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DRAWING I

LIKE THE DOUGHTY “CHRISTIAN” OF

“’Pilgrim’s Progress’’ we have come through the ‘’Slough of Despond,”’ and mastered
our own special giants, ‘Proportion,’ ‘’Perspective,’’ and their kindred brothers.
At first we could not see the trees for the leaves, and we thought we might be
eternally lost in the dread forest of ‘Elementary Drawing.’’ The forest appears
no longer dreadful or endless, for many of our fellow students have slowly but surely
worked their way to a higher, brighter plain of accomplishment where the errors
and falterings of early months seem distantly remote. For a time it seemed that
the witches, ‘“Camouflage” and ‘’Superficiality’’ had surely ensnared some of our
fellows. However, Mr. Binning steadfastly gave advice, made pertinent suggestions,
and helped us to overcome the lure these witches held out. With pardonable pride
we now notice that, after only six months’ training, some students are showing in
their work that characteristic ‘‘little something that is everything,’’ without which
no art is truly art.

Our experience in elementary drawing has been varied and stimulating.
We started with still life, vase forms, bottles, fruits, and bits of drapery. Out of this
period of haphazard endeavour we gradually developed a more refined method of
attack and, with deeper understanding, there grew greater interest and conse-
quently better results. This fact has become increasingly apparent in our recent
drawings of figures, anatomical structures, statuary, and complex composition.

One noteworthy feature of our classes is the prevailing spirit of informality
and seriousness. Mr. Binning frequently introduces discussions about the qualities
of old and modern masters which are germane to the subject under consideration.
These discussions evolve into pleasantly controversial conversations that would
amaze the learned schools of philosophers. There is variety in our class, too. For
example, two students are being instructed in jewelry design, one is developing a
talent for perspective, and another is learning certain fundamentals in industrial
design. Because of our interesting discussions and the variety of our work, we like
to think that we are not too elementary.

Through this course we have all been helped to develop aesthetic standards
of personal workmanship and evaluation of works of art. For all our number, those
who aim seriously to reach art’s highest pinnacle, are those who take only the dilet-
tante’s interest in art, we can confidently re-echo the poet’s words,

“Men, my brothers, fellow-workers, ever-finding something new,
That which they have done but earnest of the things they shall do.’
—Tennyson, ‘’Locksley Hall.’

DRAWING I

LIKE THE DOUGHTY “CHRISTIAN” OF
“Pilgrim's Progress” we have come through the ‘Slough of Despond,”” and mastered
our own special giants, “Proportion,” “Perspective,” and their kindred brothers.
At first we could not see the trees for the leaves, and we thought we might be

eternally lost in the dread forest of “Elementary Drawing.” The forest appears
no longer dreadful or endless, for many of our fellow students have slowly but surely
worked their way to a higher, brighter plain of accomplishment where the errors
and falterings of early months seem distantly remote. For a time it seemed that
the witches, “Camouflage” and ‘’Superficiality’’ had surely ensnared some of our
fellows. However, Mr. Binning steadfastly gave advice, made pertinent suggestions,
and helped us to overcome the lure these witches held out. With pardonable pride
we now notice that, after only six months’ training, some students are showing in
their work that characteristic “little something that is everything,” without which
no art is truly art.

Our experience in elementary drawing has been varied and stimulating.
We started with still life, vase forms, bottles, fruits, and bits of drapery. Out of this
period of haphazard endeavour we gradually developed a more refined method of
attack and, with deeper understanding, there grew greater interest and conse-
quently better results. This fact has become increasingly apparent in our recent
drawings of figures, anatomical structures, statuary, and complex composition.

One noteworthy feature of our classes is the prevailing spirit of informality
and seriousness. Mr. Binning frequently introduces discussions about the qualities
of old and modern masters which are germane to the subject under consideration.
These discussions evolve into pleasantly controversial conversations that would
amaze the learned schools of philosophers. There is variety in our class, too. For
example, two students are being instructed in jewelry design, one is developing a
talent for perspective, and another is learning certain fundamentals in industrial
design. Because of our interesting discussions and the variety of our work, we like
to think that we are not too elementary.

Through this course we have all been helped to develop aesthetic standards
of personal workmanship and evaluation of works of art. For all our number, those
who aim seriously to reach art’s highest pinnacle, are those who take only the dilet-
tante’s interest in art, we can confidently re-echo the poet's words,

“Men, my brothers, fellow-workers, ever-finding something new,
That which they have done but earnest of the things they shall do.””
—Tennyson, “Locksley Hall.”