There lies the dog on the floor, and we seat ourselves at a little distance from it with pencil and paper. We will start off with a horizontal line (A); then we can form some idea as to whether the little dog lies along a straight line, or in case the bottom line slants, how much it slants. Then draw the vertical line (B E). Now suppose we hold our pencil upright, in such a position as to touch the back of the knee-joint of the foreleg, we will find that it passes through the middle of the dog’s back, as represented by the line (B E); so we have found the places for these parts.
Another horizontal line (C D) drawn above the first will touch just over the right eye, pass through the middle of the left ear, through the middle of the neck, cut off the foreleg, and run along the top of the two hind legs, passing through the knee of the left one. This will show us that the top of the right eye, the ear, and the top of both hindlegs are on a line. It will also help us to get the proportions above and below the line; then by drawing a line from D to the point F on the horizontal line A, we find that the lower edges of the left hind and fore legs are on the same line, which, if extended a little farther down, will touch the edge of the dog’s mouth. With these lines to guide us we cannot go far astray in our proportions.
One of the chief difficulties in following this method of drawing from nature is to hold our measuring-stick exactly vertical or horizontal. This difficulty can be overcome by providing yourself with a T-square (Fig. 147) and attaching to it, at the point P, a string with a weight tied on the other end so that it will hang plumb. By using this we can be sure whether we hold it straight or not, for in case we tip it too much on one side or the other the string will swerve from the middle of the upright stick. Of course, whenever we hold the T-square perfectly straight, the string will fall straight down the middle of the upright, and the top of the T will then give us a true horizontal line. A little thought and practice will lead you to thoroughly understand this method, and when you really understand it you will have an unerring guide to assist you. Of course, as the eye and hand become more trained, with practice and observation, the work will become easier, and you will not need the T-square.
In beginning the practice of drawing from nature, we had better confine our first efforts to things that will stand still, for without a practised hand it will be almost impossible to sketch a restless subject; but if we attempt to do so, we should follow the methods before taught as nearly as possible.
Now, suppose we step out of doors in search of something to sketch. The first moving object our eyes rest upon is a goose, and we decide to use him as a model.
But he is so restless, will not keep still an instant. First we have a front view, then a side view, and again he turns his back upon us. If we really must have his picture, the only way is to catch him and tie him up.
Yet even now he is a difficult subject, twisting and turning, and bobbing his head about. Determined on sketching him, however, we observe the position in which he remains the longest time, or assumes oftenest, and begin our work.
We first note the general proportions. Is his body as thick as it is long? Is his neck as long as his body? Are his legs nearest the head or tail? Is the head as long as the neck? What part reaches the highest, or what part the lowest? We hastily but carefully consider these questions and determine in our own mind the answers, for we must get an idea of the proportions before we begin our sketch.