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By G.Vilppu

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On the same principle we may arrive at the spiral curve, or volute. Let us begin with a tall upright line, as tall as our paper conveniently allows, and at right angles to it at one end draw a shorter horizontal line, then a shorter line at right angles, and so on, so that we arrive at the figure of the Greek fret, which is then broken down by cutting off the angles as in the preceding examples (Figs. 5, 6). It will be seen how the curve is accelerated by the progressive shortening of the straight lines composing it, while the angles are kept similar.

3). On the same principle we may arrive at the spiral curve, or volute. Let us begin with a tall upright line, as tall as our paper conveniently allows, and at right angles to it at one end draw a shorter horizontal line, then a shorter line at right angles, and so on, so that we arrive at the figure of the Greek fret, which is then broken down by cutting off the angles as in the preceding examples (Figs. 5, 6). It will be seen how the curve is accelerated by the progressive shortening of the straight lines composing it, while the angles are kept similar.

Paul Renouard, who used chalk more than anything else, always had about a dozen ready prepared, so that he could select a suitable point at will, without having to stop working for the irritating job of sharpening one. He used Hardtmuth’s chalks in holders; as also did Phil May when working in chalk, though most often he made his studies in lead-pencil. Beautiful results are obtainable with “sanguine” or red chalk. The writer has little experience of it in working, but has found certain kinds to be of a greasy nature, rejecting water-colour.

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