pproached, that of outline directly related to the mental idea of form with its touch association on

ng more to the one side or the other, as the case may be. But it is advisable for the student to study both separat

value of a line. And the hand is also trained to definite statement, the student being led on by degree

of planes. And so by degrees he will learn accurately to observe and portray the tone masses (their shapes and values) to which all visual appearances can be reduced; and he will gradually arrive at

d what have been called sculptor's drawings alone attempted, the student will lack knowledge of the tone and atmosphere that always envelop f

ies of contours and the construction of form will be neglected. And he will not understand the mental form stimulus that the d

awing from the life. This is sufficiently well done in the numerous schools of art that now exist all over the country. But, at the same time (and this, as far as I know, is not done anywhere), the student should b

gra

MAY BE LOOKED FOR IN THE

te

COLLECTION OF CHARLES RIC

forms. Compare with the diagram opposite, and not

sea. With brushes and paint he is presented with a problem of form expressions entirely new. And he usually begins to flounder about, using his paint as much like chalk o

advances, the one study will help the other. The line work will help the accuracy with which he observes the shapes of masses, and when he comes to light and shade his knowledge of tone values will help him here. United at last, when complete light and shade has been added to his outline draw