Pen drawing by Marc Moullier, for La Plume, showing a clever and eccentric use of dots. It may be remarked that since the mantelpiece is above the eye we cannot see the top of it. It is parallel to the artist’s eyes, and so is represented as a horizontal line. So far as correct drawing is concerned, it makes no difference how that line is made. One artist makes it a thick line with a blunt pen, another a thin line with a fine pen, and another, like Moullier, makes it with a series of dots, but each of these methods is a matter of technic, and the rules of technic are arbitrary, not fixed as are the rules for drawing. You may invent your own technic, but you cannot invent perspective.

{131} periodical, the larger the better, go over the back of it with a blue pencil, lay it on a sheet of bristol board or paper, face upward, and go over the outline with a hard pencil, using such a pressure as will transfer to the bristol board a blue outline. The object in using blue is, that you do not have to erase it, but may work over it with a pen, as the blue does not photograph. Besides transferring the outline it is also advisable to outline the shape of any of the shadows you intend to introduce. You then endeavor with the pen lines to imitate the delicate shadows of the half-tone or wood cut. Perhaps instead of saying imitate, we would better say approximate, for you must not expect to be able to imitate with pen the extreme delicacy of a half-tone.

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DES GUEULES (STUDIES OF MOUTHS, JAWS) BY HERMAN PAUL.

CHAPTER XIV.

A CHAPTER OF ILLUS­TRA­TIONS AND A RÉSUMÉ — VAL­LOT­TON HEADS ONLY UNDER­STOOD BY THOSE WHO CAN SEE LIGHT AND SHADE UPON OB­JECTS — ME­DAL­LIONS BY DAVID D’ANGERS SHOWING THE PLANES OF THE FACE — THESE PLANES BROUGHT OUT IN SOME OF THE VALLOTTON HEADS, AND IN MEDALLIONS BY LORMIER AND D’ILLZACH, AND IN DRAWING BY CHAUME — LANDSCAPE BY LE ROUX, CARICATURE BY FORAIN — THE LE ROUX AND THE PAUL DRAWINGS INDICATE THE FORCE OF OUTLINE — EXAMPLES OF DIFFERENT KINDS OF TECHNIC.

THE definite character of our illustrations to the last two chapters should have made so strong an impression upon the reader (if he practices drawing) that there ought to be little necessity of further letterpress explaining the different technics of pen drawing. {133} So please permit us to introduce a large number of illustrations in this chapter, with slight comment; it being surmised that the reader will, however, give a fuller consideration to the drawings themselves than we do. Each one should be studied again and again, the reader not copying it, but making a drawing in the same style of some similar object. This chapter, moreover, must serve as a general résumé of our instruction in freehand drawing and pen drawing; it virtually ends the first part of our text-book; the succeeding matter will be confined to the consideration of different methods of decorating title-pages, and of designing chapter headings, tailpieces, etc.; and the third part will consist of the consideration of different methods of engraving, chalk-plate, wood engraving and color printing.

Now for our résumé.