NOW for our summary. My method of teaching in this series has been one of suggestion, and very often I have seemingly gone off at a tangent, to hint at an application of some rule; in so doing perhaps the chapters seem to lack continuity, but I think several readings of them will show that there has been a logical development throughout. Perhaps the following summary will bring various parts together and fix all in the memory.

First, the student is advised to practice drawing from objects, and to learn to get something on the paper as soon as possible, and then by further labor to develop this something. There should be at first, lines and markings showing about where the different parts of an object should come. In the Lautrec drawing the lines are not meant for a bicycle or the calves of a man’s legs, but the lines represent about where the bicycle and the man’s calves should come. Anything that can be seen may be “placed” in this way—a tree, a house, a cloud. After the student has learned to “place” {212} ZIMMERMAN AND HIS MACHINE. After a lithograph by H. de T. Lautrec, from the Revue Franco-Americaine. This is given as an example of rapid manner in placing a figure. In sketching a figure it is advisable always to draw the whole figure at once, and never finish the head first and then go to the hand. In a few lines, a correct draftsman may indicate a great deal. It is also given as an example of a reproduction from a crayon drawing. This is actually reproduced from a print, but the artist originally drew on a stone with crayon, and crayon on paper will reproduce by photo-engraving as well as this. Lithograph crayon may be used, or an ordinary hard crayon (the softer the better), or Hardtmuth’s crayon pencils. Charcoal paper may be used, or any of the special crayon papers. The more grain on the paper, the better. {213} objects fairly well, he finds that by going over his sketch lines, and improving them a little, he can make outline drawings. Outlines are frequently used for finished effect as seen in the Beggarstaff poster.

Of course, this preliminary “placing” of the lines is difficult until the eye is trained to see correctly. I have Portrait caricature of the French actor Dailly, from a French periodical. Half-tone from a wash drawing. known beginners who could hardly grasp the idea of what an outline is, so I suggest the excellent method of trying to see objects as silhouettes. It is not a bad plan to put a whisk broom, a screw-driver and a hammer against a window pane and draw them in silhouette. {214} The Beggarstaff is very interesting from this point of view—if you will think of the cocked hat as a mass, like the Quaker hat, you will find it easier to draw its outline than as if you see it in all its component parts, as in the Penlick drawing. We have given previously many silhouette illustrations to emphasize this method of seeing things in mass. We also make this point: that the ability to see objects in silhouette is helpful, not only for the purpose of representing an entire object in silhouette, but also because details can frequently be thus represented with excellent effect. For example, the hair and mustache in the Penlick, and the hair in the Dailly are in silhouette.

Besides outline and silhouette, shading may be employed by the draftsman to bring out form. The Dailly differs considerably from the Beggarstaff—it is fully shaded, and shading brings out the forms of the planes and muscles of the face.

M Pen drawing by Albert Mantelet. antelet’s initial gives us a third kind of drawing. It is partly shaded. The Sphinx design is an excellent example of shading contrasted with silhouette. In order to learn to shade, it is well to draw from white objects, such as plaster casts or pasteboard boxes, placed in a good light, which should come from one direction only. It makes little difference what material is used to draw with; your aim should be to accustom yourself to distinguish light and shade. If you can distinguish it upon the object it is not difficult to draw it on paper.