must be reduced to terms of a flat surface before they can be expressed on paper. And this is the first difficulty that confronts the student in attempting to draw a solid object. He has s

Solids as

drawn, and as we have two eyes, therefore two points o

aking some black thread, pass it through the point A with a needle (fixing the end at this point with sealing-wax), and across the opening to the corresponding point on the opposite side. Take it along to the next point, as shown by the dotted line, and pass it through and across the opening again, and so on, until B is reached, when the thread should be held by some sealing-wax quite taut everywhere. Do the same for the other side. This frame should be held between the eye and the object to be drawn (one eye being closed)

ram

TUDENTS TO OBSERVE APPE

tions of Sa

, the placing of these points would be a matter of considerable difficulty. But if you assume a vertical line drawn from A, the positions of B, C, D, and E can be observed in relation to it by noting the height and length of horizontal lines drawn from them to this vertical line. This vertical can be drawn by holding a plumb line at arm's length (closing one eye, of cou

gra

N USED IN OBSERVING FIG. X, MASSES; FIG

d on your needle, without moving the position of your eye, you can move your outstretched arm and compare it with other distances on the object. It is never advisable to compare other than vertical and horizontal measurements. In our diagram the points were drawn at random and do not come in any obvious mathematical relationship, and this is the usual circumstance in nature. But point C will be found to be a little above the half, and point D a little less than a third of the way up the vertical line. How much above the half and less than the third will have to be observed by eye and a correspond

te

EFORE THE STUDENTS OF THE GO

t directions of lines can

tance that does not vary in the object (if a living model a great many distan

ll be of great use to you when you wish to place a figure in an exact position in a picture. The next thing to do is to get the relative heights of different points marked upon this line. The fold at the pit of the stomach was found to be exactly in the centre. This was a useful start, and it is generally advisable to note where the half comes first, and very useful if it comes in some obvious place. Other measurements were taken in the same way as our points A B C D E in the diagram on page 87 [Transcribers Note: Diagram IV], and horizonta

in your

had an irregular shaped one, such as is drawn in Fig. X, page 87 [Transcribers Note: Diagram IV], he would proceed to invest it with straight lines, taking advantage of any straightness in the boundary, noting the length and the angles at which th

ing are to occupy. I have produced these blocking-out lines beyond what was necessary in the acc

rve the Sha

point at which the curvature changes from one direction to the other: point C. By drawing lines CA, CB and noting the distances your curves travel from these straight lines, and particularly the relative position of the farthest points reached, their curvature can be accurately observed and copied. In noting the va

e XV

RATING METHO

ing in, as shown in further leg. 3rd. Drawing in the forms and shading, as shown in front leg. 4th. Rubbing with fin

awing

subject with some feeling for form. Here knowledge of the structure of bones and muscles that underlie the skin will help you to seize on those things that are significant and express the form of the figure. And the student cannot do better than study the excellent book by Sir Alfred D. Fripp on this subject, entitled Human Anatomy for Art Students. Notice particularly the swing of the action, such things as the pull occasioned by the arm resting on the farther thigh, and the prominence given to the forms by

e expression. This, of course, is bad, and yet the character of a curved line is hardly to be accurately studied in any other way than by observing its relation to straight lines. The inclination and length of straight lines can be observed with certainty. But a curve has not this definiteness, and is a very unstable thing to set about copying unaided. Who but the highly skilled draughtsman could attempt to copy our random shape at Fig. X, page

er has got his eye trained to such accuracy

Shape of the Background

entrate the attention on the background rather than on the form in this blocking-out process. And in fact, in blocking out any object, whether foreshortened or not, the shape of the background should be observed as carefully as any other shape. But in making the drawing proper, the forms must be observed in their inner relations. That i

series of O

s. One form overlaps another, like the lines of a range of hills. And this overlapping should

ad

aid the expression of form. It is not advisab

and surrounding objects, called cast shadows. The parts of an object reflecting the most direct light are called the high lights. If the object have a shiny surface these lights are clear and distinct; if

wall of a room. Light travels in straight lines from the window, strikes the surface of the cone, and is reflected to the eye, making the angle of incidence equal to t

reflecting surface, such as a looking-glass has, this would be all the direct light that would be reflected from the cone to the eye. But assuming it to have what is called a dull surface, light would be reflected from o

gra

C; POSITION OF EYE D. ILLUSTRAT

gets gradually less as the surface turns more away; until the point is reached where the shadows begin, at which point the surface positively turns away from the light and the reflection of direct light ceases altogether. After point 3 there would be no light coming to the eye from the object, were it not that it receives reflected light. Now, the greatest amount of reflected light will come from the direction opposite to that of the direct light, as all objects in this direction are strongly lit. The surface of the wall between points E and H, being directly opposite the light, will give most

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INKS SUGGESTING FULLN

e edge of the object than you would have expected. With the light directly opposite point 7, one might have thought the highest light would have come there, and that is where many students put it, un

greatest amount of reflected light, and therefore receiving least. The lightest part of the shadow will be in the middle, rather towards the side away from the light, generally

seen in such a simple figure obtain throughout the whole of nature. This is why the much abused drawing and shading from whiten

ple. Nothing is more awful than shadows darker in the middle and gradually lighter towards their edges. Of course, where there is a deep hollow in the shadow parts, as at the armpit and the fold at the navel in the drawing on page 90 [Transcribers Note: Plate XVIII],

rns more away, until a point is reached where no more direct light is received, and the shadows begin. And in the shadows the same law applies: those surfaces turned most towards the source of reflected light will receive the most, and the amount received will gradually lessen as the surface turns away, until at the point immediately before where the half tones begin the amount of reflected light will be very

jects the problem is complicated by the different tones of the local colour. In line drawing it is as well to take as little notice as possible of these

hey are turned away from the light, will naturally be darker, and against a light background your subject has an appearance with dark edges that is easily expressed by a line drawing. Strong light and shade effects should be left for mass drawing. You seldom see any shadows in Holbein's drawings; he seems to have put his sitters near a wide window, close against which he worked. Select also a

drawing is the beauty of contours, and this is marred by heavy light and shade. Great draughtsmen use only just enough to express t

ty will find one that suits his temperament. But I will try and illustrate one that

ed by means of lines drawn parallel across the drawing from left to right, and from below upwards, or vice versa, darker and closer together when depth is wanted, and fainter and further apart where delicacy is demanded, and varying in thickness when gradation is needed. This rule of parallel shading is broken only when strongly marked forms, such as the swing lines of hair, a prominent bone or straini

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THE PICTURE "LOVE LEAVING PSYCHE

onvenient parallel direction unles

the lines in shading adds considerably to the force of the relief, and suggests much stronger modelling. In the case of foreshortened effects, where the forms

e; and to suggest a difference of texture or a straining of the form. Lines of shading drawn in every direction, crossing each other and resolving themselves into tone effects, suggest atmosphere and the absence of surface form. This is more often used in the backgrounds of pen and ink work and is seldom necessary in pencil or chalk draw

rossing in all directions so that only a mystery of tone results, atmosphere. And if these four qualities of line be used judiciously, a great deal of expressive pow

y of shadow is wanted and the lines are being crossed in every direction; but never when lines are being used to express

uggest the opaque appearance of the darker passage that occurs in that part of

dows the flow of line often stops, to be replaced by a mystery of shadow. So that a play of swinging lines alternating with shadow passages, drawn like all the other shadows with parallel lines not following the form, is often effective, and suggests the quality of

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IN RED

treatment of ha

l in a direction that comes easy to the hand, unless some quality in the form suggests their following other directions. So that when you are in doubt as to what direction they

ppreciated, but you cannot make him see. How, then, is this appreciation of form to be developed? Simply by feeding. Familiarise yourself with all the best examples of drawing you can find, trying to see in nature the same qualities. Study the splendid drawing by Puvis de Chavannes reproduced on page 104 [Transcribers Note: Plate XXII]. Note the way the contours have been searched for expressive qualities. Look how the expressive line of the b

of what is offered, until their natural powers of appreciation are in a perfect whirlwind of confused ideas. What then is to be done? You cannot avoid the good things that are hurled at you in these days, but when you come across anything that strikes you as being a particularly fine thing, feed deeply on it. Hang it up where you will see it constantly; in your bedroom, for instance, where it will entertain your sleepless hours, if you are unfort

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AT AMIENS "REPOSE"

seated figure by the right angle of the raised arm, and the contrast between the

o Ne

cted with the drawing of a head that might be mentioned, as s

et and the globe containing the lenses and retina. Examining this opening, we find from A to B that it runs smoothly into the bony prominence at the top of the nose, and that the rest of the edge is sharp, and from point C to E quite free. It

m point C towards B there is usually a cavernous hollow, from C towards D there is a prominence. The character of eyes varies greatly, and this effect is often modified by the fleshy fulness that fills in the space between the eyelid and the brow, but some

he modelling of the sphere and not be the same tone all across. Note particularly the sudden change of plane usually marked by a fold, where the under eyelid meets the surface coming from the cheek bone. The neglect to construct these planes of the under eyelid is a very common fault in poorly painted eyes. Note also where the upper eyelid comes against the flesh under the eyebrow (u

nd what interests us here is to note the effect of this order of growth upon its appearance as tone. The meeting of the strong growth of hair upwards with the downward growth between points B and E creates what is usually the darkest part of the eyebrow at this point. And the coming together of the hairs towards D often makes another dark part in this direction. The edge from C to B is nearly always a soft one, the tone melting into the flesh, and this should be looked out for, giving as i

gra

NECTED WITH THE EYES NOT ALW

the eyelids, and have a tendency to grow in an outward direction, so that when the light comes from the left, as is shown by arrow, Fig. 5, the white of the eye at A1 will not be much shaded, and the light tone will run nearly up to the top. But at B4, which should b

he observance of such small points makes a gr

affect the guide lines on which the features hang; and how these actions can be suggested even when the contours are no