LEAFLET XXX.
ONE WAY OF DRAWING TREES IN THEIR WINTER ASPECT.[41]
By C. W. FURLONG.
The few suggestions which are set forth in these pages are based upon two assumptions:—first, that the teacher has some knowledge of the most salient principles of elementary perspective; and second, that she has a love for all things beautiful. It is feasible to deal here not to any extent with art in either its abstract or its concrete form, but only with drawing.
Drawing, in its simplest analysis, is the ability to record objects as they appear to the normal eye.
Art is more complicated. It includes many elements, a few of which are composition, expression of movement, and action. The very thought, feeling, and refinement of the artist must be expressed in his work. He must tell not only what he sees, but also what he feels. He interprets nature through his own moods.
There are no outlines in nature. The boundaries, shapes, and character of various forms are determined by the difference of their color values, and the contrasts of light and shade. Yet an outline drawing is the simplest means of representing form and proportion. Although inadequate in many respects, this somewhat conventional rendering is important to the beginner, for it is necessary that the child be taught to observe forms and proportions correctly; and these impressions may be recorded most simply and definitely by outline drawings. Michael Angelo emphasized its importance in these words: "The science of drawing or of outline is the essence of painting and all the fine arts, and the root of all the sciences."
To a great extent, one may show in an outline drawing the character and texture of surfaces. Our main object should be to train the boys and girls to observe in order to acquire a correctness of perception, for "education amongst us consists too much in telling, not enough in training."