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HOWrofefDRMIT-d^ BV E.G.LUTZ )
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READING fiOOM
i^ha^t to ciraiJ CXod h^nJ t^ JracJ it.
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DODD, MEAD & COMPANYFourth Aven'^^ a;i4 30th Streol
Publishers €>
G)pyright, 1913, by E. G. Lirtz
All rights reserved
Printed is U. S. A.
J lH-\
PROPERTY OF TH£:
INSTRUCTIONS
^szo^J^
In drawing from this book, copy the last diagram, or finished picture, of the particular series
before you.
The other diagrams— beginning with number one, then number two, and so on—show how to
go on with your drawing. They give the order in which to make the various strokes of the pencil
that together form the completed picture. The dotted lines indicate where light lines are drawn that-
help in construction—that is; getting proportions correctly, outlining the general form, or marking
details in their proper places. Do not press ftaid on' the pencil in making these construction lines,
then they can be erased afterwards. '.':'. :i''. * '
Use pencil compasses for the circles, or mark theto Off with buttons or disks.
7
A.-
1?1
\
AT EQUAL mVANCES LINE FROMON A CIRCLE ^ LEFT To RmT
THE NEXTIN THISWAY
AND 60 ON TO THE LASTi WITH PRACTISE THE AH) OF CIRCLE1 AND P01NT6 WILL NOT BE NEEDED
LigKtl\pu&e.
^y^ "^-^ ^Syrf
Cepyrisht.l9l3.t»C.6LuU
10
A 1 i 3. ^ 4. ^
\_\ \B 1
Cube-
Copyright, 1913. by E.Q.Lutz
11
Toy HorsG.
12
C=5
W—^Toys
Copyrisht.l9l3,byE.Glut2
—^^1 ^
13
1 i
Creefed C rV3kne
^... ^
14
IN BRJ&HT DAYl.l(}HTPUPILS OF EYESARE LIKE THIS
TKinjs to npiice ^^eIv drawing a cati face
SHAPE OFeARf) |^A FXWLONCtHAIRS Above
T1(^ER-LIKE .^MARKINGS ,.--" ^AROUNP-'''EYES
r^*4kv/.('Pt...
X EYES WIDE APART
EYES -PUPILSCHANCRE IN SIZEAND SHAPE
LONQWHI5KER5
MAKE AN OUTLINETHE SAME
16
B 1
^^^iryiry
yV\ioe^
Copyrl8MI9l3>C.G.Lutt
^^17
CUF^IOUS F^ISHeSAngel Fisb
IC^..rt<.l3«.t,tJi.U1,
18
Fi5he5 1 B
Co()ynslrt.l9l3.
by e.ftUtz
19
Cai+ail plan-t
20
CownsM.ISlJ
21
"Rabbit Runnin.^
<L> ^^^22
Ft&hbii:^
Copyright. 1913, by E.&.Lutz
23
24
1 3.
°6
Heiy And Clval^
Copyright. ISia. I» E.Q Utz
?^a#
25
4 . . S
^fe•C^
26
Cet)yright, I9l3,by E.6.Lutz
27
28
God^t
Coffrijihi l?l3t)yE&Lu^z
29
@(SD
Bulldog
(i) ® ! (§) '(§)VA-/(§)'
'®VA_/®
/
30
A 1
1̂'^O 'Q-:^
Cowrisht,l9l3,b^EQ.Uh Ir^31
FIRST DRAW A TRIANQ-LEWITH 5 IDES EQUAL ifor>se.
32
A /'
I »
Tui^l^ev'
Co|;yn^M.I9l3.byE.Q.Lutt
33
34
Copyright. l9l5.byE:.&.Lurz
35
^w2vllow5
36
Flyii^ Dirdfe
Copyright. l?l3.ty£,&Lutz
37
38
39
40
A I _^ 2. ^_^ 3
Parrakeet
and Parrot
Copyright. I9t3. by t & Lut ^
41
42
Y\Z\CCOOT\^
"Copyfi<;Kt,l9l3.byES.t.tftz
43
1. y^—N ^
44
45
FIRST DRAW /A
RHOMBOID /'
46
A I
Ci
Adjutant
ror\
Birds Tm<de
Copyri9ht.l913 byEQ.Utz>«^
47
48
Camel3 freight Line.
Dra.wiri<?S
A 1
B 1
Copyright. 1913, by E.&.Lutz
49
60
A 1
Face5 - Easily drawn
Copynjht.Bl^bytKfLutz
51
i 4
:
1
11 I'll '-**-^
i
t
52
Fi^upcj -Merv- DraWn witK straight lii>e5
5 h _1 ' P
-
—
CoiyTiJ».l9li.l)yE.^Ltt<I
53
iB 2, 3/ "\
4 r 's
C '.
- ^ ,ri ir^s
/\ [/1^u^
54
A 1
Copyr.<lht,19l5,bvE.&Lutz
56
DrollFace
56
A 1
\
DrAwintf F^ices
in. &t\ Amuf>in<5 Wav
Co|)yri«;Vt . I9li by E O.Luti
67
58
Profile.^ ' Ea5y te draw
Coprigm,l9l3byE&ttfft
59
Ligktly drawi|
lines like above
will help in
sketcKw
^ p̂r*e^^jo£v>£-
60
C(i[Yri<fM.\9l}.byE.QLuH _
«1
62
63
64
66
To draw iKey® fi^utes , fir^t
n\h,U^ circle^ a^ 5K«>Wrvi»> Ai. &£>!
R^Ufvd Pi d tire^
66
An odd
way of-
bejinuinf
B 1
Copyright, 1SI3 by E&U^z
87
A _L_ t^—.
A AIWI\
-^.. •^>i^^
B ^1
1 ^^
\
1
-1
I1 \!^^ 1
68
>r«TrMeiJ\/i7g an, Ovetl w^ithfhe. Confp^3S&S
DRAW TWO UNE5CROSSING ATRKtHT ANQLES
WITH AAS CEffTER. DESCRIBECIRCLE WITH DIAMETERWIDTH OF OVAL VMNTEP
FROM BanoC DRAWLINES THROUGHAND BEYOND D
FROM BandC asCENTERS DESCRIBEARCS TO EanoF
WITH DA5 CENTERCON N ECT E AND r BY ANARC COMPLETING OVAL
DRAWING OVALS AND ELLIPSES
Take note, first of all, of the difference between an ellipse and an oval.
The large plate explains the construction of an ellipse. It shows how to find the points where
the three pins are placed that determine the size of the looped string. Be sure and make measure-
ments accurately. Use a string that will not give, cotton thread is good for small ellipses, silk is too
elastic. A suggestion to amateur gardeners: make elliptical flower beds this way.
The caution in regard to accuracy also applies to the making of the oval.
70
How to mh,ke a/? Ellipse:
/ ROV<^Hiy SKETCH
IELLIPSE WANTED
\V^
\I
/
i<
DRAW TWO UNE5 CROSSINQ-AT RIQHTANQLES IN CENTER.
\
\
WITH CENTER C ANDDISTANCE BA AS
RADIU5 IKTERSECT^ LINEBD
AT POINTS OF INTERSECTIONT. AND F PLACE P/NS
C
\1
\\,
\
LOOP A STRIN<}AROUND ALLTHREE P/NS
TAKE OUT PINAT C ANDREPLACE WITH I// PENCIL POINT
71
n
SUGGESTIONS FOR WATER-COLOR PAINTING
-A Useful ListOF VVATER-COLORS
COLOR5' •WHAT -TO ASK_______^ rORIN-THE-5HOP;y^i;i.bw:-| YELLOW OCHRE
GAMBOGEH Br-igh-t
3| light red
CrimsomIcrimson lake
VANDYKE BROWNNEW BLUE ORULTRAMARINE
Oreiein
Mjim.M
HOOKER'S GREEN NoJ
PAYNE'6 qRAY
sS-«jppl^"\erv.t^r>j^—MAUVE
10:-7:^:7-^7—-^n O RAN QE
-
;UP{.ANG£:I VERMILION
Here is a good list of colors for practical work. Thefirst eight are enough for every purpose; but add, if you
wish, purple and orange. Moist colors in pans are best.
There are many different kinds of red, green, blue and
brown paints; and as you may be puzzled and not know
what to get, the names of the best hues of these particular
colors are also given. The most useful paints in this list
are yellow ochre, light red, Vandyke brown and Payne's
gray. Learn to work with them, use them often and see
the beautiful effects they produce. Delicate tints are made
with thin washes of yellow ochre and light red. Vandyke
brown makes a variety of pleasing tints.
Use the bright colors sparingly.
You do not need a black paint. Payne's gray with
either brown, blue, crimson or green gives rich dark tones.
Payne's gray is also useful in shadows and shading other
colors. For the different kinds of greens, mix yellow ochre,
blue or brown with Hooker's green. Use thin washes of
light red and blue for the gray of distances and clouds.
73
74
/ ^ E<ii-
7S
76
^ZXOS3^-/>iO^77
THE NEW YORK PUBLIC LIBRARYCIRCULATION DEPARTMENT
NATHAN STRAUS BRANCH 348 EAST 32nd STSSFt
78
WHAT TO DRAWTHIS is really a remarkable book in
which tine ia made a good rea$on for
form. The youngest child may grasp
the magic progress of this way of workingknd he will draw the picture naturally andMrell.
INSTRUCTIONS are very brief, for the
key line* of each object tell their own story
uid the child is entranced by the results
toon gained. There is no stupid tracing in
this book, for tracing accomplishes at mostBnly a little muscular controL
The book provides a step-by-step system
©T.Oand HOW TO DRAWthat fixet the object in memory and 6ops naturally a physical skill and a mknowledge of proportion and form.
Foreshortening and perspective, t
bugbears to young artists, are overcomthe simplest progressive examples.
REMEMBERING THE KEY LINE o
the way to the completed object Tare hundreds of pictures to draw and all
those most fascinating to the child, whthrilled by the "magic" that makes dra>i
easy and delightfully interesting.
*'Ju*t remember the KEY LINE, that't
\ AN IDEAL GIFT FOR CHILDREN )
-y
Ik^i'^'m
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