The American Girl's Handy Book
Page 15
Fig. 137
Fig. 138
The telephone is now ready for use; and if the distance is short, the line may be stretched taut from point to point. But should the space be great, supports will be needed and loops must be made of the twine and fastened at intervals on trees, corners of the houses, or any available points, with the connecting cord passed through these loops (Fig. 139), which act as supports. Keep the course of the waxed string as straight as possible, and, as far as practicable, avoid sharp angles. This style of telephone we know, from personal experience, works perfectly at the distance of fifty yards, and doubtless it will do as well when the line is stretched much farther. Be particular, in selecting the tin baking powder boxes, to have them round and even; if they are old and battered the experiment may not prove satisfactory. We find the telephone very useful and convenient, besides affording any amount of amusement and fun; with its aid we converse with acquaintances, even though they be at a distance. The friendly little instrument carries the voice all along the slender line to the very ears of our best friend, and we can chat away as freely and almost as easily as if side by side. What a comfort to be able, when seated in your own room, to listen to the voice of some companion, living perhaps blocks away, and it is such a pleasure, too, to have questions answered immediately, which is impossible in communications made by letter. Nor is this a pleasure to be enjoyed at rare intervals, for as long as the telephone lasts it can be used at any time for a short or long talk, as one may feel inclined. The consultations, the plans, the sport, and merriment to be had with the telephone can scarcely be appreciated by one who is not the happy possessor of such an instrument.
Fig. 139
Listening.
When the weather will not permit of a walk or a visit, the telephone brings us, if not face to face, at least within speaking distance of those to whom we desire to talk.
There are many other easy methods of making telephones. They can be manufactured as described without waxing the string, or the boxes may be used unaltered, in which case the tin bottoms serve as drums, and the holes for the string are made in the centre of each by driving a small tack through. With these instruments the voice cannot be sent a great distance, but when only a short line is needed they succeed very well.
More complicated telephones are made with the drums of bladder and the line of soft, flexible wire. Though good and serviceable, they are more difficult to make and require more time and labor.
The two beef-bladders used for such a telephone must first be blown up, tied, and left about thirty hours, or until they are stretched, but not dried. When in proper condition, cut off the necks and portion of the ends, then soak them in warm water, and they will become very pliable and light in color. Having previously prepared two square pieces of board by very carefully cutting out a perfect circle in the centre of each, about as large as a medium-sized pie-pan or a tea-plate, place the bladders smoothly but not tightly over the openings, allowing the outside of the bladder to come on the bottom, and fasten it all around the circle, a little distance from the edge, with tacks so driven in that they may be easily removed.
Speaking.
Try the drums with your finger; if they stretch evenly they are correct, if they wrinkle, change them until they stretch perfectly smooth. Then tack a piece of firm tape securely around the edge of the circle, and cut off the bladder reaching beyond the tape. Next fasten four feet of soft, flexible wire to a large-sized gutta-percha button by threading it through the two opposite holes in the centre of the button; pass the other end of the wire through the middle of the bladder, bringing the button flat against its surface.
After attaching a weight of about seven pounds to the end of the wire, place the drum in the sun until perfectly dry. Proceed with the other in the same manner, and when both are well dried, fasten one on each end of the line and attach the drum-wires to the principal wire by loops; then stretch it firm and tight. This telephone will also need loops for supports, which should be of wire. When the instrument is carefully and properly made it will carry the voice three or four miles or more, giving every word and tone distinctly and clearly.
CHAPTER XXI.
HOW TO DRAW.*
WOULD you like to learn to draw, to sketch from nature? Don’t you think that it would be delightful to be able to take out your pencils and paper and copy some scene you want to remember, or produce a likeness of any bird or animal which strikes your fancy?
Many will say, “I’d like it very well, but I can’t draw.”
You can write, can hold a pencil, and trace lines upon the paper; and if you can do this, you can draw a little. A girl who can learn anything can learn to draw if she will give the same attention to it that she gives to other things.
Fig. 140
Now we are not going to talk about copying pictures which someone else has already drawn, for there is not much satisfaction in making imitations of other people’s work; it is much more gratifying to make the original drawings ourselves; but to do this we need some direction.
The reason it is easier to copy a picture than to draw the real object is because the lines to be copied are all laid out on the flat surface of the picture; but to draw the object we must find out where to trace the lines for ourselves.
Fig. 141
For instance, suppose we are to draw a flower-pot and plant. If we have the picture before us, we can readily see where all the lines are placed upon the paper, but in viewing a real plant and pot we are apt to become confused in trying to discover the directions and proportions of the lines.
Fig. 142
Therefore we must learn to see things as they appear, not as they really are. This may seem strange to you, because one is apt to think that a thing must appear as it is; but let us look into the matter.
We will take a square box (Fig. 140). Now, we know that all the sides are the same size, that the top is as large as the side, and that one side is as large as another; but if you try to draw it so, you will find it impossible, because, although you know that the top and sides are the same size as the front, they do not look so, and you draw things as they look, not as they really are.
Fig. 143
What would our cube look like if we tried to make the sides K and H just like the side I? Why, like Fig. 141. Don’t you see that would be no box at all?
Take another example. We all know that a man’s leg is longer than his arm, but it doesn’t always appear so. Measure the arms and legs of Fig. 142, and you will see by actual measurement the arms are longer than the legs, and yet it looks right, because the legs are projected toward you; in other words, the legs are fore shortened.
The great secret of drawing from nature is to train the eye to see a real object just like a picture.
Now let us return to our flower-pot again. We will suppose we are drawing from a real flower-pot and plant. We determine how large we will make our sketch, and begin operations by drawing a vertical line (a straight upright line). Along this line we will mark out the proportions of the plant and pot, as in Fig. 143.
We may easily discover that the plant is longer than the pot. This can be done by holding the pencil upright before the eye at arm’s length, as in Fig. 144, so that it will cover the pot, and measuring by the thumb the height of the pot, then raising the arm so as to cover the plant, and comparing the measurement of the pot with the plant. The lines drawn from the eye Fig. 144) show how the pencil makes the measurement on the object.
After settling the question of the height of the flower-pot and plant, we will mark the measurements on the line. And now we will draw in the pot, leaving the straight line through its centre.
Fig. 144
On observing the plant we will see that it is not exactly straight, and here again the straight line will be of assistance.
By holding up our pencil, which represents the straight line, we will discover that the main stem of the plant leans considerably to the left. Guided by the line, we can get the curve of the s
tem about right. Now we sketch the stem. Along the straight line we again measure the distance from the top of each leaf and flower to the pot, as in Fig. 145. We can see several leaves, each reaching a certain height. Observing the same plan of measurement, we find that the top of the lowest leaf is about the same height from the pot as the height of the pot itself, and again from the top of the lowest leaf to the top of the plant measures the same distance.
By drawing another vertical line just touching the right side of the pot, we find that it touches the extreme edge of the leaf. Thus we find the exact situation of the leaf. By the same method we find the right places for the other leaves and flowers, and after we know just where they belong, we draw them in, and find that we have produced a very creditable outline from nature.
Fig. 145
We need not confine ourselves to one or two guiding lines in sketching an object; in fact, we may use as many straight lines as will help us to get the correct proportions; not only vertical and horizontal lines, but slanting lines will also assist us in most cases.
The sketch of a dog (Fig. 146) will give an idea of the way to employ all lines necessary in sketching from nature. A few words will be all that is necessary to explain this illustration.
There lies the dog on the floor, and we seat ourselves at a little distance from it with pencil and paper. We will start off with a horizontal line (A); then we can form some idea as to whether the little dog lies along a straight line, or in case the bottom line slants, how much it slants. Then draw the vertical line (B E). Now suppose we hold our pencil upright, in such a position as to touch the back of the knee-joint of the foreleg, we will find that it passes through the middle of the dog’s back, as represented by the line (B E); so we have found the places for these parts.
Fig. 146
Another horizontal line (C D) drawn above the first will touch just over the right eye, pass through the middle of the left ear, through the middle of the neck, cut off the foreleg, and run along the top of the two hind legs, passing through the knee of the left one. This will show us that the top of the right eye, the ear, and the top of both hindlegs are on a line. It will also help us to get the proportions above and below the line; then by drawing a line from D to the point F on the horizontal line A, we find that the lower edges of the left hind and fore legs are on the same line, which, if extended a little farther down, will touch the edge of the dog’s mouth. With these lines to guide us we cannot go far astray in our proportions.
Fig. 147
One of the chief difficulties in following this method of drawing from nature is to hold our measuring-stick exactly vertical or horizontal. This difficulty can be overcome by providing yourself with a T-square (Fig. 147) and attaching to it, at the point P, a string with a weight tied on the other end so that it will hang plumb. By using this we can be sure whether we hold it straight or not, for in case we tip it too much on one side or the other the string will swerve from the middle of the upright stick. Of course, whenever we hold the T-square perfectly straight, the string will fall straight down the middle of the upright, and the top of the T will then give us a true horizontal line. A little thought and practice will lead you to thoroughly understand this method, and when you really understand it you will have an unerring guide to assist you. Of course, as the eye and hand become more trained, with practice and observation, the work will become easier, and you will not need the T-square.
In beginning the practice of drawing from nature, we had better confine our first efforts to things that will stand still, for without a practised hand it will be almost impossible to sketch a restless subject; but if we attempt to do so, we should follow the methods before taught as nearly as possible.
Now, suppose we step out of doors in search of something to sketch. The first moving object our eyes rest upon is a goose, and we decide to use him as a model.
But he is so restless, will not keep still an instant. First we have a front view, then a side view, and again he turns his back upon us. If we really must have his picture, the only way is to catch him and tie him up.
Yet even now he is a difficult subject, twisting and turning, and bobbing his head about. Determined on sketching him, however, we observe the position in which he remains the longest time, or assumes oftenest, and begin our work.
We first note the general proportions. Is his body as thick as it is long? Is his neck as long as his body? Are his legs nearest the head or tail? Is the head as long as the neck? What part reaches the highest, or what part the lowest? We hastily but carefully consider these questions and determine in our own mind the answers, for we must get an idea of the proportions before we begin our sketch.
Now we draw a horizontal line along our paper, and then hold up our pencil horizontally, so that it will answer for a straight line drawn across the body of the real goose (Fig. 148). This will represent the horizontal line on the paper. Noticing then the directions the outlines of the goose take from the horizontal line (represented by the pencil), we sketch them in on the paper, remembering that one of the most important things is to get the right directions of the lines.
Fig. 148
Observe that in Fig. 149 the line G is directed to too high a point, and makes the body too thick and out of proportion.
Fig. 149
Fig. 150
In sketching it is best to make all lines straight instead of curves, for in this way we are more likely to get the right directions. Our first rough sketch of the goose ought to have something of the appearance of Fig. 150, and as we work it up more carefully it will become as nicely rounded as we could desire.
One of the most common faults a beginner is apt to commit is to try to do too much, either by choosing too great a subject, such as a large landscape, or by putting too many little things into the composition. Take care of the large things, and the little things will take care of themselves.
If our subject be a clump of trees at some distance, we should not attempt to draw in separate leaves, but endeavor to get the true shape of the tree, simply indicating the leaves by a few lines. Neither must we attempt, in our first sketches, to put in all the shadows we see; the strong principal ones are all that are necessary. A background of hills and trees should be merely suggested by a few lines, because the light striking upon them gives a very light appearance.
Draw as simply as possible. Ten pictures are spoiled by putting in too much work, where one is spoiled by too little.
Don’t be discouraged. Every effort will show improvement, if you really put your mind and heart in your work. As for
Materials,
a sheet of drawing-paper, a No. 2 lead-pencil, and a piece of soft rubber are all you really need to commence with. Later it will be well to have a drawing-pad and several more pencils.
* The material for this chapter is from an article written by Professor Frank Beard for Harper’s Young People. By permission of Harper & Brothers.
CHAPTER XXII.
HOW TO PAINT IN WATER-COLORS.
THERE is a certain charm in water-color painting—a charm distinctly its own—which lies, as Penley says, “in the beauty and truthfulness of its aerial tones.” Without this quality a water-color, as a water-color, is a failure.
This transparency of effect does not depend alone upon the manner of painting or the colors employed, but much rests with the paper we use. In the days when our mothers and grandmothers were taught painting at school, the finest, smoothest cardboard was thought necessary; but we have since learned that the flat, smooth paper tends decidedly toward producing a flat, smooth effect in the picture painted upon it, while the rough, uneven surface of the paper now in use helps to produce depth and atmosphere. Therefore it is always best to have rough paper to paint upon. We give below the
Materials for Water-Color Painting.
1. A block of rough drawing or water-color paper.
It is better to buy it in blocks than by the sheet, as it is much more easily handled, and is always ready for use.
2. Brushes. The best brushes are made of sable, and although costing more to begin with, it is really more economical to purchase them than to choose the less expensive camel’s-hair; for the sable are by far the most satisfactory, and will last much longer. Three or four brushes are sufficient. As Devoe & Co. number them, they should range between No. 3, which is small enough for ordinary painting, and No. 19, for clouds, backgrounds, etc.
3. Colors. A tin sketching-box of moist colors, which also contains a palette, is very useful, but the colors can be bought separately in tubes or pans.
Water-color painting seems by its qualities to be especially adapted to flowers and landscapes, and as this is to be a chapter, not a book, on water-colors, we will confine ourselves to the principal points to be observed in these two departments, and will commence with the