number of squares as there are on the
picture in the book. Your paper is much larger than the page of the
book; therefore the squares on your drawing paper must be made much
larger than the squares in the book. It is easy to calculate the size
of the squares you should draw on the paper. Measure the width of the
paper in inches and divide by sixteen (the number of squares across
the picture in the book), and this will give you the figure
representing the size of the squares you are to draw on the paper. If
your drawing paper is thirty-two inches wide, your squares will
measure two inches each way.

THE THIRD STEP--Select one of the squares in Fig. 8 as a starting
point, and then find the corresponding square on your drawing
paper. Having done this, draw a pencil line on your drawing paper,
which will cross your enlarged squares in just the same places that
the line crosses the small squares in the book. Continue the process
until both faces have been outlined on your paper in the enlarged
form. Then, with a piece of soft rubber, erase all of the straight
pencil lines which form the squares, and the remaining outlines of the
two faces will stand out clear and distinct. Already you will have
found that you are more of an artist than you thought you were! This
sheet of paper, with its dim pencil outlines of the picture, is now
ready to be brought before your audience. You must, however, be sure
of one thing: the pencil outlines must be just plain enough for
_you_ to see them without difficulty, but they must be dimmed
with the eraser to such an extent that your audience _cannot_ see
them. Thus you have before you a complete outline of the picture you
are to draw, and, as you speak, you merely trace over these dim pencil
outlines with your chalk. Isn't it simple?

THE FOURTH STEP--All of the preparations up to this time have been
done in the quietude of your own room. You are now ready to place your
drawing board before your audience. After a smile of greeting you
begin your talk. "Let us," you say, "talk for a little while about our
thoughts," and then you proceed until you reach the reference to the
sour-faced man. "Here, for instance," you continue, "is a man with a
face something like this:" and you begin your drawing, starting
anywhere you choose. Take your time, and when you have finished the
sour face, the audience will show its appreciation with a heartily
responsive smile. This completes Fig. 7. Proceed then wit