge, making Grant realise that he is still in love with her, he chooses to be with Sharon over his family.
Sharon is ready to turn him down in front of a packed pub and his family.
However, in the end, she cannot go through with it, and stops him from publicly proposing before he humiliates himself.
She then confesses to him that she still loves him, before moving back to America, leaving Grant shattered.
Sharon's best friend Michelle Fowler (Susan Tully) has a volatile relationship with Grant but, following Sharon's exit, falls pregnant following a one-night stand with him and then flees to the States without telling Grant that he is to be a father.
Grant never finds out the baby is his.
Grant goes on to wed a pregnant Tiffany Raymond (Martine McCutcheon) in 1996, although it is unclear whether he or Tiffany's ex-partner Tony (Mark Homer) is the father.
When Grant discovers this, he is incensed and throws Tiffany out.
He begins a relationship with Lorraine Wicks (Jacqueline Leonard), until a paternity test reveals that Grant is the father of his baby, Courtney (Carissa and Josephine O'Meara).
He reunites with Tiffany to be near his daughter, but by this time his marriage has deteriorated.
When Tiffany discovers that Grant has had an affair with her mother Louise Raymond (Carol Harrison), she plans to flee to Spain with Courtney on New Year's Eve 1998, but Grant traces her and retrieves Courtney.
Tiffany attempts to snatch Courtney but is hit by a car driven by Frank Butcher (Mike Reid), Grant's stepfather, and dies as the clock struck midnight.
Grant tries to move on by dating barmaid Nina Harris (Troy Titus-Adams) for a while but dumps her after her past as a prostitute is uncovered.
Grant and brother Phil plan to cheat some gangsters to pay off a debt in October 1999 by intercepting an drug deal and stealing a large amount of cash.
Before doing the job with Phil, Grant punches Steve Owen (Martin Kemp).
However, the job goes awry when Phil finds out that Grant has slept with his ex-wife Kathy before doing the job.
He confronts Grant after the job and Grant admits he did it in revenge for Phil sleeping with Sharon.
Phil pulls out a gun, and shoots the steering wheel in their getaway car, causing Grant to plunge the car into the River Thames.
Phil is rescued but Grant is not found and presumed dead.
A week later it is revealed that Grant is alive.
He departed with Courtney and the stolen money to Rio de Janeiro. 
He was asked to become part of the 1969 cast of "Hee Haw", and created a bumbling personality, often slurring his way through delivery, messing up jokes and forgetting lines.
One of his most famous blunders was from "The Cornfield" sketch...
Junior: "What did the judge lock up old Stan Hawkins fer?"
Roy Clark: "Bigotry.
He had three wives!"
Junior: "That's not bigotry, that's trig...trem...tri..." The word he continually slipped on was "trigonometry".
In this way, Samples did much to contribute to the post-"Laugh In" surrealist comedy of the show, with its strange combination of absurdist kitsch and down-home non sequiturs.
He was known for being one of the foursome (the others were Gordie Tapp; Grandpa Jones and Lulu Roman) that made up the eponymous family of the skit called "The Culhanes of Cornfield County".