Pennell Institute - Whirlpool Yearbook (Gray, ME)

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THE LIFE HISTORY OF A FROG The frog's eggs are leid in the water, covered by a gelatinous mass. The warmth of the sun causes them to grow into small tadpoles. When they hatch, they live under vr.tor ani brestbe by means of external gills. They resemble fish in many weys. Тпеу have a heart consisting of two chambers, a teil for lecomotion, ar? gills for bre thing. Later four pairs of internal gills are formed end those on the outside of the body disappear. The tadpoles live in stagnant water and live by sucking in tiny water plants thet grow in the wa!or in which they live. А8 they grow, the hind legs start, The lungs begin to develop. When the hind legs are developed, the front ones start. After this when the front legs аге full grown they come cut of the water to breathe air and live above the surface of the water, They now live largely on insects which they catch with their tongues. At this|stage the tail is also absorbed. They now have aheart composed of three chambers instead of two. In the winter the frogs burrow into the mud and hibernate, They breathe through their skins. А relative of the frog is the axolott of Mexico, which may live all its life in tho aquatic form or may or may not change to the air breath- ing ferm. -- James Russell, 158 IT PAYS TO ADVERTISE Mary Jo was the attractive and accommodating menager of the Apple Blossom Grove, which was a now little tea room struggling for success. Although her motto was It pays to vuvertise, financially she was un- able to do this until she met the three wealthy Melrose sisters. They were single, but had matrimonial aspirations, Taking an interest in the Apple Blossom and its proprietor, they сасгебју inserted en advertise- ment in the New York Timos and introdoced their circle of intimate friends, She, wishing to do semething for them in return, conceived the idea of advertising for prospective husbands for her benefactors, The next Sunday, Mary Jo skillfully seated the sisters with the three most ргош- ising applicants. They became acquainted, and within two months there was a triple wedding. Mary Jowas maid of honor and, when thanked by the bridal couples for her intervention, she murmured, It pays to ad- vertise. -- Nancy Webb, !58

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the story in a series of key sketches, the director and musical director are presynchronizing the action to the music. Every little sauare in the layout sheet represents a measure of music. In each square is indicated the action which will баке place during that special mensure of music. Thus the musical director is nble to compose music which will keep step with the story; and the director, to keep the action in the tempo of the music, Next, the director makes out his production chart. It describes the picture scene by scene; tells the footage allowed for each; and names the animator who will draw each bit of action. The production chart completed, the director compiles an exposure sheet. Every line represents a frome ‘г completed drawing which, when photographed end to end, will make the aninoted cartoon we see on the Screen, Sixteen frames to each foot of film! Twenty-four “a second! Топ to twelve thousand frames a picture! And а single frame is usually a composite of two or three sketches suner-inpesed upon euch other and the background. On the exposure sheet, the musical director marks the exact movement at which every beat of the music will oocur, Thus, if the action is to be in rhythm, the onimator will complete each movement of his character or animated object on a beat of music. In short, the exposure sheet makes it possible to synchronize action and music to within one twenty- fourth of one second or one-sixteenth of one foot of film, With а com- plete exposure sheet in their possession, the animator ond composer can сету on their work а thousand miles apart and still he sure that action and music will harinonize when tke completed sound end film are put to- gc ther. Now the animators get down to business, In the center of their drawing boards is a square of glass, and under the glass is a powerful electric light, which makes the drawing paper transparent. When a pencil sketch is completed, another piece of paper is placed over it ond, thanks to the light, they are able to trace most of the rext drawing == oll but that slight change in position of the charncter which carries on the movement -- an arm slightly higher -- a mouth open а trifle wider --those trivial changes in position which make cartoons move, The senior animators draw only the major phosos of а movement. The juniors and apprentices are allowed to do all the less important work, For example, the giant is chasing Mickey; it will take sixteen frames to complote each step. Tho head animator will make drawings one, sight, and fifteen; the junior animator will draw the other thirteen phases of the movement; the apprentices will jui in the minor details, When a scone is animated, the drawings are turned over to the inking and printing department where young women trace each sketoh with India ink on transparent and highly inflammable celluloid sheets, These trace

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GETTING OUT THE SCHOOL PAPER Whether as an editor, manager, reporter, scribe or subscriber, you are a part of a vast group of studonts in the United States who publish or support 20,000 school papers, and you are in some way responsible for the success of the stu?snt publication in your own schcol. So, if your school paper is to be a good one, if it is to be a real force in your school community as well as a satisfaction to its reeders; it must be organized, developed, and maintained in an efficient and businasslike WEY з | Until rather recently, the school paper was locked upon as a kind of extra activity that might make some fun for a group of students, and, if things went wall, pescibly bring credit to the school. Lacking ex- perienced leadership, such publications often ended soon after the ink was dry on the 21:55 issue, Other schools, however, were able to get on oreditably with their tasks and produce renlly excellent papers, distri- pute them, and show no deficit, Today there are many school papers throughout the country that con- vain news stories, features, and editorials that often cause profession- al editors a good deal of amazement, and sometimes, probably make them enviouse Student publications that succeed are almost always under the super- vision of a faculty member. Hs is to the school journalists what the football coach is to the football squad and the varsity team. And you е1 know about how far even the most anbitious and willing football play- ers are apt to get without a coach. The faculty adviser is the experienced journalist who can carry over the spirit and learning from one staff to the next. Since he is in con- stant touch with all the students at work on the publication, his word snould be final in making additions to the staff and in prompting the ine serests of the paper. arious methods of selecting editors, managers, and assistants hava been tried, but the one generally regarded the most successful is the one in which this power is placed in the hands of the ecvisor, just as the athletic coach selects the members of his team. In tre end he is really the only person who knows all about the many stu- dents to be considered. Xot only must the advisor show the keenest judgment in his selections gf staff members, he must ‘mow make-up, advertising, promotion of oirou- lation, and other subjects directly concerned with the direction of the рарог• And, in addition to 211 or these abilities he must ђе a leader in such a sense as со command the respect md loyalty of the students, she rest of tho faculty members, ana the members of his staff. Since it is obviously true that a paper cannot be better than the jeople who make it, one of the most important factors in maintaining a