To copy well, or even tolerably, is all that most amateurs ever arrive at: to draw from nature, originally, seems placed out of the reach of all, but those who devote a great part of their existence to it; and yet, to copy nature, is a goal that all would reach if they could! Try it, and behold the miserable production that is the result! without a previous devotion to its laws.
Instead of for ever copying, it will be found of more importance to be continually exercising the memory. 'A mere imitator or copyist,' says Dagley, 'dare not lose sight of his model, lest he should lose himself!'
In sketching from nature, always survey the object at every point the nature of the ground will permit, as it prevents the disappointment arising from having completed your work, and afterwards seeing it from a point that would have given you greater advantages.
Whenever a pencil or pen is at hand, practice continually the perpendicular, horizontal, and diagonal lines; then strike circles out, or any other flowing lines, which practice will eventually give that flow to the hand which is understood by freedom. When power is acquired over these, their combinations form Drawing, in all its picturesque varieties. It is in the power of all to attain these forms and essential parts of drawing, with the same, or more facility, than the forms of writing are acquired.
'No object you can place in your picture, can possess its proper value, unless it is in its proper place;—out of that place, it can only create disorder.'
The size of a figure, or any other object, should denote the distance at which it is situated: so should the colour of it retire in the same proportion.
The eye should be distant from the picture twice the length of it.
The most natural point of sight, is the level of a man's eye, standing up; which should be the line of the horizon, or where the sky meets it. All mountains should rise above that line.
If a figure be placed on the bottom line of the picture, it should be the natural size, and all others diminish as they recede, in an exact proportion to their distance, care being taken that they never have the appearance of going up steps; all buildings, trees, &c., being governed by the same rule. Thus the second figure or object, being the same distance from the first as the first is from the eye, presuming them both to be of the same size in nature, the second will appear half the size of the first; and, if the third be removed the same distance from the second, it will appear two-thirds less; and so on they will diminish in equal proportion. At twice the distance, it will diminish three-fourths; and at one-third more, it will lose five-sixths; and so retire progressively, never varying the point of sight. One eye only should be open, in order to reduce all objects to one point of sight; the objects immediately in front, receiving alone the highest finish, that all may appear to have ground to stand on. If you look at nature with both eyes, you will never obtain the same relief upon a flat superfice.
The horizontal line should never be placed at half the height of the picture, but always above or below it.