curving direction
until each can be made in a second or two.

[Illustration: Plate 4]

No. 5. Place the chalk in a vertical position upon the board, draw
downward, gradually twisting the chalk to a horizontal position.

No. 6. Place the chalk horizontally and draw downward, twisting the chalk
to a vertical position.

No. 7. These spots are No. 5 and No. 6 combined. Try them with a short,
quick motion of the chalk.

No. 8. Combine two spots similar to the first at No. 7. The leaf in
outline requires several lines while the drawing representing the surface
was made with two strokes and one line for the midrib and stem. Try
several leaves of different shapes using the stroke suggested on this
plate. The pond lily is drawn with this same stroke reduced.

No. 9. Make a scale from left to right by pressure upon one end of the
chalk, while giving a vertical stroke. Try this in various directions. Use
two parallel strokes and with a bit of charcoal for accent try the trunk
of the birch tree.

No. 10. Use No. 4, Plate 1, in a series of lights and darks. This is made
by quick pressure at short intervals without removing the chalk from the
board. I have seen this used by science teachers to illustrate vibrations
or wave lengths; we shall use it later for pictorial purposes.

No. 11. Place the chalk upon the board in a horizontal position, move
rapidly back and forth, gradually shortening the stroke, and repeat this
exercise in various positions and directions.

No. 12. This drawing was made by the use of No. 11. Draw first a few lines
suggesting the growth of the fern, then add the strokes letting the fern
dictate the direction, accenting the lighter values by a stronger
pressure.

Draw the upper leaf on Plate 4 by the use of stroke No. 6, hardly touching
the board for the gray tones, then adding the white tones with a stronger
pressure upon the chalk.

Are we sure that we have not tried to make drawing an end rather than a
means? Let us remember that there must be a motive prompting the work, an
interest or experience back of the drawing which demands expression. In
the color work, design, and manual work, the influence of this thought has
already been felt. The object needed in the schoolroom or for the
individual use of the pupil is the object designed and made. With this new
motive, there comes a growing appreciation and interest on the part of the
child.

The blackboard drawing should be governed by the sa