These drawings should be progressive, commencing with the features in different positions, and leading gradually to the full head, feet, hands, torso, etc., until the full length figure is reached.
By this time sufficient proficiency will have been attained to enable the student to put aside copying and proceed to drawing from the cast, when the same progressive studies should be observed until a sufficiently thorough foundation in drawing is acquired to warrant the final step of drawing from life, which is the most difficult though the most interesting of all.
In view of these necessities, a series of studies in charcoal and crayon have been prepared to accompany this volume. These should be carefully copied, according to the directions given.
ARRANGEMENT OF LIGHT.
Before beginning to draw, whether from copies, from the cast, or from life, it is most important that the room be properly lighted.
If possible a north light should be selected, although that is not absolutely necessary, it is, however, most generally preferred by artists, as the light is more steady, and less influenced by the direct rays of the sun. There should be no cross light, the light coming from one direction only; therefore, if there are several windows on different sides of a room, all should be darkened while working except those on one side.
This light should so be arranged as to come from above rather than from below, and if the window is a long one, curtain off the lower part, so that the light begins about six feet from the floor. If more than one person is working in the same room, several windows on the same side are admissible. If, however, a studio were being built expressly for the purpose, the ideal light would be one large, high side window, extending from six to ten feet along the wall, beginning at the floor and reaching to the ceiling, where it is joined by a skylight, which is arranged with an adjustable curtain, so that it may only be uncovered when needed. In the same way the lower half of the window should be curtained off up to a height of six feet for ordinary purposes. The whole length of the window is sometimes useful in simulating an out-of-door effect of light.
Some famous painters have had studios built entirely of glass, so that they could have all the advantages of working in the open air without the exposure. Adjustable curtains would turn the glass-house into an ordinary in-door studio, with conventional light. Few of us are so fortunate as to command these conveniences, and truth compels us to admit that they are not strictly necessary to good work.
As we have already stated, the easel is now universally adopted for drawing, as well as painting, instead of the old methods, which necessitated leaning over a table. The plate to be copied is also placed upright, in the same upright position that would be occupied by a cast or live model, so that, even in this elementary training, the eye becomes accustomed to look naturally from the object or study being copied to the paper on the easel.
When preparing to draw, the easel should be placed in front of the window and so arranged that the light will come from behind, and fall over the left shoulder of the worker.