Willmar tribune. [volume] (Willmar, Minn.) 1895-1931, 1906-03-21

ing around the edge by quicker and
easier path to the point desired.
To-Day's Illustrations. "
s. In the drst illustr alton three interiors
are given, two without considering
perspective, and one, the cellar and bar
rels. showing the tops of the barrels and
steps. AS simple as the drawing is, the
explanation OF how to put the steps in
perspective is beyond the child's pa
thence or interest. So much good and
interesting material is available that it
Is not necessary to cope with these diff
hculttes for the sake of :, surrounding
them.
The other drawings in the same illus.
tration show. how ycomplicat-
ed forms maybe constructed with the
same simple squares, parallelograms
and rounds which have already been
used. Their component forms have not
been given, but study of these will
serve for the easy management of stores,
barns, houses, etc. 80
The picture Of the lake shore, while
made up Of simple forms, is more conf
pick in the combination Of Its. given
symbols. The teacher should give a
number of combinations and vary tbs
proportions, as we'll as reverse the d.
rection Of the lines, composing it in tall
narrow panels and In long low ones,
making the lake and bluffs on the right
instead Of the left. The child should at
all times be made to feel the flexibility
of the material forms.
The winter night with the cabin in
the woods is given with colored forms,
the shade being black, half tone and
white. This will suggest other subjects
OF its kind where similar treatment can
be used. Reference may be made to the
article In which color proportion and
shading were spoken of. It is suggested
that the same subject be treated. giving
the outline 4 the forms more character
.accentuation, especially the pine trees.
Let the introduction Of accent be made
by slight degrees, SO that the child may
not lose sight Of the simple structural
form on which it is building the accented
form.
Majority Learn by Imitation.
It has been observed in the develop
ment Of the class how the child of artis-
tic instincts has sought by all the means
at its disposal to add beauty to it's work
how it instinctively has felt proper
tons, color or form; how the mere line
by which it drew has had more life AMI
inspiration, though it were only the out
line of a cube, than the line of the child
not similarly endowed. There is no way
to make the inartistic nature thus ex-
press itself, no way OF pointing out to It
the subtle difference. For this lack OF
artistic instinctsth eiseonly
only the slow process of observation and
requirement by imitation. These chill.
dren cannot profit by suggestion, fo,
they have not the ability to use sugges.
ton. They will always use the mechan.
ical forms in the most mechanical way
and the teacher cannot expect that the
accented line or the accented form o,
questions Of proportion OF color are 70,
tQeAE appreciated use.
They will appeal to them more forcibly
after the other children more artistically
inclined have made use of them. The
teacher must recognize in SUGGESTING
any deviation from the plain form that
intelligent appreciation may be expect
ed from only part of the class.
While the school-teacher has been adj
dressed more than the parent through
out these articles, it has been supposed
that the parent teaching by this method
at home would read between the lines
and see that, while the blackboard
might be absent and a classroom q.
children not among the complications,
the working method would be the same.
The advantage Of comparison Of draw
ings of a number of children would not
be available, but its place could be sup
piled by more drawings on the part OF
the child and more combinations pre-
pared by the parent. The idea that it
is not an infant artist but a child given
a picture writing ought to relieve the
parent of any too great responsibility as
to the effect of such work upon it's future
artistic training, if that is an end in
view for the child.
No preparation could better pave the
way to the exacting classrooms of the
art school than the freedom of express
sion which it is the effort of this meth
cd to give. When the young art student
meets the plaster cast it is not with the
question of what is the use of art school
training. but with a conviction of It's rea-
son and necessity.