Blackboard Drawing
Date: 2010-06-11T00:00:00+00:00

The Project Gutenberg eBook of Blackboard Drawing

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Blackboard Drawing

Author: Frederick Whitney

Author of introduction, etc.: Henry Turner Bailey

Release date: June 11, 2010 [eBook #32781]
Most recently updated: January 6, 2021

Language: English

Credits: Produced by The Online Distributed Proofreading Team at
https://www.pgdp.net (This file was produced from images
generously made available by The Internet Archive/American
Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK BLACKBOARD DRAWING ***

Blackboard Drawing

A MONOGRAPH

BY

FREDERICK WHITNEY

OF THE
STATE NORMAL SCHOOL
SALEM, MASSACHUSETTS

SIXTH EDITION

PUBLISHED BY
Atkinson, Mentzer & Company
Boston   New York   Chicago   Atlanta   Dallas

Copyright, 1902-1903, by The Davis Press
All Rights Reserved

Foreword

This monograph is a reprint of a series of articles first published in the second volume of the magazine now known as The School Arts Book. The articles attracted wide attention on account of their timeliness and their illustrations. The plates were made from photographs of actual work upon the blackboard by Mr. Whitney, and are undoubtedly the most attractive blackboard drawings ever published. The demand for these articles has been so great that the original editions have been exhausted. They are republished in this form in the hope that they may influence yet more strongly the increasing number of teachers who find the blackboard indispensable in teaching.

HENRY TURNER BAILEY

September, 1903

BLACKBOARD DRAWING
one of the teachers who read “The School Arts Book” from month to month doubt in the least the value of drawing in our schools, and there is no need of the slightest argument in its favor. Even in the lowest grades the teacher appreciates drawing as the natural expression of the thought and experience of the child; a spontaneous activity, having its relation to life, not a thing apart from life or an end in itself. Throughout the grades the teacher should cultivate this spirit of freedom and interest, remembering that drawing is a language to be used as naturally and freely as one written or spoken.

Why should these suggestions not apply to the teacher as well as to the child? Why should she not express herself, the interests of school life and of the pupil in the same free, natural way?

Upon entering a schoolroom the teacher finds the blackboards bare and dull. There is little in the line of decoration in the room and in order to relieve this monotony she stencils a border, the picture of some great hero or well-known author, draws with colored chalk the inevitable flags crossed at right angles or puts upon the board some design which possibly may or perhaps may not have relation to the needs of the children, their life and activities, or the industries of the school.

When the drawing on the part of the child becomes the natural and free expression of the activities and interests of every-day life, and the teacher uses this graphic language in the same manner, the blackboards will be found constantly in use and upon them an ever changing series of drawings. These drawings should be illustrations of the geography, history, literature, nature work or any other line demanding their aid. Let them be drawings upon which a few moments of time are spent, a free sketch illustrating the object or topic as a means of making the subject clearer in the minds of the pupils, not a picture produced by the labored use of chalk and eraser, to be kept upon the board indefinitely as a bit of decoration.

Larger Image

Larger Image

Let me suggest the practice of the following strokes and later we will try their application in various drawings recommended by teachers from several schools. In these illustrations use about two-thirds of a stick of soft blackboard crayon, using the large end and drawing with the side of the chalk. This use of the crayon will produce any tone from white to neutral gray.

No. 1. Place the chalk in a horizontal position and try a smooth even stroke one or two feet in length.

Larger Image

No. 2. A similar stroke in a graded scale letting the pressure become less and less toward the lower end of the stroke.

No. 3. Reverse No. 2 hardly touching the board at first and increasing the pressure toward the lower end.

If charcoal is used for the lower tones, a very satisfactory scale may be produced as in the last illustration on Plate 1.

No. 4. Combine No. 2 and No. 3 in a single stroke. Try all these strokes again and again in a vertical, horizontal, oblique, and curving direction until each can be made in a second or two.

Larger Image

No. 5. Place the chalk in a vertical position upon the board, draw downward, gradually twisting the chalk to a horizontal position.

No. 6. Place the chalk horizontally and draw downward, twisting the chalk to a vertical position.

No. 7. These spots are No. 5 and No. 6 combined. Try them with a short, quick motion of the chalk.

No. 8. Combine two spots similar to the first at No. 7. The leaf in outline requires several lines while the drawing representing the surface was made with two strokes and one line for the midrib and stem. Try several leaves of different shapes using the stroke suggested on this plate. The pond lily is drawn with this same stroke reduced.

No. 9. Make a scale from left to right by pressure upon one end of the chalk, while giving a vertical stroke. Try this in various directions. Use two parallel strokes and with a bit of charcoal for accent try the trunk of the birch tree.

No. 10. Use No. 4, Plate 1, in a series of lights and darks. This is made by quick pressure at short intervals without removing the chalk from the board. I have seen this used by science teachers to illustrate vibrations or wave lengths; we shall use it later for pictorial purposes.

No. 11. Place the chalk upon the board in a horizontal position, move rapidly back and forth, gradually shortening the stroke, and repeat this exercise in various positions and directions.

No. 12. This drawing was made by the use of No. 11. Draw first a few lines suggesting the growth of the fern, then add the strokes letting the fern dictate the direction, accenting the lighter values by a stronger pressure.

Draw the upper leaf on Plate 4 by the use of stroke No. 6, hardly touching the board for the gray tones, then adding the white tones with a stronger pressure upon the chalk.

Are we sure that we have not tried to make drawing an end rather than a means? Let us remember that there must be a motive prompting the work, an interest or experience back of the drawing which demands expression. In the color work, design, and manual work, the influence of this thought has already been felt. The object needed in the schoolroom or for the individual use of the pupil is the object designed and made. With this new motive, there comes a growing appreciation and interest on the part of the child.

The blackboard drawing should be governed by the same spirit, the need of the hour, just as surely as the child’s work at his desk, and when the teacher realizes this fact, he will never lack a subject for illustration. For instance, in the fall the class may be studying trees, and drawing will be found indispensable.

The children are studying some tree near at hand, comparing trees to discover their points of likeness and difference, collecting pictures of trees and mounting these to illustrate their description, and with this study they are becoming more or less familiar with our common trees. If the teacher should go to the blackboard to enforce a point in regard to the general form of the tree, direction of branches or characteristic details, he will find such sketches a great help. It is the teacher who does such illustrative drawing who holds and interests his class.

Let us try a few simple applications of the practice previously suggested, using the trees as our topic for illustration.

No. 13. Draw a gray, vertical line suggesting the characteristic line of growth in the pine tree. Use the stroke given in No. 11 for the foliage. To represent the foliage in a mass, simply shorten or lengthen the stroke of the chalk, using a greater pressure here and there. With the side of the chalk represent the trunk of the tree where visible and with the point indicate branches.

Larger Image

Certain laws govern blackboard work as well as object drawing on paper. A sketch of the object as a whole must be made first and the massing of the lights and shades must be done before detail is attempted. The general outline may often be sketched with charcoal and corrected when the chalk is used.

Larger Image

No. 14. Try the poplar tree. Again the vertical line is characteristic. Indicate this. Mass the foliage as before, using a vertical rather than a horizontal stroke. Do not remove the chalk from the board until the mass of foliage is represented and remember to give a light pressure for the grays and a strong one for the whites.

It is not the greatest quantity of chalk which gives the best drawing any more than the greatest quantity of pigment in our color work which gives the best painting. Represent trunk and branches as in No. 13.

Larger Image

No. 15. A bit of landscape indicated by a few strokes of chalk often renders the drawing much more pleasing and at the same time suggests the environment of the tree. The lines used here are those given in No. 1, No. 9 and No. 11, and are easily represented.

Larger Image

No. 16. The willow is another interesting tree for study and is drawn in a similar manner to those previously mentioned. The stroke of the chalk for foliage is a curving one rather than horizontal as in the evergreen or vertical as in the poplar.

No. 17. A suggestion of distance will frequently be found a good background for a tree, building or other similar foreground. The distance is treated in exactly the same manner as the foliage in many of the trees, the side of the chalk giving a gray, uneven surface. In drawing the water represent the reflections with vertical strokes and the ripples with horizontal ones.

Larger Image

No. 18. Make the hillside with two or three gray strokes of No. 1, the clouds with a similar curving stroke, and the trees with charcoal, using the same treatment as in the chalk drawings.

Larger Image

No. 19. Experiment with a few vegetables, or fruit, using the strokes which the illustrations will readily suggest. For the grapes use a short piece of chalk and a quick, curving stroke, the point being used only in accenting.

No. 20. The basket is represented by using No. 10, Plate 3, for the surface and the point for the details. Experiment a while with the handle, begin at the lower end at the left, draw upward, to the right and downward.

Larger Image

The tumbler is represented by using a few gray vertical strokes of the chalk. Accent with chalk for high lights and a bit of charcoal for darks.

In the other objects on Plate 8 let the surface of the vegetable dictate the direction of the stroke, keeping the work as simple as possible. See with how few touches an effect can be obtained. A variety of illustrations may be attempted, all of which have been suggested by grade teachers as useful in many lines of school work.

Larger Image

Larger Image

An outline drawing upon the blackboard expresses much, and is often better than any attempt at light and shade or variety in tone, yet there are frequent occasions when the representation of solidity or of surface is better obtained in illustrative work by the use of the side of the chalk and charcoal. In such cases leave the blackboard for the middle values and use the charcoal and chalk as in previous sketches.

For instance, make a drawing of the wigwam and canoe, adding some of the tree sketches upon which we have previously worked or simply indicating a few tree trunks.

Larger Image

No. 21. Make a light sketch either with chalk or charcoal, indicating the general form of the objects, or if one has a good idea of form, he may make the drawing without outlining. A few oblique strokes handled in the same manner as the gray tones given in No. 1 will produce the wigwam. The details may be added with chalk or charcoal. A single horizontal stroke curving a bit at either end gives the general form of the canoe. If a few minor markings are given, the children will have no doubt of your intent in the sketch. For the tree trunks use the stroke suggested by No. 9, and for the water consult No. 17 and No. 18, Plate 7.

No. 22. The woodland appeals to all children and is frequently the topic in history, geography, botany, literature, and nature study as well as drawing. A few broad, gray strokes will give the sky. With a cloth, erase tree tops for the distance and a few vertical lines for tree trunks. Use the vertical strokes suggested in No. 9 for the light tones in the trees and charcoal for the darks to produce the cylindrical effect. Mass the foliage as in the trees previously drawn and add the necessary markings for branches.

No. 23. A landscape with the old house in the foreground gives an opportunity to put into practice many of the previous suggestions.

No. 24. This sketch was asked for as an illustration for the study of colonial history. In both No. 23 and No. 24 the sky is drawn by the use of the horizontal stroke and the clouds, trees, and distance erased with a bit of soft cloth. The strokes used in the buildings and fence are evident and need no interpretation.

Plate No. 12 shows two looms made by the children, and the beginning of the rugs they are weaving from their own designs. The illustration is from the blackboard drawing made by the teacher to show how the Indians made and used a loom. This illustration has been used in history, geography, and manual training.

Lessons in geography often require quick illustration. The school building may not be well located for this study, or the teacher is not fortunate enough to have a good series of pictures for the use of his class. In such cases, or in any case, even when he has other material, blackboard illustration will help the children. No. 25, No. 26, and No. 27, Plate 13, suggests useful sketches.

Such topics as the clouds, the mountains, the plain, the valley, the brook, the waterfall, the beach, the ocean, the cliff, and innumerable others are easily and quickly illustrated in this manner. The teacher who in a few moments can take advantage of this graphic language finds the lessons a delight to himself and to the class.

Animal drawing is an extremely interesting lesson for the children, at the same time a rather difficult one for many teachers. On Plate 14 will be found a few drawings suggesting how few lines will indicate the general outline and how few strokes of the side of the chalk will suggest the surface.

There are special days, seasons, or occasions when blackboard drawings may be used to advantage for illustration.

Thanksgiving stories are anticipated by the children, and Thanksgiving pictures as well. These old, old scenes, ever new, appeal to us all whether pupils or teachers. There are the settlement of New England, the first Thanksgiving, the harvest time, the family gathering, and numerous events which suggest illustration. In many schools there is the delightful custom of remembering some unfortunate family. The children bring to the school gifts of clothing, groceries, vegetables, etc., and assist the teacher in packing these good things, and great is their joy in giving.

Larger Image

Plate 15. This drawing will answer as an illustration of harvest time, or perhaps the gift itself to be packed and sent away. Our lesson in object drawing may be from these or similar objects. In this sketch a few vertical strokes give the background and box, similar curving strokes the barrel, and horizontal strokes the floor. The vegetables are drawn by using the suggestions found in No. 9, Plate 3. The kernels of corn are represented by the use of a very small piece of chalk and stroke No. 10, and the husks by using No. 5, No. 6, and No. 7, Plate 2. The details are added with the point of the chalk, and charcoal is used in the shadows.

Larger Image

Christmas time of all seasons in the year is the one the children most love, and there are innumerable stories and Christmas lessons for the little ones. Let me give you a few verses I heard in the first grade and the illustration used.

Christmas-day was coming, Christmas-eve drew near;
Fir-trees they were talking low, at midnight cold and clear,
And this is what the fir-tree said, all in the pale moonlight,
“Now which of us shall chosen be to grace the ‘Holy Night’?”

The tall trees and the goodly trees raised each a lofty head,
In glad and secret confidence, tho’ not a word they said,
But one, the baby of the band, could not restrain a sigh:
“You all will be approved,” said he, “but oh, what chance have I?”

“I am so small, so very small, no one will mark or know
How thick and green my needles are, how true my branches grow;
Few toys or candles could I hold, but heart and will are free,
And in my heart of hearts I know I am a Christmas-tree.”

The children told of the woodman who took his axe and started in search of a tree for his baby at home; of the delight of the little tree at being chosen, and of the joy of the little daughter when she saw it arrayed and holding her Christmas gifts. The accompanying drawing will serve as an illustration for this story or as a sketch of the forest in winter.

Plate 16. In this sketch use the strokes suggested for illustrations No. 13, Plate 5, and No. 22, Plate 10. Use the side of the chalk, hardly touching the board and keeping the drawing very gray. Accent with a strong pressure the parts representing snow.

This is but one suggestion. There is the inevitable Christmas tree with the toys and gifts, Santa Claus bearing his bundle of gifts or going down the chimney, and the fireplace with the stockings, all of which are quickly drawn in the manner given in previous sketches.

Washington’s birthday brings to mind the stories of his life, and pictures may be found illustrating these incidents. One or two which all may see and discuss will prove valuable.

Plate 17 will show a few drawings which have been used to advantage.

A. Near Washington’s Birthplace.
B. Mt. Vernon.
C. An old Stage Coach.

In these sketches the strokes used are evident.

Again, Patriots’ Day and Memorial Day present many ideas in regard to blackboard drawing and decoration. Some of these illustrations are deplorable. I well remember one schoolroom which I visited and the drawings which were upon the boards. On one side was a sketch of a pyramid of cannon balls, next, several guns stacked, then two swords crossed at right angles. On another side was a cannon, a wreath of some sort around the stenciled portrait of a dead hero, a tombstone with an inscription, and so on about the room, everything suggesting war, misery, bloodshed, and death.

Can we not find something other than such illustrations, and bring to the thought of the children love of home and country, and a reverence for those who gave their lives for their protection?

Larger Image

I have seen Plate 18 used in a schoolroom and feel sure it performed its mission.

Larger Image

Plate 19 will perhaps suggest its use. In these drawings the board is slightly covered with either chalk or charcoal. In A about ten strokes of the chalk and the charcoal outline finish the drawing of the lantern. B is done almost entirely with charcoal, the chalk being used only in a few gray tones and the touches of light in the distance. C is produced by using the chalk in horizontal strokes and wiping out the trees with a cloth. A few touches of charcoal will give the foliage, and the bridge is added with simple strokes with the side of the chalk.

Larger Image

Larger Image

Plate 20. This was taken from a Kindergarten room in which the children were celebrating Froebel’s birthday. The drawings upon this plate were made by the use of the simple strokes given or suggested in the plates shown in the first part of this article.

There are other days of local interest which are celebrated in various localities and the grade teacher will find that the use of illustrations will appeal to the children, hold their interest and impress upon them a central thought in the lesson.

Whether teaching drawing or some other study in the curriculum, the teacher aims to make his work effective, and if he should once try blackboard illustration, he will find it an invaluable aid towards making clear or emphasizing important points.

*** END OF THE PROJECT GUTENBERG EBOOK BLACKBOARD DRAWING ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

Table of Contents

- Blackboard Drawing
- A MONOGRAPH
- FREDERICK WHITNEY
- Foreword
- BLACKBOARD DRAWING
- THE FULL PROJECT GUTENBERG LICENSE