Third step.—Measure each of the objects in the group, or the parts most prominent, if it be a single object. Measure its height and breadth, both in its own proportion and in proportion to the dimensions of the other parts and of the whole. Enclose it in straight lines as you did with the whole mass.
Fourth step.—Find the more important of the lesser proportions in each object, and block them out also. This should map out your drawing exactly and with some completeness.
Fifth step.—Lay in simple flat tones to fill in these outlines, and keep the relations of light and dark very carefully as you do so.
Sixth step.—This should leave your paper with a few large masses of dark and light, which can now be cut into again with the next smaller masses, giving more refinement to the whole. This also should so break up the edges as to get rid of any feeling of squareness or edginess.
Seventh step.—Put in such accents of dark, or take out such of light, as will give necessary character and force to the drawing.
I do not say that this method produces the most finished drawing; but it is a most excellent way to study drawing, and, more or less modified, is practically the basis of all methods. In practised hands it allows of any amount of exactness or freedom of execution. I have seen most beautiful work done in this way.
Home Study.—It is not necessary to have a teacher in order to draw well; but it is necessary to find out what are the essentials of good drawing, and to work definitely and acquire them.
Good drawing is a combination of exactness and freedom; and the exactness must come first. The structure of the thing must be shown without unnecessary detail. You should always look at any really good drawing you can come at, and try to see what there may be in it of helpful suggestion to you.
