Students, therefore, who are thoroughly in earnest must be content to postpone all idea of finishing at first, occupying themselves in the preliminary studies with correctness of outline and proportion only. For this reason when the shadows are blocked in broadly and the drawing appears to be as nearly right as you can make it, put it aside and take up something a little more difficult and carry it on to the same stage without endeavoring to elaborate it. Thus continue your practice, always progressing until you feel fitted to begin the study of the human face and form, which is, as we have said, the most difficult thing in art.
PART SECOND.
CHAPTER IV.
MANNER OF WORKING.
Those who have already had sufficient practice in the elementary drawing indicated in the first part, can of course omit the foregoing pages, and begin at once with the preparatory studies of the face and figure, which are necessary before proceeding to drawing from the cast.
These studies consist of eight plates, carefully prepared by the author, according to the modern methods of charcoal and crayon drawing now employed in all large art schools both in Europe and our own country.
By carefully copying these plates in their regular order, the student learns the method of using charcoal and crayon, so as to be perfectly acquainted with these materials and their resources before beginning to work from Nature; the design also being to familiarize the eye with the constructional drawing and proportion of the human figure beforehand, thus materially lessening the difficulties of drawing from life. The general manner of working is as follows:—
Arrange the light, place the easel in position, and fasten the charcoal paper to the drawing board or portfolio in the way already described. We will suppose the subject to be drawn is a head. First make a small mark or dot on the paper with your charcoal, to show where the top of the head will come. A corresponding dot will indicate the bottom of the face or chin, while a mark on each side will show the width of the head.
Before beginning to draw a line, these marks will suggest whether the head be properly placed on the sheet. See that there be not too much space on either side, and that the head is not too high or too low.
If these preliminary precautions be neglected the head may be placed most awkwardly; too much to one side or otherwise wrong, and the mistake not be noticed until the drawing be nearly finished. The importance, therefore, of properly placing the head at first can not be overestimated.