HIGH AND LOW WATER-PARTINGS WITH MAP.
If your subject “possesses” you, there will be no need of giving special thought to effects or results; these will follow naturally from the state or quality of feeling engendered in your mind by its contemplation; that is, if one part of the surface to be represented is hard and rocky, and another soft and yielding, and you have observed this fact in relation to the whole, you will naturally show it in the quality of line you use. No other hints can be given that will help you so readily to the artistic touch as this, together with the hints given in our last lesson as to the necessity of an adequate knowledge of form and of relationships or proportions. [Fig. 11.] A water-parting high and mountainous. It shows its rocky structure in the harsh and “liney” quality of the work as well as in the surface contour. The paper is left white for the streams of water. On the blackboard, when drawing maps with chalk, use charcoal for the rivers, as in the rapid delineation of such maps it takes too much time to save spaces for them; and at the best it is such an exaggeration of the width of streams, that it misleads the pupil.
[Fig. 12] represents a low water-parting. Notice the texture of line, soft and yielding, produced by thinking, knowing and feeling that the surface was not rocky, but a somewhat sandy soil, mixed with a little loam.
Perspective is shown by less of detail in the distance than in the foreground; the trees in the latter being more accurately drawn, as well as taller. The poplars at the right of the picture also show that the ground is a little uneven, as the distant ones seem to be partially below a slight rise in the surface. [Fig. 13] is a map or bird’s eye view of a height of land worn down by streams running in different directions, leaving the water-parting sharply defined.
A little sketch of the sea shore ([Fig. 14]) illustrates another quality of “touch.” In depicting water rolling irresistibly on, a mighty force dashing against the shore and breaking into showers of spray, you will naturally use a steady, forceful but light touch in indicating its curves and masses. “Feeling” and “touch” are something to be experienced and not taught mechanically.
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