words, the black under Vallotton’s eyebrows does not mean that his eyebrows are abnormally thick, but it means that he has deep sunken eyes, and that there is {149}

Portrait of Fred Walker, by E. G. T., from an English periodical. Reduced to a smaller area than when given in Chapter XI. By comparing this with the cut on page [102] we notice that the drawing is so simple that there is very little difference in the general aspect of the two, but here and there, as under the jaw, the lines have run together a little more in the smaller cut, giving a darker effect than in the larger one; the lesson is obvious.

a shadow under the eyebrows and in the plane of the superior orbicular muscle, which recedes, and Vallotton wishes to emphasize this. And in the Malthus he does not mean that Malthus had a triangular birth-mark on his right cheek, but he means that he had a prominent cheekbone, and a sunken cheek beneath it; hence the shadow, which is what we call “a modeling shadow.”

{150}

Portrait of C. Rivers Wilson. Pen draw­ing by Wal­ter Sickert. From The Lon­don Whirl­wind, 1890. Re­duced to a smal­ler area than when given in Chapter XII. By comparing this with the cut on page [119] you will see that many of the lines, especially in the shadow of the nose, have run together, and we do not find as strong a contrast between the black accents on the nose and the gray half-tones produced by the open lines in the larger cut. It is often the case when a drawing is too greatly reduced that it loses snap, because the graduation from the grays to the blacks is not so perceptible as in the original. Still the lines were so open in this drawing that the present cut is a very fair one. The result is much better than could have been got from so fine a drawing as the Renard. (See page [114].)

We cannot complete our chapter without mentioning that the styles of drawing we have suggested by no means exhaust the different methods at your disposal. While it is well to confine yourself to outline, or outline and solid black, or outline and slight shading, yet you may experiment in many more complicated methods, as seen in the Monet, and the Ringel d’Illzach, for even if you do not use these methods for illustrations they help you to observe the capital lights and darks in nature.

PART II.