In the squaring method even an ordinary reduction or enlargement requires from 16 to 64 squares, the latter with boundary numbers 1, 2, 3, 4, 5, 6, 7 and 8 on at least two sides of both original and copy. In this maze the draftsman is apt to become "lost." In the method I have adopted, the triangulation forms a pattern which aids the eye to keep within the proper corresponding spaces. That is, each triangle, in the original and in the drawing under way, occupies a distinctive and individual position not observable in the squares.
I have not space here to describe the numerous applications and advantages of the triangular method, nor even to describe its operation beyond giving a diagram of its most
primitive, simplest form, as shown in the accompanying figures.
These figures merely show the progress of the method as used in one of the earliest lessons in my forthcoming book, "Drawing Made Easy." A square or other parallelogram is drawn first, the oblique, vertical and horizontal lines being added.

In a drawing in which the detail is complex, the triangles are easily subdivided, both in the original and in the drawing to be made from it.
Not alone is this method superior in every way to the "squaring" process, but it provides a sure and easy way to make regularly proportional distortions.
Not long ago an engraver on old gold and silver ware came to me. He was distressed. An order had been given to him in which it was required that certain heraldric devices should appear on some silver plate. The devices included the pleasant-looking creature shown in Fig. I.
The engraver's trouble was that the mythological animal had to be reproduced in narrow vertical and horizontal panels,
