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w .d .. .i.\.r .3YL U.J FOR N~dFOUNDL D 3CHOOL3

A NEW ART SYLLABUS FOR NEWFOUNDLAND SCHOOLS

Int:roduction:

In planning this syllabus for the high school grades we made, first of all, a sunvey of the course as outlined in the ART HAl\TDBOOK TO THE COU:{SE OF STUDY which was adopted for use in our schools around 1932. We examined this course fairly thoroughly and find the philos­ophy behind it ideal and the content matter, with but few exceptions, well suited for our classrooms. On the basis of this examination has evolved the present syllabus which we have designed for the high school grades.

In planning this project we have kept in mind the aims of Art teaching. These aims are~

a) To develop the imagination of the student and to draw out creative ability as well as to stimulate thinking and plann­ing.

b) To give opportunity for the student to be able to express himself and to be able to control that expression.

c) To enable the· student to see- with his eyes accurate:Ly and to represent accurately what he sees.

d) To impart technique so that he may acquire skill necessary for his progress and achievement.

e) To give the student training in the appreciation of Art and to enable him to acquire an aesthetic tasteo

The Cow~ittee regret the fact that Art in our present curriculum is given very little emphasis and that as far as the high school grades are concerned, especially Grade XI, it has lost the status of a matriculation subject. If Art is to be expanded in our schools, then prospective teachers must be encouraged to have training in the subject. A fundamental course in the high school grades, supplemented by a varied teacher-training course, can do much to revive interest in Art education in our province. The Committee feel strongly that Art should be considered a matriculation subject for University entrance, as least for prospective teachers.

Art has an important part to play in the development of any school curriculum. The aims just outlined certainly justify its inclusion on a pe~1anent basis. Besides, Art helps to correlate other phases of the school curriculum and to weld togethe:r the whole school program. Quite often a school project, such as the making of a port-folio, takes in two or three subjects in addition to Art and brings them all to one focal point--the culmination of one unified aim and purposeo School work is thus made more meaningful and enjoyable and the pupil is given a rewarding sense of accomplishment. This is felt individ­ually as well as collectively. Any means whereby isolated subjects may be brought together for a common purpose cannot certainly be looked upon with indifference nor discouraged. Art serves that pur­pose of correlation admirably.

In planning this course we have given no emphasis to crafts in the high school grades. This phase of Art is encouraged in the grades leading up to high school. There is so much to be accomplished in the field of drawing, painting, and appreciation, and the high school curriculum is so academically heavy that there will be some difficul­ty experienced in finding time to carry out the course in these fields without adding further to the programme.

For teachers to ca~ry out the course of study adequately we rec­ommend two periods of Art instruction a week. This course, we real­ize, is intensive, and if instruction is to be given with some degree

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of thoroughness in all its six divisions, two periods a week are cer­tainly needed. However, we are not making all six divisions compulsory for examination purposes. Questions will be set in all areas of study but only three will be expected to be answered. Pupils, therefore, will have a wide choice and the teacher need feel no obligation to cover the work outl.ined for all areas, should she find that less than the required two periods are allotted for weekly instruction.

This syllabus is graded according to emphasis and difficulty of the subject matter to be accomplished. Such a gradation of work will elim­inate much of the sameness which characterizes the present course.

We have added Art Appreciation as a part of the high school course so that pupils may get an insight into the great works of Art past and present and be led to appreciate Art and thus develop an aesthetic sense. Suitable texts are :recommended for this area of the course. vJe also recommend Art Appreciation in the pre-high school grades so that pupils in Grades IX, X and XI may enter on this part of the course with a broadened knowledge of appreciationo The books we recommend are:

Pre-high school-- ART APPhECIATION, a graded series,

School Specialities and Publications.

Grade IX-- ART APPP~CIATION by Collins and Riley, Gage and Company.

Grade X-- YOUR ART HERITAGE by Riley, McGraw Hill.

J-~.eferences:

Pre-high school--WORLD FAHOUS PICTURES by l 1eale, Ryerson Press

FAMOUS PAINTINGS by Chase, Book Society of Canada.

The committee are cognizant of the fact that limited facilities exist for teacher-training in Art. vJ·e do hope that the Nemorial University can expand its Art training programme to provide a more diversified course of training in this field. We also hope that a diversified summer course in Art training can be made available to teachers. Unless such opportunities exist, the number of teachers trained for Art instruc­tion in our schools will be pitifully small and the over-all improvement in Art education generally will be discouragingly slowo

The importance of Art education cannot be minimizede Our present age is an age of design moreso than any other age in the history of man's creative efforto Art is not something which belongs to the past. Art is present, past and futureo It is the guiding force in our present planning and expanding accom~lishments. Art is never dead~ it is creative and alive. In such a ~0~ern, diversified age as the present, it certainly needs to be encouraged more than ever it did and the need for instruction in this wide field of human creativity certainly cannot be overlooked nor minimized by educators and non-educators alike.

This syllabus is drawn up to conform to the traditional pattern of academic education which our present educational system embodieso For non-academic streams, the course offers a wide variety of subject matter for pupil achievement&

Aims~

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STILL LIFE

To train pupils to use their eyes accurately so that they may see beauty even in the commonplace things.

To enable pupils to see life in a new light--the light of line, shape, and mass.

To enable pupils to achieve inner satisfaction through aesthetic creation.

Pupils should have practice in: a) making a quick study of still objects, b) making a detailed study of still objects. These sketches may be done in black and white or colour with brush and pencil.

Still life shall consist of drawing well-arranged groups of objects based upon solid forms such as the cube, prism, cylinder, sphere, hemi-sphere. Objects should be arranged for best composition. Proportion and perspective, shadow and balance are other elements basic to any still life sketch. Practice in these elements should be provided; for example, foreshortening the circle, parallel and angular perspective, light and dark to create form.

Grade IX: a) Simple objects based on the basic solid forms of the cube, prism, cylinder-- e.g., a can based on the cylinder.

Grade X~

b) Arrangements of these basic solid forms for simple composition and study.

c) Arrangements of objects based upon these solids for simple composition and study--e.g., a milk bottle and tumbler; a bucket and brush; a tumbler and plate; a book, pen and ink.

a) Same for IX but introducing the basic forms of the sphere and hemisphere, and objects based on these forms-- e.g., an orange, whole and half; a bowl and orange; a ball of yarn and knitting needle s.

b) Arrangements of objects for simple composition and study-­e.g., cut grape fruit and knife on plate; a bowl, spoon, and broken egg shell; a pile of fruit on a dish; a ball of yarn, ne e dles, and spool of cotton.

Grade XI: Sketch still life objects arranged for composition and study. Have some c e ntral point of interest and select objects of different heights, colour, texture for contrast. Select groups of objects for a) beauty of form--e.g., an arrangement of floVJers in a

vase.

References:

b) imagination--e.g., a mirror, a jewellery box with lid raised, a pair of party gloves; a pair of skates, a puck, a broken hockey stick. Such arrangements might tell a story.

Sketching for Pleasure by R.O. Dunlop, J.M. Dent and Sons.

Composition by J. Ramsey Wherrett, A Studio Publication, Musson Book Companyo

Aims:

- 4 -ILLUSTRATION

l. To foster and develop the creative ability of the pupils.

2. To encourage a habit of observation.

3· To deveiop the imagination.

4. To satisfy a love of colour and appreciation of beautiful things.

5. To supply an opportunity for free expression in order to improve skill.

!·'later ials ~

Sheets of paper (12 inches by 18 inches) or larger Newsprint is suitable. It may be bought from Printers of local newspapers.

Soft drawing pencils, Grade B. Box of Student's Water Colours, e.g. Reeves, No. 158/2, containing 8 colours. (Refills also obtainable). These may be bought at Dick's & Co., \'Jater St o, St. John's; or the Art Shop, Bond Street, St. John's.

Brushes: Reeves Squirrel Hair ser·ies 208, No .. 10 (large) and No. 6 (medium)

Coloured Lead Crayons (Come in boxes of 8 or more colours) ·vJa·ter Jar.

Eeference Books:

"Landscape Sketching" by Arthur Black Pub. Blandford Press, 16 West Central St., London, W.C. l

"The Teaching of Art in Schoolsn by Evelyn Gibbs Pub. William & Norgate Ltd., Great Russell St., London, Eng.

"Simplified Landscape Painting" by Charles Carlson Pub. Melior Books, 156 Fifty Ave., New York 3, N.Y.

"The Direct Technique of V.Jater Colour Painting" by Charles Carlson Pub. Melior Books, 156 Fifth Ave., New York, N.Y.

"How to Draw People" by Arthur Zaidenberg,(Copp Clarke Company)

GIW.DE IX

l. Landscapes:

Principles of pictorial composition discussed briefly, and illustrated by quick blackboard work (or with brush and colour) by the teacher.

Some ideas given by the teacher with chalk or with brush and colour on how to represent the elements of landscape.

P~actice Exercises done by the pupils in portraying elements for lands~apes (e.g. trees, sky, wat·er, hillsides, lawns, clouds etc.) These should be studied - from the landscape familiar to students.

Characteristic lines and treatment of at least 3 different kinds of trees studied for different seasons of the year.

Simple studies of landscapes done by pupils using elements under consideration using brush and colour (or crayons i.f" wat.er colours are not availableo)

5 -It is important to keep the ~Iork large, and to fill the pape;t'

when doing a landscape.

Pupils should be encouraged to draw and paint with long, quick strokes of the pencil and brush, and to produce a fresh-looking, uncorrected picture.

ll . figure Stuqx

l. Quick blackboard sketches done by the teacher to illustrate proportion, (with chalk, or with brush and colour)

2. Studies based on simple, familiar actions (e.g. running, walking, lying down) done by pupils, adding suitable back­gl"ound.

More difficult poses discussed. models.

Class members act as

4. Studies practised with drawing pencil, then in colour, with as little pencil vJork as possible. 1--iodel used. Add suit­able background to picture, eog. Boy making whistle. Girl trying on a hat, man running.

Sheets of paper l2H by l8u to be used.

_l.]..l. g_o_~ou.r Nt.1£.:L..Dg exercises--))iscussio~_;x:pel:'imenh_and guidance

Colour interaction discussed Problems in colour harmony Shadows Reflections ~xercises and studies done to give skill and practice in the use of colour·. Quick sketches done with brush and coloul:' from model (pose fol:' l5 or 20 minutes each) to express action, texture.

Colo~~ Mixing by Carlson is a very useful book.

Illustrations of scenes from school lif'e, town and country life, familiar events, everyday scenes, scenes from history, geography, literature to be done on large paper. Knouledge of technique acquired should be practised.

It is important to keep work as large as the paper will permit when doing figure studies.

l\:ot e:

Sheets of paper l? by 18 inches are recommended. a) Help and criticism should be given by the teacher

when it is sought by pupilo b) All work should be kept as large as sheet of paper

vJill allow. c) Little or no pencil work should be done when brush and

colour is -the mediumo d) Successful and interesting studies should be displayed

on classroom walls :for discD_ssion and enjoyment ..

GRADE X

Continuation of ·work done in Grade IX with a highe.'r stan­dard of achievement and greater skill expected.

Similar · materials and methods used.

Landscape and seascape sketching. placed on the latter for this gradeo

Greater emphasis is

Subjects chosen for illustration should be of interest to age group of this grade. Examples: At the Fair, The School Sale, Trying on the Easter Hat, The New ~arty Dress, Skating, Hiking, Fishing, S-portso

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In figure study concentration should be on portrait sketching~ showing head in diffe~ent positions and showing variety of expressions.

GH.ADE XI

Continuation of work done in Grades I X and X with greater skill in handling tools requi r ed and hi g her standard of achievement.

Work to be kept the full size of paper (12" x l8H)

Free hand and arm movements in handling brush or p encil.

Knowledge to be gained of pictorial composition~ the represen­tation of picture elements in landscape, figure studies~ use of colour, colour harmonies, reflections, shadows, etco

Subjects chosen to increase skill and knowledge, e.g. Scenes (l) from life in town, country, coast, lake, fishing-ground, etc., in Newfoundland; (2) from History, Geography, Literature Studies; (3) Seasonal studies, Hinter Sports, Holiday Life, athletics~ shooting, trouting; (4) Trade, e.go, the shoemaker, dressmaker, postman, lumberman.

Work displayed on wall for discussion and enjoyment.

Reference Boo~s ~

Landscape Sketching by A.:r-t h ur Black, (Copp Clark Company)

Sketching Lartdscape by Victor Perard, (Sir Isaac Pitman & S ons)

DravJing S ea and .Sky by Victor Perard, (Sir Isaac Pitman & Sons)

How to Draw the Countryside by Earthrowl, (Musson Book Company)

How to Draw People by Arthur Zaidenberg, (Copp Clark Company)

The Teaching of Art in Schools by Evelyn Gibbs, (William & Norgate)

Teaching Creative Art in Schools by Rosalind & Arthur Scott, (British Book Service)

Simplified Landscape Painting by Cha rles Carson, ( Helior Books)

The Direct Technique of Water Colou.:r- Painting by Charles Carson, (J>1elior Books) •

l. Aims g

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DESIGN

To teach the f~mdamentals of design through application. To bring out the feeling of proportion and balance. To build a sense of usage of beautiful proportions, colour, balance and line appreciation. To give a correlation of design and other subjects.

Essential Kno,._rledge and Skill. Ability to recognize the five orders of design:

Sequence: Meaning to follow after. What is placed in one part of the design is ~epeated in a row or aro~md itself.

Lepetition: An object that is repeated all over the surface, both horizontally and vertically.

Progression: Objects become eithe.t·· larger or smaller in size, then repeat all over again starting with the original size.

Rhythm: The repeating of curved lines to give a rhythmic movement throughout the design.

Balance g Two types. Formal and Occult:

Formal: A centre line is employed and equal areas are placed on both sides. Or areas are placed equal distances around a point.

Occult: Objects balance on each side of the centre line but are not the same size.

Ability to derive motifs in natural or conventional form from nat::;ure such as a tree, floi~~Ter, bird or animal, the human figure.

General knowledge of colour and ability to choose colour scheme for designs.

Ability to arrange design suitable for such objects as: book ends, book covers, gift boxes, lampshades, rugs, desk pads •

... ;.bility to see and appreciate the different forms of design as found in the envlronment.

Materials: 1-~aterials as suggested under IlJ.ustration.

Reference Books~ ttA First Book of Pattern Design" by B .. Hargreaves

( Nacl'Iillan Co. of· Canada) ttDecorative Designn by Fritzi Brad, (Sir Isaac Pitman &

Sons)

11 Design in Theory and Practice" by E.A. Batchelde.:r, ( MacMillan Co. of Canada)

"A Hethod for Creative Design" by Best Naugard, ( McClelland & Stewart )

l. Review the principles of the five orders of design~ Sequence ftepetition P.l:ogression Ehythm Balance - two types, formal, oc,cult.

2. Instruction to be concentrated on border design.

' ;

3·

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Discuss conventional design. animals. Sho-v,r application of

Study examples of flowers and stencil design.

4. Draw border des~gns using progression in size and spaceo

.Jo IlonogTam student's initials in square, circle, triangle or ellipse. Natural or contTasted harmonies.

6. Apply border design to book covers, lamp shades, wall paper, etc.

7· Stress importance of colour in designo colour form part of the designo)

(Repeating areas of

Graqe X

l. Discuss the five orders of designo

?. Instruction to b e concentrated on space-filling design.

3· Discuss principle of design found in furniture, clothing and houses.

4. :i ·iake designs using balance around a point vJithin a square or within a circle ..

5. liake space filler designs appropriate for furniture, clothing and home.

6o Conventionalize fami~iar objects such as leaves , flowers, boats, etc.

?o Apply design to title, boxes, book lets, wall paper, etc .

8 o rlake stencils from familiar obj ects su_ch as~ birds, animals, flo·wers

Grade XI

l. heview principles of design - value of colour in design.

?. Study desi~ns found in the works of the Ma st e rs.

3~ Discuss the practicability of good de sign.

4. ~tudy various effects obtained by alternation: (a) Alternation of size, (b) AltGrnation of position, (c) Alternation of order.

5o Discuss symbolic design and how it is used as a symbol of i deas o Dind examples~

(Stupa - represents the four e leu~ents, fire, water, air and earth . The earth is represented by a square, water by a circle, fir e by a triangle, and air by a cr e scent - all topped by a gem which 1.vas said to bring mall all that his heart desiredo

Hour-glass and scythe for time).

6. Make surfac8 designs for dress goods, wall papero

7. l.Iake space-filling d e signs for a Church l:"! indow, a handkerchief box, book ends, and wall panels.

So Emphasize colour harmony and balance in all designs .

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PERSPECTIVE DRAWlNG

Aims:

l. To develop the fundamentals of perspective as applied to illustration.

2.

3·

To develop the fundamentals of perspective as applied to mechanical and industrial drawing.

To introduce the essentials of accuracy and observation ~n mechanical drawing, as a basis for further industrial and vocational training.

Grade IX.

Parallel Perspective~

Freehand dr~ring of simple objects based on:- The Cylinder, Sphere, Cone, and Rectangular prisiT-, etc.

Formal drawing of the Cylinder, Sphere, Cone, and Rectangular prism ..

Formal drawing of simple objects based on the forms above.

Angular Pe~ct~ve~

Formal drawing of geometric forms~-Cube, Cylinder, Cone, Rectangular prism, etc.

Formal drawing of objects based on:-Cube, nectangular prism, Cone, Cylinder, etc., such as:­

box, trunk, table, books, lampshade, etc.

Freehand drawing of objects as above •

. Industrial Drawings:

Formal dra\ving of PLAN and ELEVATION of simple objects based on the square and rectangular prism, such as:- Box, Table, Shelf.

Parallel Perspective:

hare freehand exercises based on the basic forms covered in Grade DC.

Formal drawing of basic forms (Cube, Rectangular prism, etc.) in groups, such as:- Books between book-ends, groups of boxes, etc.

Angular Perspective:

Revision of formal dravJings of basic forms covered in Grade IX.

Formal drawings of more advanced objects such as:- Boxes and Trunks vJith open covers. Tables, rectangular and circular, Houses with windows doors and chimneys, stepso Bookcases, simple chairs, etc., and the placli~g of supporting objects around the houses, such as: fences, streets, light poles, etc.

Freehand dra·wing of above exercises.

(Grade X)::

Formal dra\.ATing by PLAN and 3LEV.A.TION and EJ-JD views of more

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advanced objects such as:- more complete houses, furniture, circular, and oval objects. Curved objects such as shaped table legs, bookshelves etc.

Grade XI

Par~llel PersRective~

hevision of formal drawing.

Angular Persnective~

Dra\:Jing of objects in more advanced groups. The composing of complete indoor and outdoor pictures, both Formal and Freehand; Example A house vrith vJindovJs, doors, chilllJ."ley, steps, fences, companion buildings, driveways, trees, etc. Complete rooms, or room sections vlith appropriate furniture.,

Further \vork ·with circular or cone shaped objec-ts should be introduced. Examples~- Bucket, Lamp shade, Vases, \Jheels, Circular Spires.

Introduction of the mechanical method of simplifie6 perspective drawing vlhich will bring together as a unit the perspective and industrial drawing exer~ises already covered.

The dr~Jing of simple objects based on the cube, rectangular prism, and cylinder. Such objects to be drawn in perspective from PLAN and ELEVATION, both parallel and angularo

heference Books~

Perspe~tive dra~ing, by Ernest Norling. Published by Walter T. Foster,

Reeves & Sons (Canada) Ltdo, 496 Gilbers Aveo, TORONTO, Ontario.

+. ll Letteri~_c~~~

To give the students a knowledge of good lettering in its use in everyday life, as seen in all ~ts modern applications~ such as advertising in magazines, newspapers, and television.

Mate_riali ~-

Smooth cartridge paper (for finished work) Hewsprint (for practise work) Smooth coloured papers Tracing paper Nibs~ speedball nibs in all sizes (rounded nibs)

manuscript nibs in all sizes (squared nibs) .Pen holders InG.ian Ink Coloured Inks Soft drawing pencil (grade B) or medium grade HB. Hard drawing pencil (grade H)

General Outline of Course

Grade VII; Introduction: Simplified sans-ssrif (or block le·tters) Practise in pencil with letter forms until they are learnt and mastered. Explanation of, and practise in, the proportion of the letters; their spacing and layout (simplified).

Design--simple posters, labels, monograms. ma1~ing collection of sans-serif lettering from magazines.

Grade VIII~ hevision of sans-serif letters as rega7ds proportion, spacing and layout.

Use of more words to provide more practise in layout and spacing. p_esign;--Nore ambitious monograms, simple book jackets,. etc. Combine

collection of sa~s-serif lettering from magazines.

~e IX:Use of ro~~d-end speedball pen to make sans-serif letters. Use of letters and types based on sans-serif alphabet. Introduction to Roman Alphabeto Proportion of Roman letters (capitals), and constructiono

Design --Use of more than one type of alphabet to make posters, bookjackets, menus, title pages, etc. Use of recommended book f ·or grade IX--ttLettering; A Beginners Book," by Frank E. Dodman. (A&C. Black Ltd.) Combined collection of various types & letters in scrap book.

prade x~ Combined use of both Sans-serif and Roman letters, either combined or singly.

pesign~

Study continued of proportion and form of Roman Letters, continued practise in spacing and layout. May progress to manuscript pen if time, etc., permits.

Decorated capitals for combination with manuscript w~itingo Quotations, poems, etc. carried out in manuscript writingo Title pages. Book jacketso l 1agazine advertisements. Programmeso Package designs and labelso Continuation of collection of various kinds of letters and type used in modern advertising. Use of recommended book "Ticket writing and layout 0 ,

by Frank E. Dodman.

l2 -Grade XI

Design:

Continued use and study of The Roman and Sans-.Serif alphabets, and letters and type based on them. Use of both kinds of pen. Use of two or more kinds of lettering togethe~o

Lore ambitious projects using manuscript writing to design memorial pages; addresses, inscriptions etc. Also how to com­bine various letters and type together to design press advertise­ments, television commercials, record cases, package designs and labels, etc. Use of recommended book for grade XI~ 11 A book of lettering", by Reynolds Stone. (A&c Black Ltd.)

Details of course in Gradffi IX,X,XI.

Grade IX .•. In this grade the class had the help of Frank E. Dodman booklet, nLett::ering", in vJhich can be found the Sans-Serif or Block Capit­als clearly set out. The proportions of the letters follow those given for the Roman Alphabet on page four of the booklet. The letters may be drawn with pencil and ruler and then filled in in colour or the letters may be lightly penciled in place, then t~he rounded speed ball pens used to form the letter. This last is a very much quicker method of completing a piece of' lettering work ..

As the class was first introduced to lettering in grade 7, they should be quite ready to go on the Roman Capitals now, for use in con­junction with the Sans-Serif letters.

There should be special attention paid to the section on spacing (pages 18-19) as this is extremely important.

The class should also be aware of printing types and the names of a fev..r of these. They should have a knowledge of the terms used in lettering, for example Descender, ascender, face etco A quick comprehen­sive glossary is found on pages 19-20.

The class will use the two main alphabets in designing posters, book jackets, menus, title pages, etc.,which, if kept reasonably simple should not present great difficulties in layout. More difficult exercises in layout can come in the following grades.

Grade X. The book recommended for use in this grade is Frank E. Dodman's nTicket \Jriting and Layout", which contains a good section on layout, (pages 14-15) with quite a few examples and illustrat­ions. There is also a detailed section on spacing which is iE_portant and another useful and simplified section on colour.

':L'he.re are a fev-1 suggested experiments for beginners which may prove helpful; the booklet generally should be helpful to students who are progressing to slightly more advanced work than that of the previous grade, for example work on magazine advertisements, etc.

Layout and spacing, and the form and proportion of the letters should always be carefully studied.

I:f desired the student may try some manuscript vJriting as a change from the other kind of lettering. Sections on manuscript appear in both recommended books; the most comprehensive and detailed is in the nLet -'cering" booklet, (pages l2-l7) o The manuscript vJrit­ing may be used in conjunction with decorated capital lettersG

Grade XI. In grade XI a higher standard of both work and appreciation may be expected.. Hore ambitious projects may be attempted, using all kinds of letters and manuscript writing to design such pieces of work as memorial pages, magazine and television adver­tisements, etc ..

- 13 -1... booklet wr1-ich may be of help to the grade XI students is n_A Book of

Lettering", by Reynolds Stone, 1,1hich contains several complete alphabets, examples of decorated capitals, initials, and monog­rams and examples of a rrang ement.

A great widening of the students knowledge of lettering and use of letters will result if a scrapbook of all kinds of lettering, both bad and good, is kept throughout the entire lettering course.

List o~ subjects for lette~~~~

Labels and package designs for all kinds of products. l"'onograms. Trademarks. Posters (health, Red Cross, Library Weeko) Handbills. Signs. Letter-heads .. Bookj acket s. l"lenus. ': i tle pages Programmes. Calendars (also d esk calendars). School magazine cove r and title pages. Hemorial pages. Addresses. Press and magazine advertisements. Television commercials. ~tation Identification on Picture or Television. Lecord cases.

Frank E.. Dodman:: "Let -tering; A Beginner's Book.n

I 1' rank E. Dodman: HTicket \/Jriting and Layout; A Be ginner's Book."

The Hac r-Iillan Company of Ce.n a da Limited.

Eeynolds Store:: "A Book of Letteringo 0 A. & Co Black, Ltd.

Edited by C.Q. Holme:

Blandford Press~

Cecil irlade::

3dward Johnston:

"Lettering of Today." ( Musson Book Company)

HPen and Drush Let ·tering and Practical Alphabets o" Blandford Press, l6 VIe st Central Str-eet,

London W.I.

"Nodern LetterL.J.g and Lay out " (Sir Isaac Pitman & Sons)

' 11rJriting and Illuminating and Letteringn (Sir Isaac Pitman & Sons)

.h.ims:

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ART APPF8CihTION

(l) To develop sensitivity to form, colour, line and texture in nature.

(2) To educate pupils to look for beauty in man- made things. (3) To enable pupils to recognize some great paintings of the

old masters and of modern artists; to learn something about the artists who painted the picture; to note hovJ he made use of art principles.

(4) To study examples of fine architecture and sculpture, noting their form, balance, rhythm and proportion.

(5) To devslop taste in dress and in home furnishing and decoration.

Grade IX ... Text: Art Apureciation by Collins and Riley. (W.J. Gage & Company)

Chapters: Chapter:

l,ll,Vll,X Xlll to Po ~66o

Picture§. to _Stl,l§.Y.J.

l. Mona Lisa -- Da Vinci ~. Hadonna del Gran' Duca -- ha.phael 3· Syndics of Cloth Guild -- Rembrandt 4. Self -- Portrait -- Durer 5. Young Girl at Half Open Door -- Eembrandt 6. Delphic Sybil -- Michelangelo

Grade X Text: Art Appreciation by Collins and Riley

Chapters: l ll 2 Vll X Chapter: xill (P. ?~6 to end)

Pictures to Study t

Grade Text:

l .. Artist's l1other -- ·~·Jhistler 2. Still Life -- Cezanne · 3· Country Road by Night -- Van Gogh Lt-. Hain in the Jungle (Rousseau) 5. Landscape, Gauguin 6. Postman -- Van Gogh

XI .;tour Art HeritagEi --Riley (l'~cGraw- Hill Book Co.)

Chapters: l, ll, Vll, IX, Xl

Leferences: The liainbow Book of Art by Thomas Craven (The \iorld Publishing

- Company)

Art Through ~the b.ge§ ___ by Helen Gardner (Harcourt, Brace & Co .. ) The Story of Painting for Young People by H . 1.:ff . Janson &

Dora J. J c:u1.son. Outline of .c~rt by Sir 1/lilliam Orpen (Ha..rry N • .L~brams Inc.)

(British Book Service ) FaJ11QUS Paint~ngs by Alice Elizabeth Chase ( Book .. ::,ociety of

Canada) Picture Appreciat_:L_o_p. fQ..._~he .Jiigh .S~pool by E .V. K .. Grayson

(J.M.Dent & Sons )

- l5 -The Books of Y'"'ill.owledge.

Large s~ze, full colour pr~nts, each complete w~th story of the p~cture, quest~ons and story of the art~st, etc., may be obta~ned from F. A. Owen Publ~shing Coo, Dansville, IJ . Y., or :Hoyer .School Supply Co. A handbook conta~ning stud~es o f famous paintings is also available.

pUPPLTB1.;S OF ART :HATERIALS :

Reeves Art Materials are ava~lable from Dicks and Company, Limited, d ater S tre e t, S t. John's

The Art Shop, 103 Bond S treet, .St. John's.

Winsor and Newton Limited, 51-52 R a thbone Place, London, W.I., England.

:Hoyers School Supplies L~mitep, iionctd~, l'Te\1 , B.ruilsvJd.ck •. . ·- _

Jack Hood School Supplies Company, L~mited, 91-99 Erie Street, Stratford, Ontario.

9AN.ADI.d.N PUBLISHERS

Thomas Allen Limited, 266 King Street West, Toronto& Dritish Book Service, 1068 Broadview Avenue, Toronto.

Book Society of Canada Limited, Sheppard Avenue, Agincourt.

The Copp Clarke Co., Limited, 5l7 Well~ngton Street We st, Toronto.

Clarke, Irwin & Comp any L~m~ted, 103 St. Clair Ave. vJest, Toronto.

Jo M. Dent & Sons (Canada) Lu1ited, 224 Bloor St. West, Toronto ..

w. J. Gage and Company Limited, 82 Spadina Avenue, Toronto.

Ginn and Company, l33l Yonge Street, Toronto .. Longmans, Green and Company, 20 Cranfield Road, Toronto 16.

The Nacmillan Company of Canada Ltd .. , 70 Bond Street, Toronto.

McGraw Hill of Canada Ltd .. , 253 Spadina Road, Toronto.

McClelland & Stewart Ltd., 25 Hollinger Road, Toronto.

Moyer School Supplies Limited, 20 Densley Ave., Toronto 15.

l 1usson Book Company L~mited, 103-107 Vanderhoof Ave., Toronto.

Thomas Nelson & Sons (Canada) Ltd., 9l Wellington St. West, Toronto.

Nelson, Foster & Scott Lim~ted, 87 John Street, Toronto.

Oxford University Press, 480 University Ave., Toronto.

Sir Isaac Pitman & S ons (Canada) Ltd., 383 Church St., Toronto.

The Ryerson Press, 299 Queen Street West, Toronto.

- J..6 -ArtT BOOKS FOR TH~S .SCHOOL LIBnARY -- IN #-DDITION TO THOSE l.IEN':'ION3D IN

SYLLABUS ·--~--·

How to Look at ?~ctures by S~r Robert W~tt, Clarke, Irw~n.

Sculpture by R. l\T . D. -'v~ ~lson, l'Jelson .

Enjoy~ng ?a~nt~ngs by AaC~ Ward, J.M. Dento

Seven Pa~nters by A~Ca vJard, Oxford Un~versity Press. The A B C of our Alphabet by T. Thor:1pson, Husson o

(Picture b~ograph~es ser~es by El~zabeth R~pley), Oxford.

Elementary Pencil Draw~ng, Cec~l Go Trew, MacM~llan. P~ctor~al Perspect~ve by G\ven 1•ih~te, Nusson.

Draw~ng Out of Doors by Cec~l G. Trew, MacM~llano

Art Educat~on for Slow Learners ~rt Educat~on ~n the K~ndergarten

Art Sducat~on Dur~ng Adole scence

Arts and Crafts for Young Canad~ans

Ch~ldren and Their Pictures-- all by C.Do Ga~tskell, Ryerson .

Sa~p~e~st~ons . for St~ll L~fe

Grade IX

Make a still l~fe draw~ng of the follow~ng~

A closed book, a candle, a s~mple candle-holder. Plac& candle

~n candle-holder and arrange to form a pleas~ng composition. Place objects below eye-level. The draw~ng may be done in black and wh~te or ~n colouro Represent table top or surface by Reans of a few

simple strokes.

grade X

Hake a still life dra\v~ng of the follow~ng ~

Two oranges, a plate, a J:....nife o Arrange belovl eye-level to form a pleas~ng composit~on. One of the oranges ~s cut ~n half and placed on the plate. The other is on the table. The knife ~s either on or by the plate o Dra1..1~ng may be done in black and ':.Jhite or colour. Re pre sent the table -top or surface by means of a few simple strokes.

Grade :;ci

J:;.ake a st~ll l~fe dra1r.1~ng of the following~ ~ plain vase, two apples, an orange or grapefru~t.

l7- -

Arrange below eye-level to form a pleas~ng com~os~t~ono Draw~ng may be done ~n black and vh~te or colour. Repiesent the surface by means of a few s~mple strokes.

I. 1'--Ial-c.e an illustrat~on show~ng what you v-Jould do if you and your fr~end -._,,,ere f~shing and you fell into the I.>Jater.

2. Illustrate, us~ng a s~ngle f~gure, one of the following n"LU se ry rhymes:

a) L~tt le To1~1y Tucke r s~nbing for h~s supper

b) Little Boy Blue asleep under the haystack

c) L~ttle Eo-Peep with h er sheep

Grade X

I. Xake a f~gure study of a g~rl or boy skatingo able backgroundo

Add a suit-

2. Make a brush draw~ng, show~ng two men ~n a boat. Put ~n such surround~ngs as you vlould see ~n one of the Newfound­land bays.

Grade XI

l. Illustrate ~n any n-: ed~um, us~ng a s~ngle figure one of the follow~ng:

a) a man duck-shoot~ng

b) a boy hay-mak~ng

c) Mrso Jone s buy~ng fru~t

Add suitable background and surround~ngs.

2. Illustrate in any medium the follov-1 ~ng scene:

a) Three men arr~v~ng at a rocky ~Jewfoundland island to repa~r the l~ght on the lighthouse.

OR b) A passage from H~awatha, e.g., "In the Vale of

':'2awasentha 11c

ttBy the pleasant v-.rater-courses,

Dwelt the s~n~er, Nawadada.

Round about the Ind~an village Spread the meadows and the cornfi e lds,

And beyond the~ stood the forest, Stood the groves of· singing pine-trees on

In colour ~llustrate the last four l~nes of the

quotat~on, rrak~ng either an autumn or a \·J~nter scene ..

III.

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Sample ~uest~ons for Des~gn

Grade IX

~.. In a rectangle 8" by ;:>tl make a convent~onal floral design su~table for the border of a lamp shade. Colour us~ng three values of the same hue.

OR Us~ng any an~mal as a motif, make a border des~gn suit­able for a bo o k cover. Colour using complimentary colours.

OR Using progress~on, and any motif make a border des~gn. Th~s design may be f~nished in two colours in addit~on to the background.

Grade X

l. In a rectangle 8" by l;:;" make a floral design suitable for some article of clothing or furnitureo Use three analogous colourso

OR In a circle \...J~th rad~us 3 11 , using any motif make a conventional design using formal balance. :B'inish in two or three colours.

Oli Using a bird or animal motif make a stencil design su~t­able for the cover of a book on b~Ids or animals. Use two or m_or e values of the same hue for the colour scheme.

Grade XI

l. Make a space filling design, suitable for a piece of dress material or wall paper . Use any conventional motif . Use two or three analogous colours. Make the design as large as your paper will permit .

OR Using a boat or animal make a stenc~l design suitable for book ends . Choose your own colour harmony.

Make a floral design suitable for a stain-glass window or a wall panel. For your colour scheme use the triad (Three colours forming the points of a triangle on the colour vJheel) .

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IV. ..§.E.xn~~e .stions for~e.l snective

:S ither~-

(a) Make a freehand d.r-avving in parallel perspective, above the eye-level of a Cylinder and a hectangular prism. Drawing should be shaded as required.

Org-(b) Make a formal drawing in angular perspective below the

eye-level, of a box with an open cover. Accentuate the lines composing the box, but do not erase the const;ruction lines.

or~-(c) Hake a formal drawing sho\ving PLAl'J and ELEVATION of a

box with a flat cover raised at right angles. The box to be 6 ino long, 4 in! wide, and 3 in. deep. ~hickness of cover and box sides to be ~ in.

Either:

(a) Make a formal accented line drawing in angular perspective below the eye-level, of a circular table. Indicate the floor on which the table stands. Do not erase the theoretical lines and points.

or:-(b) Make a freehand drawing in parallel perspective, below

the eye-level and to the left, of a group of four books bet\..·Jeen simple rectangular bookends. Drawing should be shaded as required.

Or:-(e) Nake a formal drawing 7 shovving PLAN, ELEVATION, and side

view of a Ches-t:;erfield Chair, using the scale 3 in. equals l foot. Chair should be about 30 ino wide, 36 in. high, 30 in. from back to front. Chair seat should be about 16 in. high.

Grads;; XI

EiJcher:

(a) 111iake an accented line drawing in formal angular perspective below the eye-level, of' a house; showing:- windows, at least one door, chimney, clapboard, steps, hedges or fences, walkway s etc .. Do not erase theoretical lines or points.

or:-(b) Hake a freehand dravTing in angular perspective on the eye­

level, of an interior corner of a living room showing: a chester­field couch, and chairs, a coffee table, one circular or oval rug, and one floor lamp with lampshade. Drawing should be shaded as required.

Org (c) Draw a plan and elevation of a box without a cover, having

sides 4 in. long, 3 in. wide and ? in. high. Thickness of sides to be ~- in. From this plan and elevation make a mechanical ang­ular perspective drawing. Do not erase theoretical lines and points.

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V.. .§.illnple _Qp.e st ions for Letter i.ug

VI.

(Grades I.A - ZI)

Gx.::_ade ~L

(a) Design a simple, but effective poster to be used to adver­tise you school's "Sports Day" Use large block letters, or (_,ans-Se.rif letters, and choose a limited but striking colour scheme. The size of the poster will be lO inches wide by l5 inches high. -

(b) Design the menu card foi a restaurant I:Jhich specializes in fish dishes and sea foods.. You must include the uord nmenuH in your design, which may be treated either in pattern form or pictorially, using sea and fish as the theme. Choose your colour scheme carefully; you may use ei-ther Roman or Sans-Serif letters. The size of the front of the menu is 7 inches wide by 9 inch8S high ..

Grad_e_X_

(a) Design the front cover of a school magazine measuring 7 inches wide by 9 inches high. The ·1,-.Jord which must be included is "Collegian" which may be car1ied out in either nRoman" or "Sc=tns-SerifH letters o Hake the school colours the ffiain colours of your design, which may be red and blue or red and green, or blue and yellovJ; choose one of these three colour schemes in which to carry out your design.

(b) Design a travel folder for tourist going to Bermuda; the folder measures 4 inchos by 8 inches (use either way) Design only the front cover, using perhaps palm trees, beaches, brilliant tropical flowers, birds and fish, as part of your decorative design. Include the word "Dermuda" in either "Eoman" or f'02Jls-Serif" letters. You may colour as you wish ..

(a)

(b)

Design the identification picture on a television for the station CLnB. You must include these four initials in your design, also the words nTelevision Station". Use only black and white and several shades of gray as your colour schGme.. You may include a , small pattern or picture as part of the whole design, but the lettering should be the most significant parto Use either nRoman" or "Sans-Serif 0 letters. The size of your design is lO inchos long by 8 inches high vJith rounded corners as shown in the diagram. - ---- - - _...,, Design the front cover of a progx·amme to be used at a school concert at ·· .Jaster time.. You must include the vJord "Programme" in your design, and use as decoration on the cover any spring flowers such as daffodils, tulips, pussy­willows. Use colour as you wish; size is l5 inches wide by lO inches high.

Sample Questions for ~rt ~ppreciation

See Texts A variety of questions are set out in the text books.

..

?l -

GR-!\.DE XI

lo That the Art Coul se, now presently b e ing drawn up, be conside red a s a l·iatriculation subject for entrance to Hemorial Univ e rsity esp e cially for students contemplating teaching.

?. That the r e vised Art Course have parity with o t her subjects in the school curriculum.

3· That students be not allowed to write the Grade XI examination in Art without having studied tho subject previously and/or having completed the recomme nde d course of studyo

4. That th e Art examination b e extensive in scope to allow pup ils wide latitude to practice in the particular phases of Art which app e al most to t h e ir practical or aesthetic natur e .

5o That the marking of Art Public Examinations b e done by a panel of selected ~rt teache rs.

6. That the re be at least two neriods of 40 minutes a we e k for Art in high school grades and that the time scheduled for the othe r grades be as outline d in the h a n d book.

7• That the Art and handwork handbook · to . tho previous. course of study be thoroughly revised and reprint e d, with some of these general chang e s not ed~

a) That the sand-table projects be discontinued after grades I and II and that the y be replaced by such group projects as mural-painting cardboard - construction, paper - mache cre ations, modelling clay, etc.

b) That printing with spe e dball pens b s introduc e d at about Grade VII and not at Grade IV

c) That the he a ding "Obj e ct DravJing" in tho details of the course in th e handbook, the sections marked b,c,d, and e, be grouped under one section ttb" and worde d. "Instruction in the Elements of ..?erspective.tt

8. That all work in Illustration be done on as large a sheet of paper as possible - newsp rint being ideally suited for this work because of its cheapness and size.

9 That the larger size _paper, measuring l2 x l8 inches at a min­imum b o used for the question on Illustration in the Public Examinations.

lO. That Art app reciation be a part of the high school course in Arto

ll. That an Art appreciation course for the lower grades be consid­ered, l e ading up to high school Art ap1~ reciationo Such a course can be giv e n by teachers who have very little aptitude for the practical side of Art. The committee is hoping to be able to .recomrnend suitable texts for these elementary and intermediate gradese

l~. That an Art room be consid e red in the planning of regional high schools or collegiates.

l3. That an .rl.rt SumD-:er .School b e h 8 ld in the pl ovince each year to give teachers an opportunity to learn more about Art and to get new ido as in the practice and teaching of ths subject.

Christine Lockw~od (Secretary) Sister Mary Pauline Sister ~~ry Salome Miss R. Butler

Respectfully submitted. l"Lr • I. T:f. Humber .Mr. D. 1"J. S. Ryan (Chairman).

:i.•